Team Q & A
Welcome back everyone to creative live. We are here on location. We're at a beautiful venue called the ruins, and we just had one of the most incredible shoots I've seen here on creative live. This is imaginative fashion photography with ms and yella, and in that last segment, we just a high couture, beautiful, beautiful fashion shoot. And so hopefully you all were with us in that last night, mint it was wonderful. So what we're going to do with the rest of our time today is first, we're gonna have a panel discussion with the whole team, everyone that was involved and really just get down into some of your questions that you were giving us throughout the shoot throughout the day and maybe even some more. As you are listening to what they say at the end, we're going to go through and review some of the images so that you can see exactly what we got and hear the thought process behind those as well. So natalie team let's talk about what just happened. Tell us your thoughts about the expe...
rience that we just went through. Were you happy with it? Was it successful? And then how close is this to ariel shoot for you, did this feel like a normal experience, or was it different from what? A miss aniela shoot usually feels like and let's introduce the team. Let's, introduce the team first that's a great idea. Okay, joke so obviously you won't know who I am. Hopefully you have matthew who've been seeing right hand man who's bean adjusting the lighting and tweaking lighting or through the shot on dh matthew, you take it from here and just go like this? Yeah, hi, I'm way aren't you going to do? My name is leigh anne gourevitch. I'm a designer and stylist and I just have to say that it's such a pleasure being here and it's, not just words, because when he works so hard behind the scenes, you kind of forget how exciting it is and seeing your reaction, seeing the studio thie audience reactions that reminds me how exciting this whole thing it really is. So thank you for that and landed. Where can people find you online and everyone else? Also, why don't you tell us where we can find your portfolio or where your work is? Well, the question is, where can they not find my work online everywhere with their tumbler instagram, facebook website lee need gravity that come and then everything, uh, my name is oh boysen and I'm a hairdresser. Um it's been absolutely incredible working with such amazingly talented uh people in such an honor to be a part of this project um I have a website it's so boyz in dot com and facebook as well and I'm coming and I worked on makeup for the shoot you can find me at nick homa are styling by tacoma dot com um and then I'm also on facebook, instagram and the other usual networking website I was so excited actually to be a part of the show especially once we were in pre pro and I got to see the gown and meet the team and see what everybody was gonna be bringing to the table I knew this was gonna be something very exciting great okay, so let's talk then how did this feel? Were you happy with how it went? Just talk to your feelings as you went through the two shoots yeah it's great because I mean, obviously when you're when you've got everyone watching you and it's a learning experience for anyone else, you want to be very clear articulating what you're doing every turn you know when you're changing your settings it's almost it's helpful for me to actually have to speak out loud like that too, so I know I'm doing and s o the loaf I shoot and I was eager teo make sure was articulating everything I was doing because I felt like I wanted to really drive home the point of why I was so keen on adjusting my camera settings and alternating between hirai so's along the shutter speeds because really it was a case of getting the best quality shot of her we could without light in the second shoot I was um I was surprised how how fast the first shoot went the second shoot went surprisingly more paste even though I thought that time would fly by as well and I feel that was because we really paced ourselves well on dh first of all I am to get all the technical things right and get the model kind of planted in in one position on dh the nature of the dresses well, because it's so big and flamboyant basically wants to stay in one place on do you want to do everything you can in and around kind of that scene in terms of it being a compass it you can play with later and take out the blue mom on dad bits of dress or pick out the best head pose of her so I felt like I was really free to play of all those different elements as thie as the chute progressed and I'm really pleased with how they both when I feel like I've got something a good amount of to work with from both shoots I feel with the second shooting and I feel quite good because obviously you've got so many elements that are being thrown into that high production set up so many ingredients on I feel like we manage them well because we tackled them in one simple level after the other s o I'm pleased with it, it is pretty much how we work I'd say that it's even more helpful to have so many assistants round but the team that crave live because they could help actually moving all stuff round that was part of the shop because it is quite difficult when you've got so much gear around and you want to get this wide shot is wide clean shot so this good good that is people on hand to move things that was invaluable I think it was probably, you know, quite a nice calm picture of how we work because we have to present it in that way so people could understand what we're doing and I think that helps us a swell to be able to know what we're doing and to have these achievable aims every level that as we build the shot. So yeah, how do you feel my few in terms of how it reflects how we usually work? Yeah minus the bickering was eyes pretty pretty yeah, it was pretty spot on c I think it's emphasizes how important the the test shoot it as well as you know we were able tio get the lighting and everything else so down quite quickly and that took a lot of pressure off so yeah really really pleased how how everything went so question from uh john in blackhawk and a couple other people noticed this is well she's hey said I find it very inspiring but at the same time it's a little fusing with so many people making the decisions so is that part of your normal working process is just taking input from people during the shoot not just in pre production but also during the shoot where you know in it would jump in and say like actually I really like it like this or you know matt with jump in and say I want to do this is that reflective of a normal process and why'd you choose to do that if something uh it's it's a good question because mom and I were good thing but modernize that we tend to kind of both want the same thing way kind of quite two minds thinking alike I think because so so we can sometimes when he's throwing in a suggestion it's something that I'm generally gonna like because we work so much together so so that's a strong inclination toward each other like that so I think that that's okay and also it means that he can pick up on things I may have missed so it's like kind of helping each other to be able to get everything right in the the bigger picture we've learned it's interesting because because he, you know, his knowledge comes from a man industry, he works in a lot more than that, and I do in particular from fashion so he could bring his import ultimately, like I was saying earlier, I want to get the best fashion foundation, so I welcome peace suggestions on making the dress lookers as good as it can, and also I welcome your suggestions on the model, looking as good as she can as well in terms of her posing, because sometimes when you are laying all this technical foundation on matt and I are kind of bickering over a composition or whatever, you also then I have to make sure someone is paying attention to the model on her dress and her posing on a jewelry and it's really good to have those extra eyes to teo help tweak that so I don't feel like we were necessarily kind of opposing each other. I felt like we were both kind of we're all kind of building the shot together, noticing all those different things that could kind of run away with themselves all those different things you couldn't miss, so I thought in the end, when you have got shoot with so much drama in it, it's more about I mean, there is an element of obviously there is a risk of too many cooks in some situations but I feel like we're all on the same page with what we want to achieve so I felt like it was a is a good thing no hindrance it probably just would like to edit it probably seemed like this because it was really a lot of people on the shoot but in reality it was just met a natalie and me making the main decision and that's what usually happens before the shoot is the photographer, the stylist and sometimes if the client is present they might throw in some ideas what they would like but usually it's just revolves around those three characters so just teo teo further that we saw at the end um that that lena and you were talking about getting some of the jewelry when do you know that everybody has what they want or do you do you kind of you were talking through that? Is that how it goes? This is something we've discussed them tonight before on another curry ueno what the games are over for for the sheet on what's what's expected and also we know that linnet needs to get the dress and the jewelry and everything and we had a good idea of the shop the main shot that we wanted yeah, I think it comes from experience as well and when you do more shoot I realized, you know, ok, let's, get some shots of her closer and get more detail shots of her face. You know, let's get some shots of her with a bit of motion in the hair in case we want to use that let's get some shots of her the other way as well as this way so you can see detail of, you know, the more of the back of her, so the more you do the shoots them or you want to get those shots, well, you're in the situation and then because I come from designing background, I know how much sweat and blood goes into making a dress it's not like, you know, I have to wear a stylised head and have the world designer said as well, you know, the people who give close toe be shot, they would want to see images where their work represented. So once we got all the big shots and then I have to say, you know, let's, make sure we get the jewels with the close ups for the hair because hair and makeup team also need the close ups for their portfolios as well. Great, so rich focus then and kind of a couple other people, so will you only then be choosing one pose from these for your final image? Uh, natalie or and then give the extras to the team or are you looking to make a siri's and editorial what's your final goal with these shots? Uh I think ultimately my final goal is to make one stand alone piece. Um I think a story is a bit trickier because it's one look, um I think it depends. It depends on who would want to publish a story where it's one look is not saying it's impossible it's definitely something that could work on, but I think you would probably work as part of at least a couple more looks from from other models and obviously this is just focusing in on one model on one grandiose look. So I think I mean, my artist instinct is taking me to want to do something really grand in one piece a little bit like the images I was showing you earlier but then of course, all these details shots as well when we get closer to the model, I'd like to be able to complete those and to send them to the them stop saying lean it on any of the designers at the jewelry designers because that gives them something in return. It may not be that I necessarily put those images in my part phone oh, I may do it just depends on how appropriate it is for my portfolio so I might send them on not necessarily as a complete story, but shots that they can use to showcase they're designs as part ofthe the look that we photograph today. Um, but, yes, that's so mainly, I'm thinking about one one dramatic piece, but also, you know, it's good to get input on from leonidas. Well, because there may be that he likes a certain shot, but I wasn't planning to use, and if he does, I have no problem all kind of repairing that for him, because I want him to really feel satisfied with what we done today as well, and it may be that we get more than one outcome from this fine art and fashion or two blended, who knows? I definitely want old people that were involved today to be happy. So a question that we get a lot about working with stylist hair and makeup that you're not familiar with or that you don't normally work with, do you then deliver digital images? Do you give them the high rez images? Do you put your watermark on them? Uh, how do you actually deliver images to your team? Uh, it's mixed often, it varies on how much I've worked with him before, I don't tend to just get the high resolution one, because generally they don't. Usually they don't need it because most of time they'll just put it on their website, so usually in the first instance I send them the world resolution or if I put on facebook, you know they'll see on facebook and free to take it to put on their own website um if they if someone wants to print it out and give them a print resolution, but it's usually not that the full thing because usually it's a load of quality they don't need because they're just going to printing a phil or maybe a three at the top, so I just I just re size it down to that and send him it just for you convenience and smaller file size on, but I mean, I've got generally don't know problem if someone really wants, you know, whatever resolute you really want if they request it it's just something I don't listen doing as default because it just takes extra time and it might not be that they need the high resolution file, but when it comes to water marks depends. I mean, it is something I don't really often like the look of what mark? Sometimes I have a very small logo of mine in the corner it's very thing so someone knows who it's by at least more than more informative than than a deterrent against that against that so I do that when I share my work on social media these days on dh, so that would be the web resolution filed I send to people to use on the web. But as for print resolution, I just keep them clean because I just trust that I'm not gonna put that particular file onto the internet. And I ask them in the email just to put the web webb resolution online, um, because it's readily made for them at those dimensions as well. All right, thank you. Well, we know you have a number of questions for our penal members, so we can start asking some of those individual ok, so I thought, I just thought we'd lean it because, uh, we've just been talking so much about styling and about dress. So really, I just wanted to ask him for the purposes of people toe here. So when lean it, lean it when we first interacted, when we first found each other online a few years ago, what first attracted you to my portfolio? Because most the majority of my stuff back then was more final than fashion andi in line with that, what what pales to you in a photographer's portfolio when a photographer does approach you? What what makes you want to work with, um all right, well, first of all, let me say that meeting you, grace was one of the best thing that ever happened to me. Um, when it comes to, um, it's speaking from the heart ah, you see, when I was growing up, we didn't have access to fashion magazines, fashion shows, and a lot of my inspiration came from fine art and art books because that was available thankfully. And so my initial inspiration comes from that I was inspired by salvador dali, frida kahlo, tomorrow the olympic so when I saw your work first, it would appeal to me right away that strong, fine art feel about it, you know, because it wasn't as much fashion, it was mostly fine art and what I liked about your work also, and I noticed that immediately, is that you are unafraid to paint with a brush wide brushstrokes. Here's, another final reference you because you are unafraid to take risks, and it really shows in your work what they look for in a photographer, that obviously that ability to just not being afraid to take risks and think big and also somebody who understands layout, somebody who understands balance, what you can put in which you should take out and stuff like this on then also another very important thing for me is to have respect for the clothes, and you have that always concerned about, you know, showing the clothes in the best way possible. And I really appreciate that a lot. Not a lot of photographers know how to do that. Thank you. So on also wanted to ask you off. We've already talked about this, but when we first showed you pictures of this location for this shoot, what was your initial inspiration in terms of how you went about even thinking of addressed to go into the ballroom? Well, it really inspired me that it has this very strong field because of the trees and the animals on the walls it has. But at the same time combined with chandeliers, it has very strong feeling off the outside, inside and that's. What inspired me? And then it made me think of this beautiful big, you know, voluminous gown to feel out the room. And I always like to give myself kind of back story just to inspire myself inspired the model inspired, you know, photographer ls everybody was working on it, so I thought off, you know, the model not necessarily being the princess, but maybe she's some kind of a sources that's looking for this unique, rare flower that grows once in a blue moon and the flower has gold stem and blue. Pedals and she's been looking for it because there's a particular hour that you have to look for like a twenty fifth hour of the night and she was running out of time so that's one position that we did we called it that was like her kind of act of desperation because he's running out of time there is no flower where she can find it and that was seconds before she realizes that she herself is the flower she is the key to eternal life and that's that's what I was thinking about the pressure's on with my editing then I guess it's really like a metaphor for you know looking to start looking at the stars and not knowing where the where the truth is but then you never know that it's sexually and your own backyard you are that thing that you're looking for and I think anybody could relate to it that's great that's really interesting to hear that you actually you know think in that in terms of the back story uh I think it's similar to how I worked as a photographer except maybe not so specific is more like this it's a conscious idea of a back story going on and I think that's great that you think that way because it is very much like say and more in line with the artist the story rather than just the fashion shop okay, so I'll go on to ask matthew question so matthew do you do a lot of things as we've already talked about organizing negotiating, lighting, logistics so my question on behalf of viewers is what's the hardest part off uh fair organizing a shoot um finding the location that's some everyone's gonna be happy with the starters doesn't he know that's going to fit the brief on dh then pulling everything together it's very, very difficult look at the big picture and then think how am I gonna pull this all together? I think there's somebody components a lot of the time I do it myself so uh that that's I think that's the hardest thing is just being brave enough to do it to arrange all of the chutes be confident after their as well um no coma just question for you so just your reactions to today in how is how usual this is a cz a shoot uh um what you normally work on and what you found interesting about it or different or usual indeed from what you usually do, I don't typically work with a fashion stylist or actually a hairstylist um so a lot of times on shoots that I participate in the photographer tends to style and get input from others on the team so working with leonid and then you know him having this amazing gown and this whole back story and, you know, definitely brought inspiration to the overall shoot and also just with the look the makeup look in general it was really cool because he had asked me teo, send him some ideas of images make images that I thought would really go well with the overall book and after him explaining to me that you know, this was this was a a princess of sorts and and such I had sent him some images of uh, much more ethereal makeup than what we actually decided on um and he emailed me back and said, you know, I feel like this is going to make everything way too princess e and she needs to be the sexy sorceress that's liken undercovers princess on you know, just like hearing that and it's every word that he speaks there's so much passion behind it and you can see it in his styling and that it was is it was so incredible I mean in credit your work is spent I was so excited to work with all of you and but just having his inspiration and you know him saying, ok, actually, what we're going to dio is go the opposite way and we're going to do this huge heavy eyeliner in these big red lips and it's something that I traditionally wouldn't have put on the table for a shoot like this s o that alone was very cool and interesting for me um and then working with zo was also wonderful because typically I end up doing here and makeup so to get somebody else's vision there where she did a style that quite possibly I would not have done on dh to have all of these different elements pool together to create this one beautiful cohesive image was it was fantastic it felt like a collaborative work of art versus just working doing hair and makeup on a photo shoot um I really felt like being a piece of a painting a part of a painting and saying let's throw some white in the corner there you know and it was very different very exciting teo kind of focus on this one piece and to have everybody else spring something really exciting to the table and I it was really cool I loved it I really interesting really interesting to hear also you know your corn rather planning as well going on between yourself and lean it about the makeup yeah well we're busy in our kind of corner doing all this stuff as well so it is good to know that it's it's almost you know it's it's very much a team effort pulling together from from the background preparation through to the actual day of action absolutely I mean even down to the eyeliner shape today it was very you know he was like amy winehouse it out you know? So of course I draw this eyeliner out to basically her hairline and he's like oh no we she still needs to be pretty eso you know taking it down and really getting that right shape which that that was you know, the vision that he had and that's something that's really cool for me most people that I feel like a lot of photographers and people that I've worked with us like here's the general idea take it and do what we you will so was really kind of it was cool to have somebody go not quite right let's adjust that um it's great to get that kind of feedback and uh it was really cool experience right on dh so how about you is this uh something that you normally work on it just easy challenging for you somewhere in the middle how have you found today? Sure usually when the photoshoots that I've worked on will we usually have several different looks that we're going for and I think one thing that I found really exciting was that it was the focus on one you know like you said it ultimately having one piece that's the um and everything that was behind creating that and the how long did it take you to make the dress I mean it's all that well yeah and um just all the planning and everything that it goes uh that goes behind it tio create that one that one image and I think the thing that I learned most this time was balance, you know alien landed and I had a conversation about balance you know? The room is so busy and the dress is so big and there's there's so many different things going on that the importance of you know, the hair being a little more subdued a little softer, more natural if we were to have done something up and you know, lots lots going on probably be a little, you know, over the over the top and this's our version of simple way well and the other thing too like the perspective, you know, if she puts her arms out, you know, for the people who are actually here that are watching this, so she put her arms out and, you know, do that at home, put your arm straight out, it's twice your arm's length, and I think sometimes in a photograph that perspective, you don't really understand how huge something really is. So with the hair fortunately, taylor had a lot of it naturally on dh we did add a few pieces in there, but how big that dress was? You know, I have it having to create a balance with the hair and her really big too I don't know overall it's really been a wonderful experience and I love to see how all of you complement each other and work together and you know, it's been really wonderful. So maybe we can take questions and one house about the shoot that we did today and in absolute we have questions coming in. And if anybody in our studio audience has a question, feel free to grab a mic. But we have questions for everybody home. Truly. I think one thing, maybe that you could talk to natalie is about, um, what the buyer with the commercial the client is looking to get out of out of the chute. Uh, of this particular shoot. Oh, shoots in, general. Um, I'm rethinking my question as I ask it to wait, let me look at it again, and we're probably not sure. So I've got one for you. Come on in. So? And leonidas well, how does one go about finding a good make up artist, hairstylist, stylist in general. What are you looking for? From photographers that they can offer you in order to make you want to work with them. And how did they find you in the first place? Let's, start with the common man. Go down. Okay, um typically look for, um, the photographers that approach me to dio work, I look for something that inspires me, and that is different from what I already have in my book, um, so I I think that's the biggest pieces I want to see I want to see quality of work obviously and I want to be inspired by your work you know and typically if somebody comes to me with a great body of work that is very inspirational and artistic than absolutely I want to work with you because that's going to intern make me feel inspired and you know add to my body of work that's what I look for uh I'd agree with that definitely the inspiration but I think I constantly want to be getting better I constantly want to be growing and learning and sometimes it might not always be perfect or whatever but I constantly want to be you know, growing growing my portfolio as well and um just constantly taking it to the next level well I always look for people who can bring the concept toe life somebody who understands volume somebody who's again unafraid to paint with white strokes and when the met in italy contacted me about this particular project uh nicola you already have the coma uh I look at your work and I really like that and then when it comes to zoe I I handpicked you I so your weapon line and I saw that you absolutely understand volume and that's for me was very important here we are today so I have a question for leonid I'm just curious what happens to that dress now you spend all that time thinking if she wants that dress e taking car unfortunately counterfeiting so I'm not going to ask for it but do you sell it do you use it with other photographers were well unless somebody is perfect size to or size zero rather I think we could probably sell it but until next shoot is going to go to vault and the mice and the birds that help may be that they're going to guard it can you talk just a little bit further about how you made it how does how does one make you just not you know anything proprietary but what was it made out of it is kind of a secret no it's yes probably one thing that it's it's hard to know because I mean other other thing would be united tickets a fabric you put it together but it's not like this it's a lot of magic goes in on the in orders for magic to come out a lot of magic needs to go away that I can't disclose that I absolutely and I definitely sorry uh but it was made out of tool some of it to heart of this to beat it beautifully beaded fabric on a lot off actually I just kind of give myself a little challenge I didn't want to use really earrings or real rings so everything you see there is strictly teens including the rings, the rings this's on the necklace I just like put it on the rubber band is to see how it looks and that has to do with when you know I know that people look for questions too if you don't have a stiles what do you do? This is one of the things you can do you can just make something look like something else there's like a little treat but they just wanted to of course they could bring hearings and rings but just wanted to kind of have fun with it and work strictly with pins I like it all right to go from the opposite from magical creation to the nitty gritty matt and natalie uh and and a lot of other people are wondering when you're shooting both with the very simple with the lo fi and then also with the more complicated multi lights set up what are you shooting your white balance setting I had my white balance on tungsten I believe I think I may have changed it for the second one I think tungsten was giving me the uh it was tungsten wasn't there with the for the lo fi yeah uh I believe it was set for flash because we wanted to have some warm in the shop. Okay, well I think I think it was set for flash in the second shoot the first one I said it on tungsten because we were working with that uh there was uh those lamps and so they are the tendency to look a bit orange so I brought that down so it kind of evens out and looked cooler as you saw in the shots yes, sir. The second one we set it to flash because we're shooting with the lights so that gave it roy also to correct look as well that so it wasn't too hot and not too cold either. I usually going to tweak it when she's not looking yeah, welcome to our world. I think it was actually set for the haif I think it was set for four thousand eight hundred kate if I remember rightly um yeah questions in the studio you hasn't been hereford two days yes. Dallas there's one right behind you. Um so the question that was asked of you guys I'd like to flip it over to you about assembling your team and finding other creatives with whom you could collaborate. Um do you have any suggestions for those of us who are you know, just starting to think about this kind of shoot on where we could start to look for other people to collaborate with? Um well, all the time uh, I've solved a surprising number of people through model mayhem um I mean it's a sight that often is made fun off the amount of kind of people are on there and varying degrees of reliability but ultimately it's a business site and there's lots of decent people on there and it's a case off using it as a portal knowing that ultimately it's a meeting place where you can meet both reliable on unreliable people. So it's a question of then meeting up with people working with people s o a lot people that I work with has been have bean source through there, including tons of models on also makeup and hair. Um sometimes I've also just searched online for like, for example, makeup artists in london or hair stylist in london, which is a bit trickier because then you end up getting people that they're in degree of furthering a range of people some who are more approachable and others on but also the thing is once you do start looking for people and maybe you have a source like a selection of people through model mayhem, you can also like I was saying earlier, you know, once you start working with a few people they themselves a part of a network of other models and like, for example, if you hire a make up artist and you ask him or her do you can you recommend a hair stylist? So you confined people through people so it's nice when you when you start off working with people knowing that they are potential link too more people and it's good because if you do like that person who you've hired, then you know that the person they recommend is going to be hopefully of similar kind of reliability and quality on dh it just kind of makes a larger camaraderie as well between you always a team and so um, you know, I mean ultimately comes down to working with someone um I'm just feeling a vibe with them it's not just about the I mean is about their abilities and talents and what they can do in terms of making obviously your model look good and but it's also about there their professionalism as well and their reliability it's important that you enjoy working with them on but you can just know that they're gonna turn up that they're eager to discuss things with you before she was well, because the planning as we've been talking about is an important part of process, so hopefully that gives you some answers there and paul's take your best work post as much as you can obviously create everybody and that way you'll of people contact you because they'll see it it's very important to let people know what you've been after yeah, credit things the big thing is well, yeah reciprocated reciprocation of crediting to the whole team credits each other as well because you it's like you said natalie that rarely people print work nowadays it's mostly online and since it's online a lot of it is on facebook a lot of it is on all kinds of blogging and people share it so if the credits are not there and I cannot stress enough the importance of president is because when pictures are being liked and shared it's not enough to just tell people because tagging you could be a fluffer on that nobody would know then having and also people put in the comments that doesn't work because common when you have tons of comments who knows that like a common number one hundred thousand fifty one was actually your friend it has to be exactly with the picture where you edited so that when they like and share the threat's getting transferred it looks professional as well so we have about about just a few more minutes maybe five more minutes before the panel before we move on to the image is there any more questions that you have or we have a question in the studio audience and a couple online so let us show you yes I was wondering with the lo fi shoot you mentioned sourcing the dresses yourself I'm wondering what that looks like for somebody who doesn't have a big budget is it something that you go you buy you take back or you go to you know value village or goodwill and find something and make it what you want it to be um, well, it could be that both, uh, when I mean, that dress is typical off a lot of dresses I've used in the past where I have, um, gone out and bought these dresses from, like, flea markets and secondhand stores on dh just just shops where they were, you know, like, well, then, which charity shops shops where you can get these interesting vintage outfits on most of time, I'd be happy paying for them because they weren't that expensive, the equivalent of what I don't know, thirty dollars, I mean, I've to be honest, when I first came over too, and california and they were found so many amazing shops around in l, a area on I was just thought, god, this is so much better than I've got home, so I've also source dresses when I've come over to the state on, to be honest, thea, the cost of this is just so relatively low that I'm happy to buy them and just use them, and they could be used multiple times, and then you might kind of do a swap for friends. And if you want to then mix and match with other ones when it comes to kind of wanting to source a look, that may be more expensive. Yeah I mean a very dumb thing we photography is to go out and buy an outfit and take it back afterwards which I haven't really done after only a couple of times on bennet's something that a lot people do a lot more often it doesn't mean that you can't take back things that do obviously get scuffed like shoes etcetera but and it doesn't mean they have to take extreme care with your outfits and they're not all maybe is free to use them as creatively in case they get damaged but yeah I mean um and also there is that potential if you did source by these outfits from shops then you can kind of modify and play with them as well and and you know tap into your kind of designer instincts as well and see how you can make them look different from shoot to shoot I first wanted I was doing my first workshop actually went out to hire an outfit from a costume place but the cost of the higher would be equivalent to buying a dress off the same kind I wanted so I just thought I'll go to it you know, a thrift store and just buy it and then just put that into the expenses off my workshop so it was for me much easier to just to go out and actually own these things and it was something exciting involved in building this little wardrobe at home of different dresses I can use in different situations. So, um, yeah, I definitely recommend that I'd like to add something to it greatly, she said, but it's also great practice to find a fashion school near you and get young fashion students because they at that moment there at the most creative before they proceed on designing socks and underwear and all of this disappears so you you benefit and they benefit as well, because you get this amazing creative clothing and they get pictures of their work. So yeah, good one. Yeah, and actually, I even keep a closet a wardrobe. So half of my personal closet at home is vintage dresses and accessories and shoes and things of all sizes because you never know, but they may need on set or if there's not a wonderful stylist involved and the photographers like, well, what do you have at home? You know, so you can always ask the other people on your team. They might have something to add or bring in that might go with the shoot that's, a really good one as well. I mean, uh, yeah, like the model herself might have hole wardrobe when things going on that they can bring along or you can go around to theirs and rummage through what they have and that's often a selling point with a lot of models if you are starting out when you're looking for someone who's got no stuff that they can actually come along on where bring to the table themselves absolutely yeah I got a question for matt and natalie notice some people noticed you weren't using a light meter you weren't uh like jumping you are using the the tethered computer is that your preferred method of working and why what benefits does that have for you like meat is anyone that knows you have real versions like meat it's just this incredibly left brain thing is there's a there's a creative process that we like to go through almost the discovery of the light on dh there sort of slightly too telling telling you what the light is and invariably of you shooting tether you're gonna be tweaking anyway but possibly you saw earlier I actually do check the theology b level so you know, I'm actually checking the rule files to make sure that things are not blown out thie images that natalie gonna be processing tomorrow waken you can have a look at a little bit closer to that but yeah, I'd like to monitor the raw information on the computer not not sort of going and putting the light meter in the model's face and I think I think I know my lighting very well so there are there about I think like I said, it's it's like information that you can get from light meter information that we're probably gonna tweet one way or another anyway so if we were to have that it would just be redundant information that we're going toe instead tweak my eye on like matthew says checking the levels on the computer when shooting tablet so yeah, it just becomes something that because a lot of time is about going by I on being pleased with what you're making in front of your in front of your eyes rather than but we only had the one really main light that was coming down if you need a light meter to measure one life you know sort of try try and try and drop that wei have one final question sort of for the whole panel we know what natalie is going to do next that we now go into post processing but as as a team what are your expectations each of you for your involvement from here on out are you just waiting for the final image and the credit? Do you ever have involvement? What what should a photographer be doing after the shoot? Usually free to this stone? Yes way well, you know now that I'm getting more more weight and I worked with great photographers, we they trust me with the images so they invite me to take a look and choose which one we might use for to be the final one. So look forward for that e says your contact sheet of two images were images that I like it that way because leonid t understand is almost a client of ours you know we want to keep him happy and what have you so so far so good? Yeah, yeah that's a good point and so on I look forward to seeing, uh, seeing what leanna creates next, I look forward to seeing what, um, you two don't do next and just being a part of the process and having that personal connection with with you guys now just see we have a very interesting project with animals and tentacles coming up, I'm leaning on leaning, possibly mermaids. Okay, so yeah on that will be going tio going to everyone's seen and then after that we have a big shoot in new york in may in a very elaborate house call a house we're not gonna go simple that e that simple attack today and nick omar, you ever part of the process? Are photographers expected that they would be in touch with sort of the hair and makeup people? Or is that not part of the process? I typically sit back and wait after the shoot I give plenty of time I know, especially if you're working with somebody like now like natalie and her caliber they're not necessarily going to have the time to get those images edited it to you in the next week or two so you know I sit back patiently and if you know four to six weeks go by and I haven't heard something I might follow up with an email but I leave it up pretty much to the photographer in all honesty some photographers like to send me a ton of images that I can pick and choose my favorites from some photographers will send me you know, one, two, four images that air their favorites and I'm totally happy either way usually but for the most part I typically sit back and wait and must've spent an exceptionally long time then I'll just send a very kind brief follow a female just give me five years that is wonderful so we want to thank everyone for being available for this panel to answer these questions. I know that the whole day has been really busy and crazy, so we really appreciate your being able to sit down and no coma and so are going to actually had often now while landed and matt and natalie are going to do an image review and go over and kind of do the process of picking that they just talked about where they're actually going to go through and see which images are the ones that they want to use for those of you who are asking questions about post processing just so you know tomorrow morning that is something that we are going to do alive so you can go ahead and check out those segments to see exactly how natalie goes through her post processing russ what was your favorite part of that experience? I feel like it now it it was such an amazing thing toe watch but it also feels like it really happened really quickly and now it's done so well it's funny because we kept leaning over to each other and I like it's our job to get to sit here and to see this happen I love to see the teamwork I love to see because I worry sometimes when I'm shooting I'm asking questions of people I'm taking suggestions from people and I'm worried should I be telling them what to do? Should I have all the answers right now and being able to see that it really is a collaborative team environment for more than just me? That was really cool because everyone was bringing something better too the table and making it magic without you know better than any individual could have about you for me I'm just I'm blown away and we're about to go through and see them but by the magic that they're able to get out of straight out of camera theatre tension to detail was very apparent very methodical in natalie shooting of okay, let's, do this let's turn a little bit this way, and this way, you can see it going through her head as to making sure that she was getting everything that she needed in the midst of the chaos. So that was something that everyone had noticed was, wow, they take a lot of images for those one or two or three shots that they're going to actually end up with, right, but that's, what it takes sometimes, and something that I was talking to the folks here during the break, was everyone was kind of surprised at how it wasn't as complicated, complicated as we thought it. Wass. So it was really cool to be able to see that it's, something that, even though they were very expensive lights, it was doable. It was something that was very doable, so nodding heads over here, we see a lot of not again.