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FAST CLASS: Portraits Under Pressure

Lesson 13 of 19

Wardrobe and Make-Up Best Practices

 

FAST CLASS: Portraits Under Pressure

Lesson 13 of 19

Wardrobe and Make-Up Best Practices

 

Lesson Info

Wardrobe and Make-Up Best Practices

I'm gonna bring out the subjects that I'm meeting. I'm seeing for the first time. I've probably seen them around the building the last few days, but I don't know who I'm shooting, so I'm going to meet my subjects. And how you guys come on in. Welcome. Welcome. Welcome to creative I How are you, Victoria? Arlene. Nice to meet you. Thanks for doing this, Matt. Victoria. Nice to meet you. Come on in. Come on. Into studio. So let's some I really appreciate you doing this. So, uh, you're both my love to say that you work here, just Okay, uh, these guys both work it creativelive. And I haven't seen you around the building. I have seen you, Arlene. So, um, they're probably Ah, somebody probably really talked you into this. I appreciate you doing it. And I I hope to it's gonna be fun. And I'm gonna make it, uh, a comfortable process for you. So if it if you're at all worried about having importing and you're in good hands. All right. So let's see our wardrobe choices. Um, if you want to bring ...

those out, we could do it one at a time. Basically I don't know the space. So this is a big question mark, but a couple key things go into my decision making. The first thing is, I'm gonna ask my subject what's their favorite? Because that's you know, when they're when you're wearing clothes that you like, you're comfortable. So, Arlene, of all of the things that sorry, Matt Matt, of all the things you brought, what is your favorite? I think the best is my favorite. Okay. And obviously I like blue, but I bought a red one just okay, So color tends to be can read really beautifully off the page if the output is going to be printed on the Internet. I think, um, bright colors look great, but you can also get away with more black and white black in newsprint or, um, in magazines tends to just be a lot of ink. So editors tend to shy away from something that's all black. Unless, of course, that's the intended purpose. And it's a really contrast in black and white image. Color draws readers in, you know, really supposed to catch your eye. And I think it does. Um, so as much as I like color Platt's and other types of patterns can be a little bit more difficult. So what I would suggest is, which, uh, shirt would you wear underneath the vest? I would normally where the blue stripe. Like the light blue stripe. Okay, but, um yeah, I don't know. OK, I would suggest doing the solid blue and right there, I have two options so we could start with the vest. And if if you have a portrait session with someone and you're in an outfit something with the vests and, um, it's a button down and you shoot the entire shoot with the vest when you go back, you're not gonna have a lot of variety, right? So by taking off the vest, which I will try to remember to, Dio will come away with two sets of images. That means that if he wanted this photo, um, you know, he's investing in you is a photographer to get some photos for himself, right? Maybe it's for a linked in page. Maybe it's because you're giving a talk. There's gonna be a lot of varieties and uses for this image. Well, for the same, you know, the same amount of money and the same investment. I'm giving him two options that's essentially could have been to photo shoots. They look they could look like they were taken on different days, so that's the value added for them. So I think that's a good a good place to start. I do like what you're wearing right now is about you roll around rule that this is data for me that he's comfortable in. You know he's casual, but he has style. So I think when picking his clothes, you want to make sure that you stay on point. And I don't pick something that fits my style when it it doesn't necessarily fit his personality. Okay, so we'll start with that and go from there. And here's the thing, guys, if it's not working, if they put on an outfit and it's not working, shoot it a little bit and then say, You know what? I'd really like to try that green blouse, but I also never say, Oh, this isn't working because first of all that shows a. It makes the person who's they're insecure about their situation and what they're doing and their decisions, but also about you, like old Oceana, which is doing because I think I look great. So you definitely have to, um, communicate these things, but, uh, do it in a very delicate way. So all right, our lane. I love the all black. This is great. I was channeling your New York. Yes, that's exactly so. It's, um, and an all black can be very chic and beautiful, so it's always an option. But again, I have editors that will say, make sure they're not wearing black, So that's something to consider. But I like this blast so much I haven't pink in red just really embarrassing. So I holler. I brought a starve to go with this, and then I brought jeans and looks Rick look terrific. You know, I think, um, we should start. I'm having a red Red can be Red is beautiful And that's where I'm going to right now, and I think that's where we should go. What do you guys think? You like the red? All right, so we'll start. Their red can also be very tricky and print. I'm sure you've have tried to make prints. Sometimes it's, uh, when actually printing. Um, I'm not trying to get geeky and technical, but the gamma and the red, How much red can actually be printed is a trickier thing. So if you're the one making prints, sometimes the red can be hard. If you're sending it off to somebody, it's ah, so don't definitely don't shy away from red for that reason, but something to consider. So if if we had we were doing a portrait session and we have a lot of time, I would definitely have you start in the black and then we moved to read. But for this purpose, I think we'll start with the red. Okay, now, here's the other thing, guys, I don't know where we're shooting these, So if I get there and we walk in and there's a red wall, I'm gonna have her change her shirt or it's, you know, whatever. If it if it's not working, I'm gonna have to take that into consideration. Um, obviously, sometimes people don't have a change of clothes with them and shoot since my circumstances. And so if I walk in and I set up a shoot over here and they walk in and it's a red on red, well, sometimes that could be very cool to try. Sometimes they look like a floating head. You never know, and sometimes I have to abandon that situation and go over here because we don't have a change of clothes. So it's really about thinking on the fly and just trying to take all the pieces that you have and put them together to make the best possible shoot.

Class Description

FAST CLASS:

Try a Fast Class – now available to all Creator Pass subscribers! Fast Classes are shortened “highlight” versions of our most popular classes that let you consume 10+ hours in about 60 minutes. We’ve edited straight to the most popular moments, actionable techniques, and profound insights into bite-sized chunks– so you can easily find and focus on what matters most to you. (And of course, you can always go back to the full class for a deep dive into your favorite parts.)

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.

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