Editorial/Celebrity Style Shoot
so come on in. Hi, Sarah. Victoria. Really nice to meet you. Thanks for doing all right. Um, I'm going to walk you through a couple things that we can start over here, and we're gonna care when I'm here, and I'm just gonna keep it fluid. But how much time do we have with our talent? We have about we have not about. We have 15 minutes, 15 minutes. Okay. Someone's gonna She's got a vat E. Really? Really. Afternoon, my assistant. It has very busy my assistant's gonna start a timer because I actually want to know how much time has passed so I can say, Oh, well, it's only been seven minutes and 36 seconds. Take just a few more frames. All right? So let's start with you in the most simple place, which is right here. How do you feel about sitting on the floor? You don't have to do it yet, but I'm just curious. You have to ask these things. You can't just assume that someone wants to sit on a dirty floor, especially if they've spent time working on it. So it doesn't bother you that great, we'l...
l get there, but, um Let me just move these cords out of the way. Is that gonna be a problem? Just push them this way. Okay? I'm just gonna have to start here. It's really simple. I'm imagining that you are. The reason the magazine has asked me to shoot her is because she's promoting an album. She looks like a rock star, Right? So OK, so let's just start Super simple. 1st 1 never counts for that reason, because all my lights were firing number one. It's actually sort of interesting. Let's see how that goes. Just curious, with lights mounting everywhere. Very clean like it. Okay, I'm gonna try one thing turning off this drove just to see the daylight, see what the difference is. Got it? Having your marcher taken is not fun because we're human. And so we're self conscious. That's just the bottom line. I don't know how you know, even if you're in front of the camera every day, they're still part of you that is aware of it. So if I can get her outside of that and we can become, um, a unit without the camera and she's and she stops thinking about it, that's when we're going to get places. But at the same time, I'm very focused on the fact that I need to make images. And so I I'm not sure if you've noticed this, but Well, I'll make my point in one second, actually. So which is great. Okay, go ahead. And if you don't mind, sitting down here is great. Good. Give me a favor. That's great. Go ahead and get up again. Here we go. And go ahead and get down. Good. One more time and down. Yeah. Good. I get comfy. I like the one leg up. That was kind of like, Kind of, like, lean forward and do it a little bit. Yeah, even more beautiful. Good. And look that way. Really? Look down. They're ago. Do me a favor. Your foot. Your hair looks great, but I want to. Actually, it's actually the action that I want. Yet you got exactly. So go. There you go. Good. So, even slower. Too slow, too. Slow it down. Okay? Like they're good guys up. That's it. One more time. Nice. All right. I'm running out of time, guys. I gotta focus. Okay. Here we go. This is great. I love this. I think we got something here. So go ahead and stand up for me. Go ahead and back up. Good. Go ahead and turn around all the way. Good. Keep turkey turning. It's a big circles. Okay, I'll check it out. Their ago eyes up here. Yeah, it's good. Okay, lets I'm gonna bring it up. Bring it up. I'm gonna bring you over to my other set. Have a seat here. Let's bring the Let's just shoot this available. I think this is beautiful. Very nice. Look towards the window for me. Good. Sorry, guys. I was talking too much. You're gonna get You have to get my back now for a little bit. Let me get a smaller. Let me get a apple box since we have it. Good. Okay. God, And lean forward for me. That's nice. So I'm gonna have Daniel just gonna move around as you move. So let's right here. So come in closer. Half a step forward towards me. Sorry, Sarah, By the way, her name is taped on the back of my camera like this. You can see so that I don't forget my talents name because that's very important all right. Very good. Have you play with your fingers again? Actually, you know what? I like the idea that you're kind of like pulling on your sleeves. Sort of this rock star. Kind of like fix your collar for me? Yeah. Good. Turn around while you do that. Keep turning this way. Good. Now stand right there. Look to camera. Goodness. Stay there. Have you follow all the way over there? Keep going. Good. Come closer. Dania shouldn't look this way and drop your hand. Just one hand. Okay, let's turn this offer sick. A trip, a ticket, or I'll just do this for not cooperating. There we go. Okay. Really nice. I love how you are. Just sort of settled in right there. Look off. This way. Let me bring you over. Photographer were at a time, all right. Time for us to have more brains here. Keep going. Very much. Appreciate it. Thanks for coming in. All right, take care. So that's literally how some of these shoes go down really quickly.
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Full-length class: Portraits Under Pressure with Victoria Will
SUBSCRIBE TO CREATOR PASS and cue up this class and other FAST CLASS classes anytime.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Leverage new techniques for choosing the light and locations for a successful portrait
- Know how to build a rapport and utilize clear communication with your subjects
- Set up a developed concept as well as how to light on the fly
- Use successful strategies for marketing yourself as a photographer and how to get your work in front of editors
ABOUT VICTORIA'S CLASS:
Portraits require more than just great lighting and equipment. Sometimes a shoot doesn’t go as planned. The location is drab, the client isn’t in the best mood, or you forget to charge your camera batteries. Great portrait photography artists are able to think on their feet, connect with their subjects -- and capture great images under pressure. The best portraits often come from portrait sessions that didn't go exactly as planned, when challenges turn into assets.
Celebrity portrait photographer Victoria Will shows you how to use your environment to capture a unique, sharp image that reflects the person in the portrait. She’ll also highlight how to quickly evaluate a less than perfect situation and make it work for you and your subject. Take your portraits from amateur to near Mona Lisa gallery worthy by learning how to shoot portraits under pressure.
You’ll watch Victoria photograph real people in limited settings, discovering multiple opportunities in a limited space. Learn her three portrait musts for preparation, point-of-view, and connection. Gain insight into how to make every frame count and how to get the shots the editor requested, as well as those that speak to your vision. Learn how to make your subject feel comfortable in only a few moments while capturing exquisite photo collections in Portraits Under Pressure.
WHO THIS CLASS IS FOR:
The photographer looking to improve their portraiture through thoughtful lighting, creative techniques and leveraging the environment around you to get a consistent appearance.