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Commercial Fashion Photography

Lesson 18 of 28

Couture Fashion Shoot - Part 3

Miss Aniela

Commercial Fashion Photography

Miss Aniela

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Lesson Info

18. Couture Fashion Shoot - Part 3


  Class Trailer
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3 Submitting Work to Magazines Duration:15:18
5 Lo-Fi Shoot Continued Duration:40:05
9 Team Q & A Duration:49:39
10 Reviewing Images from Shoots Duration:12:03

Lesson Info

Couture Fashion Shoot - Part 3

Let's let's get let's get taylor in his first slap bang in the middle right here please. Uh yeah, I think you wanna do the front way shot or do you want to wash up? I'll keep quiet let's do the blank shot first while while all of this as well as well just like the sketch just wonder chandeliers going this way more than the party I would I put on the twenty four seventeen up let's do that while we maneuver everything so I think what we're gonna want to do is what a change from fifty mil to twenty four to seventy we're gonna need to get completely out the wise isn't gonna I think what we'll do let's let's let's stay still locked off things smooth bags what's that what's that what? What? Wait, I can't even get past it. So not so this this is quite interesting which is really close to the front quite like that always look out for off tunis shots as well. So what were you thinking? I quite liked it. No uh just but also I so yeah, just cook snap good move on that's terrible anyway, but let's...

concentrate on the wide shot okay, so I think I do like I was being close to that I'm post yeah, we can try that in the last thirty seconds, okay, let me just step out the shop for seconds once I want to see how this lamppost looking yep I think I can turn that down is when I was a bit homer but hold fire for a second that's not, uh spirit just test shot really? I do like parts of it could you just bring taylor but forward so she's actually holding on to the lamp post so these are let's just test shots that won't alter I so so the ice is probably about six thousand just suddenly said see the competition really okay doesn't it doesn't matter too much about detail in it just there's just test shots let's just see how that looks okay well I'm thinking actually if we go toe back to the wide shot we've got these two lamp posts here and they can become the kind of story about framing to instead so unless you want to get any close ups here but let's go for the wide shot yeah let's go to the wine ok get up get up get up you go no way could get you here please say this is to loathe yeah techshop just so just a little test shot just for composition take a look at the composition matthew well least two lamppost here so we just we want her slap bang in the middle of the night just shift over yeah fraction have a look at that composition uh yeah yes um a little bit more basically where I am perfect perfect right so how close is she going to be used to be a tiny bit to her can you just give me a hand with this? We're gonna put the shays behind her so you can't see it okay, we need to this way you know he's gonna trial behind that I would like that leonard I would like her to be on an apple box. I think it will work even better in this shot you would like afterwards to be on the elevated works much better okay and we need the shades there what just you were hiding it so wei see the shows oh, no no, we can't see it good you're gonna start getting the boom back into the shop yeah, yeah we're gonna do that right now. Okay, so what's the best way to get this thing without wait come back swing in there so he tears the clarence there okay? So let's swing in right okay and then just come forward with us. Um leave it can we just three on the box is it possible for you to go time this way on the boxes to the left yeah, yeah yeah well then alright, okay could you stand back okay, tell my flash public take it off also I so put it back up to one hundred twentieth yeah I think that's fine spin that round so that that lake take a test shot while they're all in there take a little racing around just that little bit of weight can manage I don't have a look at this shot taken focus all right hey you know what I want a shot speed one to five what the focus issues that's fine right just uh way needed is that right could you bring up top close to me please I can if possible slowly is just what's the wires here no no don't don't don't don't lift it just I just want pointing towards me please it's a bit dark I'm thinking like things just beat down perhaps we'll put these up one two three well no I haven't lost the lighter haven't these yeah okay if weaken I love you that I like the light on her matthew it's just ah, the ambience I was referring to okay. Well, to be honest you can do without it with the blank shot is that all you want? Is the detail round here? Isn't that right? Yeah, yeah, we can do that on the blank shot you just fill it in? Sure everybody got lettuce facing what you're facing a hundred you wanna go back up to one to five? Yeah it's just killing that I am being a bit which which is what we want okay yeah let's um let's have you opposing let's try that swamp oh, because now we've got the lighting like this when you're when you're looking up into the light this is what's illuminating in so let's try these yeah let's try posing but more side has almost the same angle is that otherwise you're going to casting shadows there's no need to be in a small arms on this side with you uh we'll try try both but I like the way because we've got it in the center it's almost like you've got this little crown behind you there things in the back of course some girl you just make sure you keep back but because you're just the edge it's quite wide shot yeah, really nice any here he would say so there's no real light on the hair there so let's sort that out can you just I really like the guy shot don't trip over anything here I really like seeing this just kind of taking down it really? If you could just swivel you just a tiny bit this way yeah, and then so we see this because then it really gives it that very tight all kind of look trailing down yes, yeah just pushed that from the mainland from pushing into water all right let's go for it. Okay one sixty I just want to separate her a little bit more from the indian yeah it's getting a little uh anything is our heads off merging into the gold in the back there anything you say yes, we'll get with wide shot unless I go in close to her and then do it till up and down I'll be honest I can see a surreal fashion developing here with these golden curls on the back I mean, what I'm saying here is that if we go in close and take a fifty mil shot her on then till opened down like in victory voyage the picture was showing earlier with until opened down instead of left and right then we can still get a grand shot but with better focus on her I need to take a black short face before we do that no take small like this and you go for it when I'm out the way I really like I'm just concerned about her no, I don't mean because this is a danger of taking a wife shot you lose the portrait in the in the landscape as it were I mean this is what I'm talking about here is obviously the golden background and I'll see her hair as well just do a few poses just about your hands in the air taylor they're just nice grand poses with the lips slightly apart towards me in the pose you're in maybe one hand on your hip on this side go watch the lighting booth how's it looking I can't see what you had to wait only just getting ultra fast it's a great shot I'm gonna concede hello post process this okay I'm just gonna come out of that concept don't knock the tripod whatever you do yeah okay yeah I think it's a good foundation for her getting her we'll just take that shot it's a little dark but yeah when we do the blank shot we could have a longer exposure that will bring out more detail of the room and the rest of the lights just give us the option I think we should have a big blast of kansas fault mackenzie special go for it has it hundreds can you lean it forward a little bit doesn't matter I'm being fussy yeah just hits a full trial tilting down down that well not do it take a long shot okay no problem that's nice I like when you're leaning back like that it's really good that you're back even more just you tilt your head back almost exaggerated back but keep your hands up yeah, that that that's fine. You just keep your hands down but just relax your arms the arms to the side a bit more better just a bit more theatrical the focus is not quite getting into the area is just being lost a little bit on this shot there so uh we can we stop the fog too long? Yeah well okay so I should get that the plate for this and then blank shot and then uh I'd like to maybe just free roam a little bit with whatever's remaining of the fog because I'm just aware that as the fog comes out I can't move my camera to get the best composition of it with the fault because I'm waiting to get the plate of the show without you if you want to get a blank shot now yeah yeah okay what do you mean exactly when you say the plate oh yeah so what you say a blank shot are you going plate is when I want to take the shot without the boom arm and it obviously like we did with the last shot you've got the boom arm was part of the image to give the best flush lie on her so before I move my camera I want take that blank shot without that innit before ing for the frame changes so I can effectively composite that in to get rid of it is that enough now let's go let's get it right up against the wall um think so er well no er just the bags are in the shot I don't know if you can't don't think about it it's not the end of the world well that way we can bring it down here I don't know just be careful with a lamppost just warm me so around these it's always all right so I should just it doesn't matter actually taylors in the shop for this sequence data to swing around just so it's because this isn't so I'm just taking some longer exposures taylor still there that's fine because that's just the boom arm part that I'm interested in we'll take some even longer exposures that was twenty fifth. Yeah, pretty much done. Okay, sandra till up and down now so and that's good because I can get detail on the ceiling with a nice green uh nighttime design is gone they're the mural on the ceiling it's a chance for me to get that detail I'm just gonna take a few longer exposures thirteenth I don't need clear overcoats that one I'll just go higher oppa's well, just what I'm here because it's interesting detail to get on down not because of carpets are interesting but just very for space that's there we have someone last blast of oh folk when your pan down that's the cameras and stuff on the side but that's alright, because I'm just looking for that bit of detail before you get to the stuff on each side well, hang on before you get the fuck going I just need to work out what the shop compositions gonna be is it going? I'm not gonna have flashed for this sorry no, I was thinking maybe you could you could do of a longer exposure so we could actually have some movement in the fog no flash well it's only gonna be for a little bit of detail on the front right go for it no quite sure my composition is yet some thinking off just getting closer to her really put back on auto focus when all I'm thinking is just just some detail here was involved okay but what composition because I've been shooting wide on do we wantto change focal length to get closer to her you know um do you want to do some close ups really quickly or not uh what line actually just to get some shots where I'm pulling it off the background in this position so if you wanna pass my fifty mil well that one of their close ups I mean just getting closer to her than those wide you waken get that boom on back in emerging from the fog you add the faculty like summer here yeah I was thinking about free free roaming a little bit more with with sob on getting closer to her and maybe even taking off tried hard that was the booth okay so I'm going to do a little bit of compositional test while we're here here's one look my folks my focus on put onto all the focus for a dog take a quick auto I so test sure well I mean I know I know this's just special sorry take it off or tie so no so if I'm going to shoot with the boom on and then I need to make sure that we'll close it I was trying to compose a shot without the boom arm but also address is amid jewellery sort of shot coming we've got loads of the dress yeah just would you rather see some think so you can go even closer yeah now let's get let's get nice and close even after here just super that given even higher waken going high is this ok don't worry I'm going I'm going I'm creeping closer ha ha sometimes at night I just get a shot where isn't completely wide but that lamp off I was wondering ok I don't know I wondered what was happening they were already seeing that part so that's that's why I'm going closer yeah we can see the shays now so we're just gonna wiz that shape over to the other side of the room with one two three so I was composing it with that chandelier behind that I might start kind of missing that out as I get closer and closer just aware of it so just look in this direction that's great but just look at me head back a little bit tilted back lips slightly apart how's that looking okay one try that was closer same shot same poses last was the last one chin down a little bit like get some light on that hair I think I'm in front of one of the lights but not so good way that one we'll try that one again but this time I'm just gonna change your arm position so just don't click onto down first let the arm drop but more to aside I just wanna be of separation between this arm and your torso just put back a bit like this then relax it bring your arm out from just a handout from beneath that just on top of that trying to get the right position between the light and get in the way of the lights and also think about the chandelier behind her head as well I don't want to know what I really want it immediately behind here just promise that you were just doing then actually yeah, great. Hold that look straight on to me this time just straight in your body and as you were between between shots just then just just trail but it I mean straighten it where you were when you pose just not to one side were just like this year chin down it no okay, I was glued to my side down two hundred and f stop down to one point eight might be a bit bright but I just want to see if I can separate off in the back and just a little bit more for a few of these shots yeah, that's better is coming off the background a bit more now, so I'll just take few more like this placer and softened it a bit as well. So that's helping it's, another chandelier, is even more kind of blurred out from behind her, which for this shop is better slip slightly apart, there's a few from this angle's world without getting hair lightened, but and just let's, just go in even closer for a couple of last ones look att forward toward yeah, I should do that, look down on them and just look at way, hold up. Yeah, just hold that look that way. Shoulders. Relax your shoulders down, write the song for this one. Look at me, okay, right, so I think we are done.

Class Description

Are you ready to break into the magical, vibrant world of fashion photography? Join renowned fine art and fashion photographer Miss Aniela for this class on everything you need to know about creating vibrantly artistic and commercial fashion images.

Miss Aniela will:

  • Take you step by step through a location photo shoot
  • Show both lo-fi and high-production budget approaches to a fashion set-up
  • Walk you through her post production process 
  • Share her insight into the business of fashion photography 
You will learn how to concept, produce, and style a shoot — including finding inspirational details and creative locations.

After reflecting on the shoot and reviewing the raw images, Miss Aniela will walk you through her compositing process. You will learn how to choose images that both highlight your personal style and appeal to stylists, editors, and commercial clients. Miss Aniela will also reveal her own professional journey, explaining how she turned her Flickr stream of amateur self-portraits into a thriving fashion photography career. 


Charlotte Madsen

I find this class truly inspiring and fascinating. To me, it was not so much the parts of photography, but all the thoughts behind it she talks about. The thoughts, the planning, all the what, where and how questions you can/should ask yourself as a photographer. Especially about your own journey and what you want to do with your photography. This class made me realise that I am actually not on the right track as where to my dreams are, but more on a track of one idea taking the next and then time just passes by. Miss Aniela has made me stop and reconsider what photography is for me and why it is important to me. And to me, knowing what is in your heart and why you are doing what you are, is just as important to know as the skills you need to take good pictures. I think there are many other classes here on Creative Live that get more into the technical stuff. But what is good photography skills if you don't know what you want to say with it? It is true, she talks a lot. But I enjoyed every word she said. I find there are a deeper meaning in all she says, and I am actually really sad its over. I could go on listening to her for hours :D


I LOVED this course!!! Very informative, I thoroughly enjoyed it!!! I realize I probably won't get to shoot the 'hi-fi' shoots, especially in such grandiose locations, but I loved looking in, behind the scenes, and what all goes into these shoots. Miss Aniela was a fantastic instructor. Thank you for this course!