Inside the Studio

Lesson 31 of 32

Behind the Scenes Part 4

 

Inside the Studio

Lesson 31 of 32

Behind the Scenes Part 4

 

Lesson Info

Behind the Scenes Part 4

So peace this is half of this's half of the backdrop for the area's image that we're going to be shooting tomorrow morning and we're just about to join them up with we've spent the last or two three hours doing the sit up here and we've determined the size of the backdrop which hopefully will fit when we put it up there because it's been a lot of mathematical calculations that haven't been done by me not to put it together get it right when you get the perspective exactly yeah exactly so you know, this is just the right example what goes in the background before the baby's come on the shoot and sometimes I think a lot of people just think everything materializes and then a sleeping baby and it's done we're sooner so much work is going into all of this do you wanna have a look over here? D'oh yeah, so and before we have the baby's actually come in tomorrow let's talk a little bit about the setup which is everything everything everything yeah so we've got the horn oh it's rigged up to th...

e pole everything's safety is paramount with these shoots, you know? And so this little doll here is one that I've used for years and years she's not very malleable, so we generally think when we put her in place and I'm sitting up the lighting now um if she looks good the baby's gonna look amazing because you know it's just just a bit chunky and stiffened and so on but this is a great we use the stalls teo get the lighting right? We're just printing the big background so that's white too small so we need to get that in place get the lighting all we'll sit, you know wanna beautiful like that comes down and lights you know, it just highlights over the back of the baby so that's what we're looking at up here yep exactly for those photographers who are looking and want to know I haven't really set the lights here but we're starting with if eleven all around and because I really sort of want a really beautiful soft glow andi I haven't shot it in camera at some not quite sure I'm biddle fishing and that I like to use like matters I don't know what a lot of people out there doing, you know, but to me it's really thisa company time to know exactly what the lights doing as opposed to just adjusting it on digital on dh for those who want photographers uh I think it's going to be a fantastic image actually, you know what if the dole looks great um it's going to look amazing? Yeah that said no, it looks what I'm going to do a shoot the horn without the doll this is the dollar's just here for the lighting and keep the camera on this exactly the same position tomorrow and of course we'll have a table underneath and so the babies just stop lying on the horn and will be padded we have fabric underneath the baby and everything and so they're not just seeing photo shop will be able to just take that section that the babies and drop it straight into the horn subtle you know it'll look like the horns just sitting in the same time so I've got the back jobs and then we are you're setting up the lighting um with the doll so that and then you're going to photograph oh shit this just to see if it's right yes yes we'll be able to see with the dole on dh then we'll take the dole out and photographed the horn on its own as well so we've got all of the components of a good photo shop you know which is what I said before you know the best cake is the best ingredients and and with all of the light falling in the right place it's really important I'd like to get it perfect you get a foot hold just look at this one that one inside it's not quite is it is it is it made on your end yeah we're right on our mark not doing it it's not going to have to go give it give it don't let a buck oh yeah it's not that crucial to have it back a little that's pretty good. Yep. And it just needs to go towards that. Yep, just a tiny bit. No too much go back. Yeah, teo slit it. Settle a little bit a little bit towards daniel good that's it that's beautiful. So what do you when you're looking through have a look? Can I have a little have a little so we've got the glow of the circle in the background exactly in the right place. Yeah, yeah. So good side. Yeah. So now we just could have now you're gonna work on the lady, work on the lighting, get it nice and sort of even and glowing all the way round. We'll need to put a white cloth on the floor as well. We'll see what happens. There were several play with that's the beauty of digital yes, in this regard because, you know, in the old days we shoot so many polaroids, you know? And there were there were fine but not entirely accurate. So it's great to be able to do it here on because you can do all the testing and get it we get yeah, and know that it's all set exactly right baby comes into this house again, yeah so, brother time the baby, we're both by the time we all turn up tomorrow. It's just about the baby's that's all we need to worry about you really nailed the placement and the size a man with alarms whoever did the math, yes, yeah, yeah, I want to, like, just let them do that. You know, I can see what I want, but I just don't know howto work out things and photo shop. We're all good at something. Yeah, and it looks like the backdrop is about I'm really bad with feet I don't know, maybe it's about six feet from the back. Trump all this way yeah, it's considered it's just leaving because it's, you know, quite far back. So that's. Good. So we can have a little taste with the lighting and see what's going on, you know, in a way to may this is the best part. The babies are beautiful and everything, but just getting it to a point where it's with the lighting's really beautiful it's really satisfying it's fantastic, because I imagine that you can actually mean you're right now, you've been visual. Anything this for so long that you can, you are actually looking through and you're seeing the baby I'm imagining, yeah yes, but here's your scene yeah yeah some this's the creation right this's that's exactly right and that's that's what I want to show people that's like it's a such a combination of everything such a combination of so much of mentioning that the baby's air in a way the simple part to it but you've got to create the right environment for the babies and then you will let them take over you know because yeah yeah that's right you can have the best sitting and they have the best lighting and beautiful backward everything looking beautiful um and the babies take it up a notch a sooner should get them in there and there's that it's that that's a lovely element to because you never know what's gonna happen tomorrow and everything but it's really nice to have the time without the babies and no pressure to just get it rush let's see what you do with yeah let's let's give it a car um way eleven all the way around much has spread this a little bit how will it be if it folded in half? Maybe double it up. Yeah, double it up and just be careful of the string and bring it forward just a little bit over the top of these orange things and, uh I always like to start lighter over exposed so let's let's maybe start at nine and I find that if you start over exposed if I'm wanting it to look a theory a ll start over expires and then work your way towards it as opposed to going dark and coming water I don't know why but I'm sure everyone's got there you know I think we're safe can we not let me just get that get in the circle first that's way over exposed they fired you all right so analytical around with the light meter, huh? Uh yeah let's do eleven this is a great um grip on this tribe a test of threes three get eleven to wake up to eleven walk away what way now my nine two thirds over test let's zero cope well let's go way on now no well it's a list disco ten it's always good when you're lighting to make really slow moves and think about where you're like tar what shall I was reading don't panic too much if things aren't working you know this is for people who are just starting out, right? Um yeah if you if you move too many things at once and you can't remember we've bean so you need to be ableto step be able to go back to where you were certain stage you know I love you don't launching I think and so I I love the fact that you start you said you start over exposed and so that and so that but it works and then coming back yeah I like this it's a theory all then it goes you know if you start to heavy I think it drags the shoot down let me switch place I'm sure every photographer has there for your little foibles um but wait okay, so um let's turn the here light up say half a stop and maybe the hairline needs to be just yeah here like just needs to go back yeah and sew it up sorry no, no no I mean good back basically back so it comes in the back of it hits the top of this and also goes a little bit and turned up half struck so and what what aspect? What part of the photo are you looking at where that where the hair light is hitting that you want rolled? I think it needs more of a glow over the top and it's here light if we take it back a little bit we'll hit you'll get something that you could see the shadow from the who the top we're nearly there no, thank you that's the other thing is that there's not much definition with the tip of the horn there, so if you were looking at it, you wouldn't necessarily say that yeah, but what I will do is I'll get dawn just shadow in behind there or bring some color around the age of the tip of the horn sicknesses with this lady yeah, so that it works you're exactly right. So if you want this beautiful ethereal life um you know if I try to do it with the lighting it would just change the composition a little bit so you'll have her darken it up you're saying here creates this site here could still this'll I could be a touch strong because of that yeah, exactly there's a depth in between those two okay, cool chicken color it really and solve that problem. Okay? We right? Oh, well, let me say did you move it back? It needs to news too. Bea straightened this line so yeah, maybe votes moving the whole thing. Yes, you can commotion coming through not too much. Just give back a little bit, brian let's let's have a look at that. What? His handyman and it's up half a stop run out that's a bit of before and after before yeah, currency that if it yeah, you look at the top of them before you do hasn't helped so much with that, but this lights probably a little bit strong here decide that one yeah, just turn it down too because it's throwing quite a shadow in near and there is so much detail am I still overexposed anyway, I'll wait right here for you pius current difference I heard it was getting more details there no outside previous previous when I started to say there yeah yeah um I wouldn't turn it down any more but let's do it let's try eleven five grand stacked up but there's a lot of white in the frame so it's gonna inherently read over there so what if we um I think that's too dark now or weitz on but we're a little down there bring that two hundred on the horn so we've got some room to go up if you'd like to wait yeah let's turn everything up three tents everything just that my door thank you wanna look at it I can also die I'll highlight recovery paul try to pull some of the details from the right side of the booth way do whatever we want with that background off to its own mother looks pretty like it that's quite intense that makes the whole hornblower very nice I think I think because the horns floating it's nice that that looks painterly the background okay, good. Well that was easier then quickened the lighting sometimes takes forever that's going up that's right? If you think we have it can we just take a little run through again of what? What settings were accidents we're living if living all the way around this big power two twenties a fantastic like it's wrong color but I'm not endorsing but I've used it literally for the last year and a half it's just brilliant it looks enormous and every time I put it up it's like we'll lose little babies in this mess of light but it's just it's bread so beautifully we've got these two heads in the back which are flooding the background and they're coming on to the back of the horn so it's kind of separating it from the background um weird a living all the way around and this here like it's just catching the top and we'll catch the top of the baby's costume and yeah it's a living all around with yellow sari white cross on the floor I just want to get in nice clothes is the weight class reflecting pick up the white cloth isa's well now obviously so we'll we'll photograph the horn no and so it's really to go and then of course we'll bring a table in when the baby's here and and it's a perspex table so which I use that board over from sydney they've been specially made and so the cross will be fine underneath it'll still work went table oh what do you guys call it plexi glass post pics perspective spics sounds like glasses plexiglass yeah clear acrylic yeah great yeah we need to learn to speak american you guys need to speak australian and then just to point out while we're here on the set that the part that will be photoshopped out that bar, yes, this power will be photoshopped out, you know, we've really put cloth around it and everything, so it looks just a lot nicer in, said it's, really nice with appearance, tow, walk in and everything soft and looks kind, yeah, and that's what we want, yeah, yeah, yeah, exactly, that's. Great, well, beautiful, you've got it set, yes, and we'll just photograph the horn on its own and do all these things that we need to do it, and so we're all set to go in the morning. Fantastic effect. All right, that's, a wrap. Thank you, yeah, that was really good to get that.

Class Description


Anne Geddes is the world’s foremost baby photographer — a beloved cultural icon known for her iconic, playful images of newborns. Join us for a never-before-seen behind-the-scenes look at the making of an Anne Geddes calendar.

This unique event is a rare opportunity to watch Anne at work. Inside the Studio with Anne Geddes gives you an inside look at her practice and process as she creates three wholly new images. You’ll watch Anne as she photographs individual children, all in her one-of-a-kind, signature style.

Anne creates images that are iconic, award winning, internationally acclaimed, and beloved the world over. Don't miss the exciting opportunity to be inspired by a true master.

Reviews

Jeff Petersen Studios
 

I just read the other reviews and think people may not have watched the preview video or listened to Kenna's explanation of what was going to happen. I felt the class was exactly what was advertised, and thought Kenna did an excellent job keeping things moving when there were obvious delays or unexpected events with "the talent" (the babies). I felt like I was at Anne's studio and experiencing what actually happens when she is working on a project. You can't script babies and pets, so you go with the flow and adapt. I think that's what they said and did. Kenna was always prepared to discuss Anne's books, or other topics and did a great job getting personal/and professional with Anne-just as they said they were going to. It is Creative "Live" so it could have been Much less organized, and much more chaotic, but I was actually Very impressed with the production and smoothness of the Creative Live team. I did feel like my view was blocked at times when I wanted to see how they were setting up some of the actual shots- but in general I think they did just about as well as you could in those conditions. I am not paid by Creative Live nor do they probably even know me, but I'm very happy to support and actually buy their content-because I don't know another place/format that teaches so many different, practical, and interesting topics as they do and I Love that they take chances like this and really do Deliver. Anne was very clear that she is not a technician. Creative Live has Tons of Great Technician classes in So many genres of photography (and of course other area)- with Anne's class there is Plenty to Learn from her, but the value does not come in the Wam Bam machine gun delivery of latest tech and tools, it is in the methodical, patient, But Driven pace that is anything but chaotic (as one reviewer said). As I said at the beginning, I think they delivered exactly what was advertised and I am very happy with my purchase. There is a wealth of information and frankly entertainment, for someone who is interested in really seeing behind the doors... AND, it is good for new people and experienced people, who are looking to get better in their craft, more successful, or maybe even famous-if they are honest...to see that not every day in a studio (or in any profession really)-Even for Anne Geddes- is Glamourous, Exciting and "Sexy": sometimes it is crying babies that need their diapers changed.

user-e90efa
 

I had the honor of supporting Anne in her launch of her beautiful line of baby clothing here in Washington ( as her fulfillment provider ) and her attention to every detail, their willingness to share their commitment to an unforgettable experience for every customer - it was such a pleasure to see the magic on the photography side of the business that I never had the opportunity to witness. Pure perfection, and thank you so much for sharing. Best to Anne and Kel! Michelle Harden

Nathan Ivie
 

Watched the first day of this event and it was very different than other creative live workshops. Different is sometimes good and sometimes bad, this session was just that good and bad. It really lacked the teaching aspect, they did not go over her equipment, basic camera and lighting settings used to create the look she wants in her images etc...The lady who was interviewing her was terrible Anne seemed really open to share but the questions were very poor and lacked follow up and really diving into what Anne was doing. It was really neat to get to watch her work, she has an amazing personality that really is soft and kind and it showed in the way she worked with the parents, babies, and her team. It was a great overview of how she approaches the studio and a project and the detail that goes into making a top notch image. It is however weak on giving you the info strait up on how to improve your own work. If you want to see what it's like to work with a big team on a major project this is a great workshop. If you want technical teaching it is not so great.