Commercial Fashion Photography

Lesson 20 of 28

Reviewing Images from Shoots

 

Commercial Fashion Photography

Lesson 20 of 28

Reviewing Images from Shoots

 

Lesson Info

Reviewing Images from Shoots

S so we're just starting at the beginning really looking at when we first started shooting torrey can be involved so yeah that's what I was just first started testing the shots that's a great one there um so it's one of flick through to win its first like getting quite good so when that the pose was developing there I really quite like this I really like how about her body shape I find it interesting especially the curvature of a foot there um when she turned her face profile I quite liked that gave you a really strong poses you say it's much much better than just the face on isn't it yeah I also like the way her foot is digging into the shades erickson interesting detail that makes a possibly kind of mundane area of their image a little bit more lively just trying out a few different shots here again quite like this face slightly different um and so we were playing around with different positioning of feet and face and hand got this one where hand is more on a chest so I find that qui...

te interesting because it's almost as if she's kind of been more graceful taken aback kind of pose like looks amazing yeah function that she she looks bold so here's my auto bracketed shop where I got um a darker and a lighter exposures where I was demonstrating how you can use that potentially to fill in shadows you can even do that even in a more extreme way. You could take five or seven exposures, for example, on dh really have a whole range of detail to use it's obviously on this one, this is a bit brighter, so you get a little bit too much highlight on her neck on chin. Um, just carrying on slightly modifying her pose uh, call about one the way, which hand is it? Limp? Arizona? Yeah, I like the way I have turned out words that the hand on the bottom that's quite interesting detail where her head was option she had it was in danger of looking kind of uncomfortable, kind of mid mid posed like, I don't think it's too bad, because when you've got model, who is comfortable in those positions, it tends to be less awkward looking, but I do think on the whole, I like the pictures where her head is down. The downside off that is that we don't have the lump illumination on her on her hair, as matthew said pointed out, um, losing her hair like that, I think about it like, yeah, this one's why she was sitting up. Um I want to feel with ease was that her legs were starting to become four short because of the angle I was shooting up on the angle I'm shooting at is necessary to give the side of that shaves there, but then also we have the four shortening of the legs I don't really want to go any wider because it was I wanted to keep you all in one frame so I could then move out on potentially stitch the other side of the shot so I had a justin doesn't look actually too bad once you started moving her legs around a little bit and just altering the angle at which she was holding them that I had a tilt the lamp as well had a bit of dynamism to the shop in the same way I did in my earlier self portrait siri's here's where I move the camera a little bit but then I moved it back just to get back um a bit more floor space in the image I'm asking her told her her legs have tried this leg pose, which is a bit risk of looking good, but I thought just try out you know we're getting different options of her in that place and with her kind of ballet like aesthetic it could possibly work, it does look a little bit like the top half of the body's facing another direct action which is something that you can either decide is interesting or later decide is no good that's fine it's just an option for me there I can always they're the upper part is perfect just to find the right one with the leg was there it's going to mean that this is a bit weird to the interesting perhaps because obviously with the whole ballet thing you've got over feet on these tiptoes on dh it's some was quite surreal and in the way in which she's facing outwards with the feet and the other way with the top half her body and again back to a little bit more of a serene pose with her legs out love the one before like this one and the one before I think I really like this town yeah that's one way have tilts up and down and to the left a spinal thing and then we did some shots of her closer as well uh sometimes it's a bit tricky when you are running out of time because then the shot that served a nice um full body image is necessarily the right set up for a close up you can kind of go in and try it I deliver had more time I would keep adjusting that to give better illumination on her face but at the time we had um we've got some good shots I think so we were there moving out and doing a whole body shot within that new frame I think her legs are quite interesting here in that kind of blurry like way almost inside like like I said earlier she's sitting down but not quite she's still kind of in a restless position on some nice kind of portrayed shots towards the end quite liked the hand position in this, these ones on just the detail of the texture of the water as well as something the case and that we're moving into second chute so there's one in the initial test shots of taylor it's killing the lighting right? And then we started playing around with pose so this is where we lock down our composition yeah, you can see how much the lighting changes once he starts to reach up to the light. We just go back just before that I was just looking straight on you because obviously the light's coming all the way down it's not illuminating the right areas and shout shadows on facebook since she turns and reaches to the light then it becomes very interesting we've almost now did now within within within minutes really yeah, the anything would say about that maybe their hands were a little too close but I think yeah, the other have a couple options good looking just like if you look at this picture here when I was asking her to separate our arms uh it was losing it a bit because she was lowering them and light lied and said it looks like she's grabbing onto something but the reason I was asking her to do that is because I wanted this separation between between our arms that you see more on this shot whereas on shot like this, their arms and emerging into each other more so I was just aware of that separation because obviously if you've got something that's going to be such a focal point in the image, her arms going up towards the light, that brightest illuminated thing in this shop then you want to make sure it doesn't just look like you know, something really weird and like sticking out arms, merging into one and looking potentially confusing so you want just make sure you're looking at those details on separation is a really it's a good thing to think about when you're shooting models well shape when I was suing her, I really liked the shape that was created by the curve off the dress to the side so you see the way her spine goes down in an hour into that curve so you know it's something you can play more in folk shop to help just kind of liquefy out those those curves of the dress, but I want the best starting point I could get on with that shape that shaped really is what is a big part of making a good picture, so then we started throwing in this fog, too indifferent effect, you know, some, um, mohr dramatic than other shots, that to me when whenever we're working with something like fog there's, always the danger of the unknown danger of something just going completely over the top, but what is really good about this situation and what I'd recommend if you were we're working with something like fog is to lock down your camera into the same composition like I've had, so it doesn't mean that you've got loads of different shots, slightly different compositions we've fought going all over the place, it means that you could potentially take some folk from another shop on very seamlessly composited in, and it it means that this is common denominator between all your shots, and it makes life lot easier, so I'm not too worried about all these shots where you've got too much because I could even take parts of that. I like andi, bring them two images where you see more of the dress, but I was just shooting away here, and just as the fog dissipated, getting some bits and pieces it's really interesting, just as it starts to die down there, it had so much mystery is just a wonderful uh, I wouldn't mention this probably during the test you but I mentioned how you know even though you've got this huge dress of leonids on dh there's so much you know it's it's so dramatic to the I already it's still an art to kind of conveyor as well as you can in the image like I was showing you the scarlet song picture of the red dress all the different shots I took in trying to get the best shape of it because sometimes even a huge dress could become dwarfed especially if you're then having a grandiose location rather as well so you're constantly finding ways to tweak and to make that fill out that dress and that's why I was trying all these different things like having leonid pull it off on one side don't bring around on the other side and having a twelve a little bit so we see more of the tail end of her fossil part of her dress so he's whether for was gone we moved around to this to do positions the other side had some more folks come in that way I mean ultimately what I want to do is I want to get I want to pick out the best shot that has the most pleasing pose of her um probably the shot that has the most foundation the best looking a face the best body shape even if I think the dress could have filled out more in that shot and I'll pick that picture and work on it as a as a master image and then bringing other bits I can help embellish it with so he's rarely in it was throwing up the dress some of them probably too over the top then all those it depends how I feel later but it's good to have these options in that when the dress goes up too much it might be a little bit too much but that's fine it's just playing around getting options um potentially compositing in parts of that dress is good to get the detail of it for that reason. So go through a little further so here's what I was getting the shots of her hair moving I'm glad I've got these because I might like using that I might use him um but here you see that you've got that slight action look of her face and hair that I think it could be really invaluable for a shot if I decide to make it look more like a ziff she's moving so if I do put in, you know and bits of uh where the dress was tossed you know, I think this would be really good and the great thing also is that it shows all the hair off in one big pile so you managed to see more of her hair styling as well, which is nice

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. 

Reviews

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

Roberta
 

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!