well I think we're going to head into our next video that was the family shoot now we're going to head into a siri's of videos with a senior and shoot with with the senior we're going to start with a makeup shoot so one of the aspects of working with people and photography especially in home portrait world uh is whether to have make up and hair done or not and about half studios say yes that have say no uh it's going to be an individual call on your part I think a little hair and a little makeup is always a good thing if you can afford to do it uh but it really does help enhance your clients get again moves everything to another professional level I think it really has helpful and I think in this case glenn is I mean she's approach she knows exactly what season it's how long you been doing this ah while ninety since nine years so so a while yeah twenty five years uh and and most of our subjects and especially in teenagers if your photograph in high school seniors and things like that t...
hey've got really good expression they've got good skin they've got great features already all we want to do is just clean things up a little bit and make things a little bit more enhanced but not crazy I don't want to go crazy with this girl or make her uncomfortable or have people look and say it doesn't even look like you we don't want that so what we do want enhance her just a little bit okay ms lin so let's talk a little bit about which outfit first based on hair I think we want to do something with your hair kind of back and maybe even up a little bit um I don't know if you want to put all of it up if you want to put part of it upper well if we start out casual I would say hair down a little bit of wave very very light makeup okay um then I would say for going to go with the sparkly short dress as you suggested hera I think that would be our best bet at getting a good shot of her neck her neck and she may be a little ballerina bun okay that would be asia appropriate just twelve right we don't want over not goingto make her prom girl yet sorry there's enough time for that later but yeah let's do that and then a light pretty makeup yeah let's not go crazy in this don't go crazy now okay you got great features arrives yeah he's gonna pop can you can you see without your glasses well you might be blind for the photo shoot for a little bit believing can you looking montu that's just fine okay okay let's go people have to look how they look and I think that you have to be a little bit cautious about the makeup if it's a traditional portrait kind of a thing uh if it's a fashion shoot it's a contemporary shoot and if you're doing something for uh something a little bit more dramatic then you can go crazy with hair and makeup and costuming and and props and all that stuff but for something like this you need to kind of hold it back just a bit you know we talked about to her glasses right the very very end uh I had asked something about her glasses does she wear a multi man she does so I need to leave money during the shoot well the glasses are big and the glasses the lenses are little bit convex which means I've got trouble all day long with those glasses there are four things we've been taught to do about it eliminating or minimizing glare from glasses number one is well you can have your client go get empty frames or have their lenses take another frames in this where empty frames not suggested because those tow the clients that walk in your studio going thinking I can't see a thing second thing we're taught to do is well you just raised the ear pieces up tipped the glass is down and the reflections go down instead of going to the lens well that's fine except that looks a little bit goofy the other thing is well you can raise your light source really high until the reflects his disappear well bad idea because then you've got pretty rough lining uh but there is one thing that you can do and that is just keep in mind that a reflection in anything is um the world of the angle of incidence equals the angle of reflect its meaning if if I like you if pam if you're wearing glasses and I've got a light at a forty five and I'm forty five to you that light is going to hit that was glasses and I'm going to see it in my lens all I have to do is move your chin this way that far and it goes away and it doesn't see some people say well now you're broad lighting well ok so what it's a twelve year old girl right there you just did a head tilt in your glass of blair would have disappeared so you're going to see me do this a lot I've shot a lot of broad lit shots with this young woman because he's got these glasses and I didn't anticipate the glasses it didn't harm the session at all to turn her head slightly away from the light source but I'm not about to ask you to get rid of him except in one segment at the very end of one of the chutes I said just take your glasses off and just hold him like this for just a couple of pictures and we got this great it turned out to be really nice set I think of pictures for her but it is something that's pretty subtle on how you deal with it and very small subtle changes with your lighting and with your head positioning will dictate where you see and where you don't see those reflections aah what is the best way to find a makeup artist that you contrast well final makeup artist is one thing to find when you can dress is another thing to find a makeup artist most midsouth mid mid size towns and cities have cosmo tautology cosma apology cosmetology schools and there are always looking for work they're looking to intern they're looking to get started there looking them begging for jobs and some have assignments they have to use real people for so there are people out there that are great to work with goto any hair styling salons you know any place that does make up professionally and just go in and introduce yourself give him a business card and asked who do you know who do you have that might be looking for a little bit of work on the side to work with photography because like sure could use some help from time to time I don't need anybody full time but I could sure use somebody on certain shoots and make sure that it's something that you can afford and or passed along to the client for a portrait client you maybe give your clients the option you know would you like hair and make up it might add a little bit more to the bottom line but it wouldn't have very much or if it's a commercial shoot that's kind of part of the bit that's kind of part of the estimate when you when you go in and bid on the job if you know you're gonna have hair and makeup uh it's not nearly as costly as you think and it really does make a difference and it helps and some people say well yeah we're going to do all that when you retouch uh you know you know who I am by now do the best that you can for everything that you can do at the time of the the pictures were taken and try to minimize the stuff in post that's my that's my rule was my motto so okay yeah sure for high school seniors or in this case fault seniors do you have a stylist on hand that you khun refer to and say can you please style the clothings they look their best or do you just almost never for a high school senior there are some studios that I know that I have during the senior season they'll just employ somebody part time like from two to six and I'll try to book all the sessions for girls from two to six guys don't care but for the young women I think that that is something that's sort of feasible and it's something that you might want to consider doing is having somebody on hand it's another pair of eyes for you you might miss something that hair sauce or or makeup artist would catch um I think it's I think it's helpful if if there is appropriate money to allow it to happen it can't cost you money needs to the whole job will be better because of this so
Tony has been a photographer, an educator, and an author. His photographic works have been featured in publications throughout the world. While he has worked for some of the most discerning clients in the world, he is most proud of being acknowledged and included in more than twenty-five photographic books by other photographers. Tony has photographed three U.S. presidents, The Millennium Summit Meeting of World Leaders at the United Nations, sports celebrities, almost 800 brides and grooms, and a handful of NASA astronauts.
Another great course by Tony Corbell. I loved this course. Tony is a great teacher, great photographer and great business man. He's enjoyable to listen to and a great teacher. He holds nothing back and shows how to shoot great pictures even in small shooting environments or on a low budget. I would buy again Tony's courses.
Wow! Tony is fantastic! So many hints and tips, crammed into this great course. I shoot portraits out of a small converted garage, about 9 ft high, 9 feet wide, and about 19 feet long. Tony has shown me so many ways to make this small space work for me, for which I am eternally grateful. What this course highlights is that whatever small space you have, there are ways of making it work. You need to buy this course and watch it over and over because, every time I watch it, I gain more and more info that I missed the first time around. Brilliant!
Absolutely wonderful, I cannot praise the content enough. I value Tony's stories as much as the information he is giving away, because it puts the data in the perspective and practical context of the actions we take. Thank you for this class!