Shoot Set Up: Editorial/Fashion
Okay, so we, this is the story of location work. You walk in and think, "What a cool place." And then you start to wrestle it onto pixels. And then all of a sudden, it's still cool, but it's harder than you want it to be. So, I spent a lot of time with Ryan, cause I get very determined, and so we ended up with a nice photograph. And the second picture woulda been kinda cool, but we weren't gonna finish it. You know, because poor Corina has been waiting all day long. How about a round of applause for Corina? (applause) So, you don't keep a lady waiting too much like that. So that's not a good idea. So we're going to plunge right in. It's going to be a different style of light. Okay, for Corina, than I brought for Ryan. And I've been thinking about it. I don't know this is going to work, but we're gonna give it a try. I'd like to get her to sit on the bar and use the shape of the bar. What I did notice, you know, and these are things that just happen by accident, right? I had the guys pu...
ll the bar stools off and put them in a nice array right here, and I looked at them from over there and there's this scallop of light on the backs of each chair. I look a lot for repetitive patterns, graphics, and that always, well almost always, influences maybe where I think I'm going to drift for this photograph. So, I kinda like that. I'm going to grab another bar stool. I'm gonna ask her to sit on the bar and put her feet kinda curl them up, you know, a bit, and bring your knees up a little bit, and put your feet on the bar stool. And so we'll get you comfortable. And I'm gonna kinda shoot sort of a portrait kind of thing, a little bit environment, but more of a portrait sort of a thing for you thinking that maybe again, what we're on assignment for is you're a locally famous singer and this is a debut CD or something like that, and that's kinda you know, what we're doing. All right? Okay, so first things first, I'm gonna ask her to remain comfortable for a minute or two. Actually, can we get her a chair please? So she is comfortable? Can we clean out the chair with A clamps? Let's clean that away. My camera angle is going to live right down there. Let's bring this octa down there please. All right, I'm gonna tripod this guys. What, one Z link in trail. I was hoping for 105, so let's have 105 out, but let's start with 35 1.4, please. All right. Everybody, gentleman who's handing Cally the lens, Andrew Tomasino, the one and only. Famous east coast based photographer. Rack on tour, man about town. Recently new father.
That's a big deal. All right, so as always, my radio is off right now. No flashes are going off. I'm going to go into.
Sorry, I'll do it for you, Joe.
That's okay. You know, we had a lot of zones out last time. A lot of zones. So, I'm going to go into, my mode here is gonna be aperture priority, okay? So let's see. Let's go 400. Let's start there. All right, so, I know I asked for a tripod, I'm gonna take the camera off the tripod just for a minute or so until I maybe find something that sort of works. (shutter clicks)
Here you go man. (shutter clicks)
So you see sort of see where I'm going here? Kind of the curve of the bar kinda thing? (shutter clicks) It sorta depends on how much space Corina occupies, you know, because you think, "Oh! This is a beautiful scene," but you know, you put your subject in and you can't see the scene anymore, so I'm gonna have to make adjustments in terms of lens and stuff like that. So let's get Corina in here, if you don't mind coming over.
“The best picture is your next picture. If you start to believe that you've already shot your best picture or you start patting yourself on the back at any level, you might as well hang it up.”
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Meet Joe McNally, known world-wide as one of the top, technically excellent photographers of his generation. His clients have included FedEx, Sony, ESPN, Adidas, and Land’s End; and his work has been featured in publications such as National Geographic, LIFE, and Sports Illustrated.
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