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Behind the Scenes Part 5

Lesson 32 from: Inside the Studio

Anne Geddes

Behind the Scenes Part 5

Lesson 32 from: Inside the Studio

Anne Geddes

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Lesson Info

32. Behind the Scenes Part 5

Lesson Info

Behind the Scenes Part 5

So I was thinking about I've got the hair light while we've got it up there it may be because they're so beautiful with the light through them yeah it's tricky that it could um you know try some shadows where we don't want them but we'll keep it a card you know yeah certainly even without the back like you're gonna get a certain man a transparency well it will because it will be against the blues um yes oh what were you thinking with the part like in my mind I've been looking at this for so long I think that's great yet when I look at this I see too many colors now this isn't even nearly finished so what what I did was I actually this is like the first coat that gives me a rough broken keller and then this's like second coat and this is like food coat I think that's end I wanted here that's why I didn't want to do it straight away because I thought you might say that's too intense so do you think somewhere in here is that to below it's a little bit too blue tripoli sort of thing and it...

needs to look like an old yeah that's a lot more old like it's aged that this is to just being painted school on dh then I've got some correct stand here which held highlighted but I've just started and then there's a symbol on the front so what callie yellow do you want the symbol on the front that's quite nice that's right make noise jacket down if we knew to there's a mix because the hits actually got quite a tricky alone so you need a little bit of citric company as well and do you like it broken like that like somebody's done it like roughly no I don't really think it's better if it's more fielding otherwise um because of the texture on it um I think it'd be good if that was smooth texture was caused by the fact that it's bean kind of lying at the bottom of the sea and stole which wouldn't you know it would have been a m put the glaze on it still I think it might be a good idea if you paint it over there on the table were bolted down and put the light on it so you will be able to see you wanna drop before the background or into saying that one I can do a little bit here until the backgrounds up probably put a bit of paper down um but I could do the cracks and stuff here while you're getting correct the background sort it out I just yeah well put it up on all like the background cause their suits to make sure that the background can actually be that close to you you take that ad off the warm place uh, do you need it, it's just to give you an idea? Well, how much longer do you need to spend an hour? Okay, that's called some you viewers have been asking about the props and what goes into making them more a bit interested in how I've made them and what's just processes. So I'll show you this from scratch. This has to have a trapdoor in the back so that the baby could be put in and out easily, and then it will be bolted down to a table with that. So what actually started with? I started with a balloon taping their shade over the balloon and basically kept building it up from there until this is actually the paper mache a finish. It's got foam and the top here so the baby won't hurt itself if it throws itself back. Um and it's got wood in the bottom so that when I bought it down it's really strong. So this is just for the girls putting the babies and keep them happy? Um, so then after that, what I've done is I've used the paper measure to text your eyes the whole thing, and I've also used a little bit of sand and things on the top just to get that real gritty look, then I've started with a washing turk voice put a bit of blow over to get it kind of nice model going, and then a little bit more blow, and then after that, I'm going to put another wash on, so that comes out more into this brown, the blue kind of cobalt color. So then I'm apart from that, I'm just gonna point in a few kerekes and paint on the symbol for korean aquarius on dh. Then quite often, I go through with pencils at the end and just like picking out dedo details with it like this, it's just a lot quicker than painting it, and beauty of these pencils is that their water based, and you could just get your brush and you can just, like, spread the edge like that, be wonderful, and if you're in a hurry, you can actually just paint with that sure that she'll cancel the idea is to make it look like it's bean, it's, really old and it's been sitting around for a really long time, and so there'll be quite a lot of sort of browns and focus and maybe even a little bit of green on it, and I don't want the killer to be dead flat wanted it to be modeled, so that's, why I've sort of started off with really missy base and then built up on top rather than going with a plain base and putting the model on the top of fun this is actually vision, okay? So that's pretty much the secret of the pot, so we're just, um, printing out of the big absent printer the portion of the background for behind aquarius it's been great to actually use these backgrounds in the images, and it was the first time I've ever done it and it's just such a great wayto um have everything together, you know, and print them just before the shoot it's worked really well, so we're gonna have this background doubled and we're running underneath the pot so that it'll be bolted to the table you'll be able to see soon, but it's amazing to think from a uh a two would of color that we can print it out this big, pretty incredible, so we'll leave this background on the table, cut across and just let it hang on that'll do it and then you just don't get it it's like we did with the horn photograph the part because it's all bolted on um that's it that's the way we do it let's call I can't settle good size, yeah, yeah, but if I do that too, you know and that that no, no, no, what I meant from inside no that's too hard no, no, so it will go across the table and up like we're doing stuff down, right photographed the part with the file is coming down. You're listening to your coaches with the flowers coming down. Um, which will be good, actually because then we won't have to worry so much about the flowers coming down the side when the baby's in the park on dh then then once we've got that place will cut it so there's just the background cut that off and then it could just hang down on I'll be able to use the victim from the park that makes sense thinking yes, yes, that's is that all you're here for? Like I was sticking, I don't know when I'm just come up with this. Yes, you are sticking it out? Yes, if you want to in simplistic terms. Yes, so we've got the blue backdrop coming for aquarius and this will be interesting in terms of using the face one as well, which that way I'm here to help. How beautiful look att so we're raising turnaround, right? That's it great, beautiful. So if we bring it across the top of the table and what we'll need is some, um what about those modeling tables that you've got in the store room we'll need to hold itself goes flat well, I heard about the pot, you know what I mean? Yeah, you know what you call imposing tables or something? Thank you. Up high winds that could no, they were anyone, anything that we can come up and just extend this out temporarily. So and what is the game plan for tomorrow? We are here setting out for tomorrow, but we haven't done the lighting yet. You're just getting started. So what do we do it on? So what we've done is we stripped the sick from areas certain get out of this area zone with the subtle colors and, you know, the horn and the, you know, the beautiful wall and this will be more intense tomorrow with this with aquarius and the beautiful greek and and so I think I'll light it fairly simply, okay, but we're just gradually build it up. That's why I like to do a lighting setup is just start with the one light and then oh, at a zoo we go yeah, we've been waiting for dawn to finish painting the part so it's just about to go on to cia tastic so that's laying out yeah, over the same plexi glass yes, table great use yesterday thie end will be bolted there's a hole in the middle and we'll bolt it on so it's sincere what I'll do is an old creative place as we did with the horn when I photographed the and with some of the file is coming the off orchids coming down the side and so we've got a continuous background then once we have that place we'll have to cut the paper because way need to get in the back this special little door in the back of the right so the baby is just gently go in and it closes so we'll just change the change the paper strip it right back to the papers on the table and it's hanging down the back and we'll do the rest in post so like we did yesterday your toe where today we're doing the plate or the the image yes little then utilize correct so part of the background for once we have the babies that's wrong teasing them together but getting it down exactly and the the pot is not going to change position because it's bolted and well locked the camera down again and so tomorrow would just be able to concentrate purely on having a cute little baby who's looking out of this part with this beautiful muffle good head on because the moth orchid is one of the flowers that represents aquarius freedom well let's let's put her on no but then we can go from there thank yes great got away how we gonna do this? Storm lets make stiffening crawl underneath I think I could be serious um or or somebody we need to measure somebody new underneath a polka needle through or something so we can see uh did you want to hold it already? It doesn't know ok that's called on don't ask me to change it isn't funny as soon as the top of it table's covered you lose signs on some reflectors and see what happens with the hell I okay, but the here light needs to come yeah, it needs to be sort of about here yeah so you know, on an angle on the angle it's actually on a pretty good that's about it I got it may help to like that but otherwise he might flag it but let's see um uh but I'll use the reflect this yeah, you probably need one on site. Yes, good luck. He hasn't got bendy bones oh yeah um you might have to bounce a little bill washing their um okay, so I think if I if we if we have this holly here and we bounce because I want to like thiss flowers as well if we wait well, yes, art sort of coming from oh, thank you so we'll have this is the key I don't know yeah, so this is the key and we'll see what we need to do with this to get light through but we don't necessarily need to do there and so this over here just needs to be filled likes that half a stock this um so maybe it's just sort of here sort of here yeah, but I want a shadow to fall from the part of that to go that way it's a little late behind these yeah let's just put it here and see what happened so we need to move all that wait yeah, I put a lighting took john I think yeah, um and spread it to spread it more so it's sort of not going to fall down yeah, so we might have to see stand it now because it looks like it's just sort of gonna spread fairly wide and soft I can't do it you know, I was thinking oh, I know what we can do it needs to integrate with the background I wonder if we color the put some color because they loved that the drop shadow that way we can do in a photo shop what if we just put some see how the light looks to star just a little bit of yeah yeah, that shit needs to come down but there doesn't background yeah, I think so that that it isn't even in there you have five on that I don't see what the background this fall off there it's probably doctor looks really pretty so that's all um secure smoking a going well when we see if it feels right and that's not gonna can't be too hard on against a lot it kind of can't see really beautiful center you know what why don't you sit in the image it's kind of like that elisa hand for sixteen on this cave on the big one and eleven and a half hey like I don't know what are we doing sixteen in sixteen yes sixteen and eleven and heart and liver and see what happens it's probably gonna be two extreme but all right well let's have a look in soon so I'll start with the living that will be all born out of practice politics okay well well where are we living so what's next way we're actually no no forget about it just get visible quick closer look at that focus it's scary so let's um check it switch on the eye it's lots of things going wrong there um where we um eleven now uh shh hello yeah this is an inch away and fourteen and sixteen yes yes okay so I'm gonna have to flag off the background um well I wonder what's happening um this's sixteen sixteen was down fourteen what's happening with fourteen in terms of highlights how it's read how plenty of detail on our whites nothing iss blowing out there in the mid to high to thirties and most of the flower petals there um, drunkenly just tend the modeling like self and just see what's happening with that here. Like, okay, give it a test from catching, shoot everything else with that. This without that hell, I know the lights are all right. I think we must go back so it back blacks that I think it's, too. Um, yeah, I think it's too far forward. Dawn. Yeah, yeah, but we need to. We'll probably need to flavor it that way. Need to flag thiss like, probably this one, it's too much getting on the background and it needs to come across a bit. Thoughts. Yeah, that's centered. Yeah, yeah, I think that she can have to flag a little bit some black cloth, or does it come with its own flag because it's spilling onto the background at the moment that I think that that's too strong, but that's quite nice if we get a graduation, of course, the pot. So I think when you just turn that down a little bit on one step at a time.

Class Materials

bonus material with purchase

Lighting Diagram - Aries
Lighting Diagram - Leo
Reef Wallpaper
Urchin Wallpaper
Lighting Diagram - Aquarius
Stories From A Labor of Love Part 1
Stories From A Labor of Love Part 2
Stories From A Labor of Love Part 3
Stories From A Labor of Love Part 4
Stories From A Labor of Love Part 5

Ratings and 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 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.


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.

Student Work