Skip to main content

Commercial Fashion Photography

Lesson 15 of 28

Lo-Fi Shoot Continued

Miss Aniela

Commercial Fashion Photography

Miss Aniela

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

15. Lo-Fi Shoot Continued


  Class Trailer
Now Playing
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

Lo-Fi Shoot Continued

Maybe people thinking is to put it on to second timer so that I not shooting a long exposure I can actually set the camera to do that I'm not too bothered about that because that exposures are not really long enough to get camera shake from me touching the camera but I can always put on to second time or if I was doing a really long exposure where um where there might become a shake from touching it contribute from her oh yeah that's a good point nothing I could trigger the camera from the laptop as well, so I don't have to touch it something I also want to try, which is in the things I wanna talk about during the shoot might as well mention it now because I think it's a good situation is I can also auto bracket my camera so that I can shoot essentially what we call hdr um doesn't necessarily have to be that we always use every exposure that we shoot well because we're in a quite high contrast situation on were shooting without lighting gear hdr auto bracketing is wrote a great way to ...

to make sure we've got more than one exposure in the back so we can incorporate detail from the lighter exposures into the scene um it may be that you just use elements of the lighter shop to put into the mid shot so what me mother's lips do it on my camera so I don't do this very often because I usually use lighting gear. We're gonna go with three, so I've changed my bracketing motor, my camera to go with three frames and one on either side off the the shot I'm taking on down, I'm gonna put my camera onto burst load so that we're taking all the pictures very fat, so let's just let's just try it out and see how it goes so two or if you're going to put into position and just people still is, you can and we're going to take a burst of three shots. See here the sound of the last exposure there, so just relax now and we will need a profile she was looking toward. You can't see the hair. What was that? You professed profound shock? Yeah, I prefer being being able to see the hair as well. So all those exposures coming apart just like overwhelmed the tethering pipe there, I guess all those come up so you'll get basically one shot with dark one shot that middle and another show's lighter. Um, on the potential you could do is merging together so you get more even doubt shot the scene, which I think is a really invaluable tool for when you're shooting without lighting or shooting in situations where the light is challenging because then you got those shots to play with to combine together on just to take elements of one but it's important the frame is the same between all three shots let's, try that one again with the profile okay, this time I'm just gonna change my bracketing mode to staring straight up to, you know, keep houses. Okay, okay, so one, two, three on relax story. Sometimes I do this and I decided not to use extra shots. Sometimes I need one of the shots. I'm thinking in particular about the detail in her neck, but I might want to recover from the other shot, but to be honest, in a lot of pictures I take the the quality of the raw files is so good, especially on this camera, that I could actually kind of get the detail back from one raw file so hasty are bracketing is not something I tend to you so much these days as much as I did when I was using more basic entry level dslr, but certainly really good tool forum capturing more off the dynamic range ndjn image the foot yet if we can try and get the foot just yeah, yeah, just a little bit more I know it's difficult, I'm going to put my camera back to normal moment, maybe take bracketing off maybe about here you know it's good to have someone to look at the details like handing matthew that's great so just hold that I was gonna slow my shuts down but more to hold up one two three and hold ok and now relax how does that look yes it's really just a little bit worried about the hair because obviously there's very dark but you're gonna have to have a proper look the pose of the legs is growth I really like the detail off the muscles in the leg swelled because potentially all of this could be obscured but the light is giving that kind of drama on the body which are alike the texture of the dress the open neck but we have we have got some move movement that slight movement just a little wiggle of the chin yeah yeah that's gonna be the problematic area is that tin part for a slow shot speed so I'm gonna do some now with just to get in the bag I'm going to do some I'm going to go to an eighty year which is a lot more it's not a shot speed I would generally use handheld but on tribal it should be okay and I'm going to bump my I sew up this time instead to eight hundred to show an alternative way of flirting more light in uh my opportunist along two point eight which I think is safe enough to get detailing on okay my focal point is still nicely on tori there so what uh well counting down because the shot speed is good enough relax thanks about how is that looking I might even try more I so let's try thousand you need a little bit more go on then a couple different head positions while you're there will be great beautiful and then you're looking down like that beautiful and it looks so how is the cheek area is quite grown out and when when she raises ahead but when it's down like that I quite like the chin shape very graceful something that you know I prefer the neck and tune it looks yeah. What want teo what wanna just experiment with now is same pose and everything but I want to experiment with making the dress look a bit more interesting when she's lying back on maybe want the dress to be kind of cart wheeled round of it not something that I necessarily need much assistance with just a case of maybe ask me torito polyp like this so it's not so much just hanging but it's more of a nice circular shape so let's go for that house I gotta get my camera let's just have a look at that stopped a little bit messy that you could just kind of needed it up or I shut it so just relax for a second halfway uh this is where you need to lay in it yeah what you know you don't believe it because it's a low fi said we got put you totally in it had um yeah that's right? I think that's nice you know, it's just all about options really I'm not saying this is going to definitely make it better it's about playing of what you've got on it's about keeping it simple as well I'm starting with the shop building it slowly just hang on there for a moment I'll just check this shot expert ms around yes, I think that okay let's put the dress back down let me just can we look at the shots before or is that gonna complicate there? No it's okay, you can just flick back to the other ones. How far do you wanna go? I know just just to the one that we take took before we moved the dress. Yeah, difference. Okay, so all right let's try it if you let's try a few more shots but this time without putting your whole back over the side of the shays position you're in just then when you just looking at me on a little bit of bend but the dress is going to kind of be kept like kind pretty much how it is now back facing me maybe if you just bring this knee up so it's not so squashed like that and maybe a kind of pose where you are coming over the show's a little bit, but what I really want is to the ultimate goal is to get light from this coming creatively over you without you going all the way over. So if you just kind of bend your head back a little bit, perhaps imposing that yet change my focal point. Um, okay, so relax for a moment while I just check this out good thing about tendering you, you can see images straight way I mean, you can see images, how they look on your computer straight way is not it does delay a little bit, you can't see them as instantly on your camera, so it just means a little bit of a slow process sometimes, but it can be something that saves time in the long run because you're getting things exactly how you want them to look on screen, do this shot works okay, exposure wise, but pose wise looks a bit cooped up, her legs look a bit squashed in, so I really like it when she was flexing out. Maybe I don't want reflects out too much because it's a it's, a tight shot so one radu is I'm going to move my capital, but now it's okay, because if I do want to tilt to the side and get this shot I can still do that from here because it's goingto join on seamlessly if I didn't want to do that but I wouldn't want it moved my camera if I wanted to do any other kind of compositing but for stitching that's ok so I moved out let her legs into the shot now so let's um back a little bit that's gonna get me into the lamp on the edge of a feat in its last brilliant pose just put your chin up and just look towards the light you know but but then your face towards the light like it was just then but your eyes down chin down a lopa just bend the screen towards me please because, um this time turn your head looking that way yes, this arm but is closer to me yeah it's going to take away from your body a little bit so it's not kind of squashed ok, you're struck falls down here that's better you just bring this you don't get it like in a little bit more it's just clipped on my shop great beautiful um outline of the face and just just sit like that if you can for the next couple shots well, I just checked them in between that's good yeah, I like that maybe a little bit right in the face but it's kind of like natural consequence of shooting with a lie in this way I think what I might try actually here is it seems like a safe enough situation hopefully is you know, in the day when the test shoot when we were moving the lamps towards you, would you be okay moving it and just holding it slightly tilted like that in that same pose that we were just doing that will bring the light spilling over you? And it will at this kind of interesting narrative as to her if we can get your head back just a little bit because that's going to even light up a much better much better okay, make sure my focus is directly in the face if you could just if you if you're comfortable at that for thirty seconds on minute also that'll be great, okay, looking at this shot um what's my isil moment and bring that I so down to six forty my short speedster on eighty years, which I think is a good compromise between the two take off more shots so so your fingers here tori on the couch just put them all even leave you can't go to a kind of squashed into those little details I'm looking for, especially the details closest to the light can you get you your thumb around how to take measures so we've done a sort of round here that's it it'll be dark in the shop but I think that's all right because well but those detailed there that I can work with what I'm looking for a low key image so general the images of going here quite low key um but that's part of the mood from me and I quite like that so um I'm just to think about how I could make this shot any better before I think about maybe shooting out to this side of well um that's on my mind later before I move my camera into a complete different position so I want to make sure it's in the bag but I'm working on just getting suppose I want I really like the detail of how their arm looks holding the lamp I'm just wondering about the arms on the arm whether I should have that stretched out perhaps always keep it there I'm thinking also about the leg spot that then again I want to keep the legs kind of in this shots I don't want to be going up too far um let's just bring my camera around a little bit I'm gonna move so let's just move here uh so I'm just tweaking and tweaking tweaking I'm just gonna tell my camera but we just my camera you got less floor on a little less well I'm more over to her likes okay sounds good. I can shoot a sex so you have heard about slightly the fingers on the on the show's a great just even it out a little bit if you can maybe just separate your fingers a bit as well like almost at the coming down side on the wooden part he not too much actually back up a little bit here a little bit down yeah trial so one, two, three uncle I've changed my shop position a little bit maybe too much how could we let towards me over okay, I'm gonna bring back a bit of floor just to even out the shop that she's a little bit lost in the bomb on the chandelier in the background there's something that I might like in the short time I decide is not part of it and kind of going more emphasize her I don't mind it being hinted in the background there there's gives a nice hint of the context try that you could just look at me like you did then but turn your head a little bit to the light like that yeah great! I'm gonna just hold up one, two, three okay show us he's shutter speed it's still a little bit slow so I'm making sure that I just count down so she knows exactly when I'm pressing the shutter um this leg here on top of the couch I could just you don't get it out, but not too much out this way. More behind you on then for out for out again this way. Yeah. Um shut up. That's a feat my look of the orderly foreshortened. So I'm gonna bring that back. You could bring that foot. Could you maybe bend it or puts, uh, deal away that way? Them so you like that? How would that look? That's? Quite interesting. It's. A little bit weird, but that might be the thing just yet. Okay, so just pose like you're doing with your profile slightly this way. Just out I see the pose is being a bit stylized and a bit strange and a bit painterly. I want to see a painting. I mean, like one of the characters you'd seen, the paintings are inspired my least work, um, eyes a fine line between there's. A fine line between quirky and that awkward. I accept. Suriya, did you want something? Yes. Okay, so let's, take a few more shots like this because I think we're getting a nice completion of everything going on from top to bottom. Take a few more shots like this. So few more poses, so I'm gonna click the shutter a few times on just on each one, just change your face position of its likely so look towards a lie and then look midway they looked me but maybe not ever not ever completely to me because it's always gonna be a bit towards the lamp focus is so important so I'm making sure that the focal point on her I'm moving my focus point around because I want a tripod usually I'd be focusing and then moving and they moved to come around this time I make a shy with my focus point around because I can't move my camera and then look bit more that way then you had to towards that way and just kind of coke your head to your to your right a bit more and then open your eyes like it'll put some in well then look at me head in same position oh could you raise your foot your leg again your knee fate was to start with let's just do a few shots like that people really like thie elegance in off face um low the knee bringing me out pocket was but then bring the other knee up so it kind of is more parallel yet but I was checking the shots out coming in a little bit slow okay all right I just want to try a couple with a different leg position so that you wouldn't let go the lamp from it on dh actually hold that pose when you had your arm out to the lamp that's one two shoot that because sometimes you catch these little natural movements between shots pulling up towards you again this time yep such looking for a more natural leg position just tow get in the back there as an option yet hold all right so all right, so what I'm gonna do let's just take a few more shots have different poses here on dh I'm gonna ask now is if you just let the lamp down and just sit normally and I'm just going toe get if I'm gonna tell my camera to the left now I'm gonna put on manual focus just teo counter for any focal differences is going to be between the shot on the show I take out to that side somethingto till my camera he's in the light uh you're gonna need me out the way I should be so to be safe I'm gonna go midway so got manual focus I hope actually worked and then again and again to the left just to make sure that I don't go too far out swing out take a shot that doesn't quite fit take gradual shots so I'm doing the safe option okay? So that's extra if I want to use it why could also do while I'm here is till upwards screwed up down and take a shot up also a cross up in case I wanted the cameraman in the shop um there's a bit coming round with that work so I'm just getting the details here in case I need it I might not choose to have it sometimes too much information overload so you don't need all that because it drowns out the subject and sometimes you find that really builds atmosphere of shock but it's good to have options so okay so I've got a fair few options of torrey don't have much time left in this setup so I'm hesitant to try anything I'm completely different I think what I'll do for last bit is to come closer to her and take some type shots on dh here I can open up my pitcher morse because there's it's more about it close to her so there's lesson there's less differing planes in the shop so take my camera off my tripod first of all because I want to get this shot composition right so much I don't drop my cameras I do this well okay this's not coming off come around so far back into matter manual sorry autofocus there is going to change my focal point because moving about all over the place from my previous shoot we'll lock it down onto center I'm gonna open up my opportunity to one point four see what it looks like depends how close I get I somewhere bring down two to fifty shot speed I don't I wouldn't want to be slow and slow than hundreds handheld but let's just see how this looks. You know any other tribe but I can put back on looking back my camera it's just it's just testimony what's the detail looking like on a hand because that may well be thrown out. Focus by the shallow depth of field that slightly soft, soft it's been my picture to one point eight. Okay, something have you? I'm gonna try his hand held now I think so I'm going to bring my shot speed up to hundreds I should get be able to get away with that on my eye. So to fifty opportune point eight that see us? I'm just gonna go bring the light a bit. Brown is gonna even up yeah waken play around without light but marx, I'm coming in so close I think this is on the eyes, the neck a shank in your own frames. Well, she's got her arms quite um sticking out a moment, which means I've got a incorporate anti frame but that's alright, because I think it's quite nice. One point eight might be a bit shallow for a mid shop that I've just taken so let's bring the aperture up just to be safe, better to be safe and sorry when it comes to all this detail going soft, that's, beautiful, just hold that look at me again like you doing a shot before that face a little bit this way and fate and also turn your head a bit that way. Look at me yet great hand might look a little bit big in that shot because of the way in which is coming towards me. So I'm gonna ask tori. She heard you can put your hand on top of the shades are all always looking for those details when you're shooting part rights because is hands details of hands. A great thing about tori she's very aware of the position of the hands and feet floor no it's the camera's fault. A tiny bit. I sew up yet put up to four hundred it's. Fine, let's come around a lot. But this way some getting a bit more turn location behind her in this backing out a little bit so I see it. Yeah, I'm tempted to bring that light in just to give her a little bit. Yeah, I know, because I'm close it doesn't matter. Just tell me when everyone this isn't actually nothing is nice just there to be honest in the shop yep I'm good I'm backing out now I'm getting even more of a body and I'm going back to full length I'm handheld but my eye so is compensating for the sheer speed so I don't have to worry about blurring because a shot speed is good enough I could bring up two hundred twentieth to be sure but she's being still it off I think not to be okay yeah okay yeah sporty line okay so I'm gonna do is I'm gonna bring my phones when I'd rather have a high eye so image blurry in just a second so I'm doing them shooting so that I get the lump behind her in but the other lump is out shot now I'm gonna also just move to one side and get that detail on the left as well as a quick toot so I've kept it on the same focal point that's why I shot her same focal point for this shot because it's going to be basically um blurred out context that's great for building out shot for either a double page spread or in case of doing something in additional in your compositing it's a little bit dark I'm not too worried about that because I can raise that a little bit um and it might be I might not even use a short commute to move this lamp just a little bit this way please put your face but you know that I lose that face like a little bit look this way way andi I'm also gonna try having you do a more creative pose here as well while I'm in this new position so if you want to do let's try something going over the shays again I'm gonna back out you know what that moved uh possibly russia this is yeah let's try something a little different like this that's good but that time has flown by now half and I run a bit is not belong you just took this towards me come up with anything it's a little bit odd but in a ballerina way right we should think about let's try one more pose like a different pose with your legs in different position so that I'm not trying to nothing you just did then actually when you had one leg tucked in on this knee back up and then just bring it up yes it's just arresting ballerina pose let's just try that um bring down a little bit so doesn't look so kind of legs akimbo check the album was quite like that it's like a signpost but not quite resting that's great I was gonna go in close was well I'm just playing around with close and far in this last bit look terrible I don't know okay I think we've got better earlier oh thank you that's a confidence boost time's up I want to get that close that you just did there as well that's a nice that's it I've had enough of natalie's photography pose it's always one more shot uh yeah, okay wanna do another one where maybe you're looking the whole point was he used that light that we've got so if you want to look up towards the line on this one I got the light behind her not so I was gonna work to try a few shops lettuce life behind that might be a big larry or it might be part of the atmosphere thinking it looks quite interesting actually I'm gonna change then the position of your hands in that shop so if you bring this arm down here uh take it open just kind of hold side hip. Um I have an old composition, but on the arm might look a bit trapped on that one let's try that again would just change the position of this arm. So, um you could just step a little bit more for the army's not kind of squashed and then just pose over the felder side like you doing on just let one strap full down. I should do both both I'm just moving out so that lump is not exactly buying head was quite nice can you just way the lump are you doing that? You'd bring a bit closer? Chris is specially I don't mind it was in the shop it's kind of punctuating the other one more I don't have to say please and thank you too matthew so in case anyone's noticing that I'm being rather abrupt he's used to it normally I would be off p's and q's yeah how does look okay got few off off expressions um but I was to shoot a few let's just do one more like that I would like the way your hands were clustered together there eyes up just cost your hands separately yeah denies to me just eyes tonight is back to the lamp scooby doo painting them eyes me um these shots are kind of in terms of exposure the they're for me I'd like to play with um when I'm in raw to bring out detail I think that's they're they're kind of even enough not to dark not too bright there's enough to play with there but important thing is that there's no kind of blowouts apart from where you can see the bulb in the light but not about that but have skin is I think good enough even in those shops have just taken and tastic well congratulations again and thank you to our model torrey you were just cute spectacular um and the internet loved you as well everybody we are going teo head talk about what we're going to do in our next segment and just quickly I would love to know sort of the way that you looked at this segment the lo fi segment versus how um it's different for the hi fi second when what's going through your mind and what you're looking for well with e with this kind of lo fi set up I was very much kind of constantly looking for things that intrigued me as to what's going to be the the purpose of the picture the point of the image eso notorious beauty and toys posing on dh tryingto compliment that with the light and the limited kind of ways in which I can use a light because I'm using these kind of simpler methods uh what's with the neck you want to come that's goingto there's going to be certain things I I'm not obligated to do but myself was obligated to do because I want to capture the dress to a point where lena is is pleased with the way it's presented on I want to make something I guess you could say I want to make something more kind of wider and epic and with more things going on but I want to approach that with same simplicity that have approached this one because it's important to take the time to get this shot right and to get the settings right so then you can get the model to kind of you know read a different poses so you're capturing a whole range of them but with the same technical attention to the details so some the same the same approaches in terms of getting it right and trying to be in a controlled manner get your composition, right, but for the hi fi set up is going to be more about the dress and more about the drama of everything kind of accentuating and the dress. So yeah, a bit bit more room, a bit more, a few more boxes to tick, right, but also it's nice, because there's less there's going to be less kind of moving too much around, I'm gonna get some close ups of her, hopefully in the end, but then again, time goes by so fast that who knows if I'll you know, I'm going to be our push to get the the dramatic wide shot as well, so we'll see how that goes. Well, thank you so much. This segment is very, very appreciated by so so many people in our audience who are the beginning of their work, their careers, and you can see what ms aniela is able to dio with such a limited tools. Abby lynn want to give abby a shoutout she's, one of our regulars who says, I love miss and yellows work this class is amazing. She is focused and orderly, easy to follow and explains tons of detail, a great classic by which is what we just were able to see in that last segment

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!