Shoot: Fashion Set-up - Black on Black
Shoot: Fashion Set-up - Black on Black
22. Shoot: Fashion Set-up - Black on Black
Defining Strong Male Image: 10 Steps32:37 3
Defining Strong Male Image: Pulling it all Together22:50 4
Defining Male Features: Skin Tones14:51 5
Defining Male Features: Difficult Features20:17 6
Introduction to Wardrobe Styling29:54 7
Defining Body Type: Quick Tips, Q and A19:05
Defining Facial Features23:42 9
Shoot: Contouring with Light12:52 10
Shoot: Contouring Different Face Shapes28:55 11
Shoot: Review Contouring Steps18:39 12
Shoot: Getting a Natural Pose25:08 14
Shoot: Faking Candid19:04 15
Shoot: Minimizing Belly16:17 16
Camera Angles: Lens Choice16:51 17
Shoot: Portrait Lighting - Clam Shell22:50 18
Shoot: Portrait Lighting - Clam Shell & Beauty Dish19:12 19
Shoot: Portrait Lighting - Silver Dish and Snoot21:10 20
Shoot: Commercial Lighting - Beauty Dish and 6 by 424:39 21
Shoot: Clean White Background and Fitness25:16 22
Shoot: Fashion Set-up - Black on Black40:24 23
Post Production: Workflow and Frequency Separation36:53 24
Post Production: Contouring and Imperfections44:51 25
10 Things Men Hate About Being Photographed: 1 - 638:35 26
10 Things Men Hate About Being Photographed: 7 - 1033:18
Shoot: Fashion Set-up - Black on Black
Our next set it's gonna be a little interesting I'm sure you guys using black v flats to be my background the dramatic lighting regressed to fashion if you give me momentarily we're just going to set up instructed that if we construct here I'm gonna use the zeppelin there I feel like I have ah playhouse of boys over here like look at all these things I can do yes, I do hit myself a lot onset if anybody saw that bloopers somebody make a gif of that and send it to me please. Perfect. Thank you job and somebody could get me, uh b flat like to thank you I think they're, uh they're breaking the flats and there I can have somebody grab me the thief let's carry if you don't mind. Thank you. Yes, thank you, russ. What? We're preparing you have any questions for me? I think we do have one thing that a lot of people have been asking about. We had some discussion about it in the chat room is light meter do you use light meters? Do you recommend people use them to use them for some situations? Not...
others let's just talk like menus in general absolutely mission before I'm not a very technical person, I'll use one commercial sets to make sure everything's perfect in precise it's a fashion shoot for something we'll talk about this fashion is you have to be perfect. I'm not really worried about it, but actually absolutely helps if you have a hard time seeing light, can I have these it's a background hard time seeing light in general just wanted sorry, guys, background? Um, you have a hard time seeing light in general, I would recommend using light meter just to know where the lights they are, if they're too, if they're too bright, are they too hot or too darn what's happening with the light it's extremely important that people starting off the top of the museum, but I think it's people start kind of making or understanding the way light works, they tend to use it, blessing less, and these days I use one less and less just to shoot things for personal work, but for commercial work, I'll use them. I think that answer your question, I'm being meticulous in my head notice I'm pointing and calculating any other questions before I get this light in here. You what question would you ever like? If you say president, we have an opportunity to shoot like you want to do, like a, uh, an all white background or whatnot, but don't necessarily have a model when would you ever, like, just shoot your backgrounds and being like composing I mean, you get your your subject lit the way you want it to, but then actually compose it onto a background that you've shot somewhere else. I mean, if he's impossible like a hockey background with something absolutely, I mean that's a great way, joel grime is great at that, like that's one has that says go to thing is using the light that we use before just a composite people into backgrounds, so using the light that we did before the room lights from behind replicates like from behind. So any light that's coming towards the camera and beautiful glowy light matches that composite, so absolutely so I would definitely like a joel grimes is inspiration, so why don't I use this? Another thing that I wanted doing what this is trying to if it's a rainy day, we're in seattle right now so there's a lot of rainy days, but if you can't shoot outside and you don't have much natural light available to you, what can you do? I use this as a way to photograph something that's similar and it's not gonna be the same quality but it's similar a few position in the right way to photographing things that kind of replicate the directionality of natural light in the softness and glowy anus of natural light, so if I can borrow if you don't mind thank you very very much thank you derrick this stare a lovely model today perfect step back me in any way discussing pulling my favorite set up in the world is to use my subject in a black v flat because I have a perfect black background I don't have to retouch there's no step marks on it there's no backgrounds everything's nice and clean except for when you actually do break this that the background and have to read such a ll those things perfect stay there for me one two three awesome let's see where the light is for two seconds so he's also wearing black so I'm gonna open up a tiny bit that light if anybody's looking is at five eight haven't switched anything from there one two, three perfect if I can see that those images perfect black backgrounds so if you don't have a black background you could start using avi flat to helpyou out an address so whatever you're photographing go back one one step I can still get the detail in his shirt I can start bringing in other sources of light just to photograph for his center I don't need tohave a complete back background black backgrounds if you guys have a b flat multipurpose this asthma my my my background itself so I'm gonna open up to where we were before she's ten awesome take this off of monochrome going to standard want to three perfect so those of you that are wondering why I say it's more like natural light I use in my studio we have large bay windows diffused like they're super super opaque windows and the way that they form natural I kind of you guys watch creative life before you've seen these windows where they're opaque andi defuse the way that light comes in there not just a shard of glass my light in my window works the same exact way I can start sharpening out cheekbones we wait a little bit in my work yes stay where you saw somebody with a diamond shaped face is more or less the same lighting that we have from the force if I were to use the one fifty I'm going take twenty four one of five out quickly used one fifty awesome awesome see what that does see the softness and blowing us that's their load super super very very soft less contrast pulled the light out softness of light on the face this replicates what I had verses to diffuse window it looks like a window source of light without necessarily needing natural life this is my way of doing that the difference is the contrast under the chin because my window again it's opaque has that same contrast this is how I go ahead and manipulate my setting if it's raining outside or somebody it's too cold or if it's too hot and trying to take subjects away from there. So this would be my go to in regards lighting that one other things that we can dio I wanted taking next step quickly that would be my my natural I said, um do me a favor actually turn towards the camera turned towards the light tiny bit face towards me it's heinie but just like that perfect and do a favor and just bring in your suit jacket perfect close together. Awesome! Perfect. I just want to see something for you guess he's using all black so it is doing it's also cutting since he's wearing all black it's carving out his cheekbones. Well, sorry, cheekbones and rawlings. Well, it's helping emphasize those things, but I'm starting to use leading lines in the guard's where the photograph is king doing favorite turn towards our audience center focus centerpieces I don't want to much of a triangle underneath. I just want that center straight full fold underneath. I wanted teo emphasize that even maura I would take the one fifty often put a thirty five perfect sweet perfect like this open up a tiny bit perfect one, two, three awesome suit that looks like that I'm sorry to see glowy light I don't know where the subject is I don't know what modify musing because it's so soft I'm just saying very, very glowing skin and glory appearance and that's the way I can start emphasizing different structures if I actually zoom in here I'm starting to see the lines and textures in the skin and again so those of you that are watching online we're gonna talk about black and white conversions and how to do that for our next segment but this is how I start when teel like black and white start highlighting emphasizing different structures and different tones and different textures in the skin and that's how I do my black white presets to something that's very very glowing and the worker in contrast in postproduction quick okay john if I could have a silver reflector dish at a high angle in those flats will do something a little more dramatic it is a great way to just illuminate one section carve out everything that's there let me take this down yeah, thanks. I just wanna make sure I'm not having you there no more glowy light all harsh shadows and darkness you wanna move that over the court? I'm gonna pull this back I'm gonna move it towards back and if you could move it above him just sharpened his cheekbones and his job that's high as you can go on that wait I just put one behind you okay? Somebody moved just this out of the way you do that a little higher perfect towards our subject tiny but when you see the way that that works just literally above his head this can either be flattering for certain subjects are not very much for others first thing we need to do is those of you using light meters you would test that know that those lights are very, very hot compared to the last ones were used so I need to close down a bit or change that like five five okay awesome awesome this tiny booth pretty close, huh? Nice. I would do a tiny bit higher just directly above him like center okay, um I think some of it's perfect thank you have a single killing people haven't said that enough perfect two three perfect awesome. This is something that you told never to do important photography which you shoot something extremely extremely dramatic that's very, very close to that perfect somebody took a shot perfect head up a tiny bit someone took another shot one, two, three great. Okay, if I'm trying to emphasize structure of body this finally wrapped around my foot from trying to emphasize structure in shape and tone of the actual body and I'm trying to show me it's a little darker and tones this helps me just illuminate my background in one specific area can you bring that light down ever so slightly and you know what I'm gonna reposition this that way it's easier to just do it just because that's great look at this monochrome again monochrome helps me just visually see what were photographing perfect through this down a tiny bit I want something more dramatic than that can we have a grid on this life you have one uh something's very narrow what I wanna do someone illuminate the background I just want trying on the background and on my subject I would be very dramatic so I'm starting to see texas including clothing I don't have cash weights and I scanned fashion you don't really need teo uh twenty thank you you don't need to follow the rules if you wanna call it that it won't pop off and hit you the last guy who had to see him he got a black eye no awesome there's no judgments here there's no judgments need open up a tiny bit by a tiny bit I mean a lot and I used to be told her to not really awesome perfect don't you see the background I want to see depth you like huh? What's happening the last guy got a black eye on two three give me more of a stoic look when start carving out your cheekbones that's awesome that's exactly what I want perfect like quit yeah it happens you're gonna see funny little things on there thank you so were here what here's what I'm trying to visually tethering is attending to the labs were visually trying t o let me turn it towards the camera turned that which may make it easier on you guys to say photographing the background so I'm having a little tiny bit of background uh light just a little accentuation there into the flat so it kind of does dimension that way giving him harsh cheekbones are shadows harsh draw a line john, can I ask you for a favor once you're done their way move the giant uh what's got a one two, three awesome it's busy it's loading on there just give me a stoic as possible just total just just fashion eyebrow and just try to give me a little bit of attitude and your eyes perfect chin out just a tiny bit perfect so if we look at facebook structures before, what face shape does he have keep it simple has a pair he has a wider job on his forehead so that something else we don't discuss you, so there aren't many people with with pear shaped faces, but we met one today teo perfect perfect take this, but I don't think it's tethering and just to make sure yep paris on this and said, I'm having errors on this end I'm gonna unplug, unplug back in perfect still getting it's actually take the battery out of the camera I think it's something like one, two, three awesome, I think it is the camera two, three awesome, perfect that actually should load on there. So the instance like this, I would use the soft box shows just eliminate the body just to show texture, but ultimately, I want to see is much definition as possible in the clothing, the shoulders and cheekbones and a job, and I'm gonna show you guys quickly face shapes your favorites, and you're drawing just like that. Perfect! So as we're photographing him by him, I mean, derek and it's used names perfect. One, two, three awesome. So watch how using the thirty five starts wiping out his jawline, remove this back for you guys, not the tv tried to be especially aware as possible let's up using that, thirty five widens out his jaw quite a bit so that's one of the rare forms of faces, which is that pear shape, so just be careful when you're shooting him not to shoot him very, very, very close, so I'm using the thirty five just thin amount ever so slightly regards his face shape to be favorite turned over to the side right there face towards may awesome, I'm sure in time between these poles, awesome, perfect cheekbones. Somebody asked me about the loop underneath. I have a dark mustache that's not what I want I would say chain up a tiny bit I would use this reflector john, I'm gonna ask you if you could just bring that white reflector underneath, bring it back up. We're going to send someone back in. We're using a grid so it's going to be very difficult to bring back in. Perfect. Awesome want to three, but very conscious about where it's going, but I'm actually just gonna take what you think well, this is the one without the tab I had to choose the one without the tab, huh? That's the way organs okay, so it's not just me he's also very, very hot. So you be very, very careful. Hi talents to keep. Watch your fingers don't burn yourself. Thank you. Thank you. That should be a little easier. We're up there next day and the news just closed down. Awesome, perfect going there once. I don't think we actually be a perfect one to food. Awesome! Perfect now what's it doing it's giving me a little bit more contrast my photo, I'm getting to see tone alleys and getting to see shapes I also get to see all the textures and clothing so that something else I'm considering what I'm doing this okay, that's an easy way to show textures. Just harsh life just doesn't work on every specific subject usually it's somebody with cleaner skin, more natural skin, less blemishes on their face. John, if we could take the v flat out and I'm gonna use this to strip lights from behind derek, if you could do me a favor if you could just step that way while we strike the set, meanwhile, are striking. Does anybody have any questions? Derek? Lorenzo? You sure you sure, lorenzo? Yeah, not yet. You give me a hand with that five. Did you change that for this particular? We wanted it because it's so bright silver reflector collecting all this light throws your subjects, we lower the power just cause it's taking so much light bouncing around than just throwing it a subject that's not something we want to do. So this light is also hurtful on somebody's eyes. So we try to bring down in a case like this. If I was on my set, it wasn't model. We're going so fast I would lower the power of the morning light so he doesn't have to deal with it so long that goes back, no question about before about how much power we're going to use. Using amount of those numbers don't have any correlation to aperture of stuff or anything like that it's just relative to each other get another light and every brand is gonna have their own like variation of how switch power what their own like some people use truls and people you said it's all over the place side inside same room lights that we had before since they're a little bit more forgiving than the barn doors another way we could do that this will be our last setup just quickly. Yes, someone says my studio ceilings are only seven and a half feet high. Can I use this lighting on the subject sitting down? What does that defeat the purpose? Is there anything any issues with maybe reflection off of a lap or anything like that? It's a great question you can't subject under doesn't it sound funny? But on their knees you can try to make sure that you know they're at least as low as possible so you can go bringing that over and it should be fine. So therefore it's not a lap if you need somebody on the floor trying archery back so at least they look like they're standing up so just being very cautious with posher it that point but yes, absolutely seven feet is very, very it's a new he lives in new york yes, we will build quickly can you stand there in the center of those two nights from a and turn to the side face towards may thankyou sir awesome just quickly I'm gonna keep the thirty five just you get to see the effect of the light okay, we're gonna bring up the power uh you're fine there I'm gonna bring up just widened my aperture here perfect. Okay, can we bring that tiny bit closer to him? Great perfect stepping this way awesome. And can we do the same thing to the opposite side let's see what's happening here? Great. So what I'm doing is I'm limiting the front of him lou knitting his face I just want to keep the center lawrence's like you speaking really fast so here's what we don't we're going to eliminate the textures in the front we're starting to eliminate the sides of the face were carving out his his drawling because we love this drawn line what I want to do is keep the center in shadow just create a little bit more drama dramatic look I was gonna say drama and dramatic at the same time a little bit more drama photo take that same photo one more time one two three because thie bon doors are very, very sharp in regards to what we're trying to photograph john can you move it a little towards towards the camera and then facing him moving step forward about a foot and then turn it towards him ever so slightly so what I'm seeing in this photograph is I love the way that that light looks the two room lights from behind but it's I have too much darkness in the center and I'm kind of in illuminate mohr of my subject perfect awesome perfect let's see that so if I don't have room lights from behind economic afford strip light so if I only have strip lights lorenzo for your case or using speed lights if you have the rogue flash mentors you can modify them to be strip lights his great way for you to do the same thing which is move them over to the side so you don't need much I can see the clothing I can see john can we move that light on your side forward a bit the same when we have the opposite side and yes, we can move the subject rather to the background but I'm trying to make sure we don't have much light in the backgrounds weii did before perfect awesome let's see that way also have grippy hands we're not working imposing right now we'll discuss that awesome how much like to have a little bit more drama directionality like little bit dramatic features I still carve out his cheekbones face towards a light a tiny bit more right uh even more right there perfect favor hands in pockets awesome face forward uh perfect awesome two three perfect back shoulder towards me this way. Perfect just like that face that way awesome and chest forward from it. Just lean in and arch your back. I'm sorry, archer shoulders perfect. Just a a tiny bit more posture. Awesome tummy in for may all all of that in a single blink of second. Perfect. One, two, three perfect he's also a professional model. So it's, I mean, I could be a little quicker that way, he's not your you know what you're doing. I don't really have to be gentle with you know what am I doing? I'm starting to accentuate clothing it's in black and white monochrome again, we talked about what we're trying to showcase, but I want to see something a little bit more dramatic and I want my subject is second to that my clothing because fashion is all about clothing it's about texture, it's about patterns, you're not focused on their subject, your focus on their clothing. If I was trying to showcase the clothing in my showing texture well let's, zoom in and find out and my show intention to clothing there's a little bit on there, I can see that then I can see texture okay, so I can add a little bit clarity if I need to ultimately, you are the buttons showcasing as best as possible and getting the best room light on the buttons. Am I getting the best room light on the opposite side? I would probably modify that. So he brings his shoulder back a tiny bit so I can see more buttons that are on there because it's all about the clothes is all about the composition of clothing has nothing to do with the subject. I want the light to be flattering. Yes, I want to show his features. Tio have his gun got features here. Might like cheek sinking in he's showing he has a longer sorry, trying has more defined jawline that way. It may not be the best flattering shot for him as a portrait, but we're worried about the clothes. That's the difference between fashion and difference between portraiture is that you're not worried about that. So if I would've shown you this and I would modify and say okay, let's, go brighten up. Just the highlights in front came to me a favor. John, can you bring the top of that strip box back and the bottom towards the clothing? A tiny bit more so what I'm doing is I'm bringing light more so towards thie clothing and less away from the face. Great. So I'm getting a little bit more tonality on the jacket or the jacket, the contrast of what I want. And by showing the jacket as best as possible do I see the structure? You see the line, so I see the shape. What is the light doing from my specific piece of clothing? So if I zoom in and my showing structure and by showing the piece that's actually hearing my getting texture, can I see all the riches that are there? You can see all of that that's what I want when I want to see fashion, I want to see clothing when he attacks your honesty patterns. I want to showcase the the what's it called the artist by artists I mean designer's, best features of the clothing. If I don't like how drunk this is, I can throw in another life in there as a just a little bit of a feel like just to help us out. I'm going to bring in just one last light just for the fun of it, just so we can see the difference. Beauty this if you don't mind thank you, sir. I sincerely appreciate it. I've said that at least fifty times they should do a drinking game for that because it's safer than perfect. You'll get alcohol poisoning the other one your survive other thing is I don't want it lower still underneath I'm gonna be more visually distracted with whatever's happened I just want to fill in the shadows that are in his clothing okay power set to the lowest possible if it's too high I can pull it back I can move forward if I need more power without necessarily just showcasing right now it's going to get his face is gonna be on this clothing just wanted on his clothing I focused the light in even more like I would move physically the light even closer my subject one two three on obviously further away than it was before so we're gonna bump this up a tiny bit two four nine perfect one two three little by little I'm starting to see more uh I want to call the shadow set to describe myself move this in you guys started seeing more contrast in there the buttons or showing showcase a tiny bit more okay let's go here I'm gonna bring this down where do I want my life? One of the clothes I don't want on the subject we talked about fashion it's about clothing so great thing about a grid I don't have to see the light his face I'm seeing his clothing only if I need to feather that I could do that and lower the power it's honey bet just all the way to minimum just cause I moved there doing closer to move the down correct to subject stay there for me perfect. One, two, three awesome okay gonna bump that up a tiny bit back up to five awesome one two three often keep down. I was starting to happen. I'm starting to seymour texture inside the subject's clothing by subject I mean okay, so we're starting to see more of clothing. Is the light as face changing? Minimally I'm just focused on the clothing only focused on what's happening with the clothing itself. Ok, we're starting to get a tiny bit of phil under his chin by me too. I just move this light down feather off even tiny bit more. I need more information there changed five five and they're gonna ask about that, okay, okay. Just asking. And thomas your hand, I assume questions one to three. Awesome. Okay, so for you, lorenzo, if you guys have speed, lights and all, you have a speed lights what can use again? I keep mentioning the road flash vendors because it is it's a great alternative to what we're doing here. So imagine this to road flashback benders from behind in the street box for me one of road flashman there's a soft box in the front that would be your purpose use three speed lights at that point so something in the clothing at least block off light and I think you can also use it to go you can also direct the light if you need any type of modifiers just be a little more creative lenny this flag something off I could use a little black piece of foam core just a flack things off from this face just extreme creativity when it comes to speed lights that's what I want them doing perfect awesome one two three perfect okay, see that clothing again? I'm gonna have you do the same thing tummy in chest out uh close swords made right there perfect gonna bring this in a tiny bit more right there. Perfect. One two chest forward towards me a tiny bit more awesome. Can you bring that piece on the the front of the article we talked about pieces pieces of clothing just in case. Okay, perfect one two, three perfect. See more detail in there. I'm starting to get more more shadow as a metaphor more shadows because you moved do me a favor. Bring that shoulder in towards me a tiny bit more awesome wanna move this styling purposes his shirt underneath is very, very loose in regards to what we're photographing getting a lot of wrinkles so that's something else we have to consider to be a favorite john um you know what can you clip from behind on his t shirt just as tight as you can without showing his belly and I'll tell you when when his belly's gonna showcase this is actually my voice generally when I'm on set speaking to people this is what you guys are getting so this is the way that I operate awesome clip center awesome buttons you can tell the morning lights where things working perfect can it awesome like this perfect okay um loosen up your hands is just tiny but let's see the way it fits great ok, let it drop a tiny bit more we have a little bit of bunching on the side perfect there's no arguments here see that he's a professional model he's like perfect one to three but it john I'm gonna have you move over to your right a tiny bit more thank you, sir. Just a tiny bit more shoulders back chest even a tiny bit more in so so lean into my camp right there perfect and moved back turn your waist slightly towards the background towards the back. Perfect. Okay other things I'm considering is wrinkles and clothing, wrinkles and texture what's happening what's my researching process how much structure can I have? A much as possible. So if I look at this image again that left side I'm okay with that right side that has all that all those wrinkles so let's zoom in here that's a pain to photo shop so I try to do everything in camera what can I do to make sure that that's as best as possible to do me a favor bring your hands to your sides let's see the difference even hands decides for posing okay well actually fingers for me awesome just like that perfect a little bit of less negative space so perfect just perfect so structure support that's what the pieces asking that's what we're trying to see I'm not trying to get curfew I'm not trying to make a bendy we talked about lines and shapes being the same thing two men as it is to women the truck the structure itself I'm looking at the pieces it's very very rigid I want to show rigidity I don't want to show curves the lines of the textures so again for the men's suits it's the same way that's the way it fits supposed to bases you guys have wrinkles consider those so how much retouching um I'm gonna have to do now compared to what we did before just back and forth a little more evident that it's less time in regards to retouching if this was my piece and all I was trying to showcase let's say something around this crop because I was trying to do it for a catalogue purpose that would be what I want I want his little minimum retouching is possible lighting in the clothing, texture and clothing ondas much detail in clothing, buttons and variations of what we're trying to showcase is possible for that specific piece. I just feel like I was from new york for like three seconds and I live in new york, so obviously I speak that fast, but okay, so you guys, you guys, you have to see how fast I really speak on set were good next just kind of briefly talking, maybe we can get a tight shot of jeff standing over by the monitor. Can you bring up that last image that you took full screen and just talk briefly over it? What is it that made this the final shot for what is it that you we're looking at and the others that you didn't see that you're doing this one absolutely so attention to detail we discuss why think attention to details important? I know that as a I do like being a male what male clothings like that's different that's a different story altogether quickly go over that I love shooting men's portraiture specifically because I understand that I understand the things that are supposed to be supported in the way that I feel comfortable and I try to replicate that in my photography so I'm looking at these pieces I think how could that look better on me? How would I make that look better on may, how how would I look or how would I make myself look a little small or narrow are structured? What am I looking for? So I'm looking at him in the perspective of I'm him. How do I make this look good on him? That's the first thing and foremost so I'm looking at now clothing how does it look best on him? So it's form fitting for my client? So if this is fashion lining the attention to details on clothing I want teo, eh? I want to show three clothing as best as possible. I want minimal retouching cause I don't want to spend time retouching retouching images if you have to outsource is anywhere from, like, thirty five dollars and one hundred two plus if you're trying to do advertising photography. So if you have a catalog of one hundred different pieces of clothing it's expensive, we're talking about three thousand thirty five hundred dollars. Every single client, especially he worked with starter client is gonna be okay doing that. And if you talking a hundred dollars and image now we're talking ten grand like not many people have the budget for that. So I'm trying to do all of that in camera with very minimal fuss, so using light itself, what am I able to dio? I highlight buttons because the buttons aren't there for fun in giggles like it's there for aesthetic it's a military inspired shoot so I want to showcase those buttons so the room lights themselves they balance on every single one of those buttons right next thing is the textured piece where did you just out of curiosity what what brand is that? Hmm good hmm you need to pay mai I'm just getting so ultimately what am I trying to showcase? I'm trying to show the fit the structure somebody spent a lot of time not a lot of time in coming apparently agent joking structure and support that's what he's trying to show military inspired pieces are very, very structured so integrates the lighting, lighting structured side side there's not much variations of curves I don't see around this my my photos because that's visually distraction distracting I want straight lines because I'm trying incorporate the lighting into the specific closes is best is possible next thing is he's no offense to you so he's an afterthought by all means when it comes to fashion photography again it's a closed has nothing to do with the subject you're great looking but again close if you're modeling for an editorial it's all about clothing it's about how the viewers going look at that clothing think I want to invest in that I want to spend money and that you guys are familiar john varvatos that looks like a very john varvatos piece, but his pieces like that would cost you three grand as opposed to that probably cost one hundred bucks hundred ten dollars, you know it's it's a difference of that? So when you're shooting something that three thousand dollars, these details going make the difference because what what's the difference in regards to aesthetic? Not much, but when when you're talking about detail, the buttons themselves could be extremely expensive. When you're talking about each buttons like fifty bucks, you want to show his every single bit of that that structure nothing with men women is that they tend to tell and I'm saying men and women again, but you guys see detail when you talk about let's say, luton purse, you can see the structure, you can tell what a lawyer tom purse versus a fake lawyer with a person like you can actually see the details in craftsmanship that's what you're looking at photography you're looking at details and craft manship texture, all those little accessories that's why I mentioned details very, very important with what you're trying to photograph here. So even though we're going with very simple light set up, everything is structured to make sure this piece or this article of clothing looks spaces we feasibly can on camera great to be able to hear that overview because that is something that hearing like seeing the process of the lighting being set up and then hearing the thought process ties it all together thank you for a couple of very quick questions we've got maybe one or two minutes to cover this they should be quick gina martin photography can you ask jeff quickly the grid size on the beauty dish right? I think using twenty five right twenty five that makes that easy on one more kind of about your process angie and three others were asking is jeff taking shots after each light ad for teaching purposes or is this close to your normal work flow do you add a light take some shots at alight take some shots adelaide texture shots is that your normal work? Yes but not what my clients on set I always say everything up beforehand to kind of figure out gliding process nothing sex more than when you go into ah shoot as a client let's say it's a high end client there like I have minimal time I have middle time patients to do everything they don't want to see a photographer who doesn't know what they're doing so I would do it with a subject I would do it with one of my assistants and say ok how can we manipulate the license light as best as possible to get something attainable e what we want the final image toe look like before we even jump on set therefore, you working on my new details as opposed to trying to set up everything into look best on set again when it comes to the fashion photography side it's a lot of fake it till you make it kind of thing, so you practise, you're doing homework, you're doing a lot of that, that preliminary practice before the client ever gets on set. I mean, once you get to like mario testino and annie liebowitz, you have people to kind of do it for you. They already have your stylistic approach of things, but when you're working with smaller designers, you want to look his best and professionals possible. This style could work very well with some, you know, seniors or just general portrait's for people. But again, I love that that attention to detail is focus on the psychology of the subject and making sure that they feel like you know what you are doing and really contrast you, that you'll be able to deliver the product right when they were absolutely for high school seniors way mentioned sports photography. Imagine an athlete in the same way if he's very, very in tune to his team and the colors of his team, and he wants to be part of this he's, just a big sports fan. Something like that. You talk showing the jersey, so they may be even an afterthought. But they're showing in promoting school spirit so that maybe something else they can showcase on, you know, either facebook or instagram, and people love that. And they love attention to detail that way. So we consider that as well.
Ratings and Reviews
I watched this class for free and am saving up to buy it. First of all confirmed! Sigma lens are nothing to be ashamed of and since I love my one main lens, Sigma I immediately felt a rapport. Then listening to the fascinating insights about men and their feelings when confronted by a lens and...what to do with folks who have shaved heads or a little large. Some of the tips were great! Adding a decoration on suit front like a flower or handkerchief, and how to get the suits looking FIT! and well, I plunged into man world and it was a super education. By day two I was amazed by Jeff's generosity. Basically all his experience, all his favorite lighting techniques and painstaking attention to detail. I would have to watch Day two zillions of times to actually be able to absorb all the scenarios and effects. Im going to buy some suit clips Jeff and clip a bunch of suits in back and front to gorgeous my male subjects out. Thank you again for a wonderful, wonderful class.
I've taken a lot of photography training in the last couple of years. Jeff is outstanding. I didn't realize that this content would have such an impact on me. The lighting sections were the best I've seen and the psychological impact of us men having good photos is a wonderful subject to bring to light. The class is great. Jeff is great. CL is great.
this course was worth every penny. Full of practical information and excellent demonstrations. Jeff needs to quit with the crotch comments though ..it was like ...really AGAIN? why are you so obsessed with saying crotch crotch crotch good God. Apart from THAT (which I think was just silly nerves) I really do recommend this class. Jeff is actually very very good. I admire his work. Thanks Jeff I learned a lot!!