Shoot: Scuba in the Hull Part 3

 

Portrait Photography: Creating and Styling your Environment

 

Lesson Info

Shoot: Scuba in the Hull Part 3

Yeah lets talk (mumbles) One of us should get that. Okay. It fits it fits. Hold on, you know what we didn't do? Let me think this. We didn't put a mask on her. Although I like it without the mask on. I think it's nice to see her eyes. Do we want a mask on for the wet? Let's just throw that mask on real quick. Let's take a look. I don't think this'll be as good but If J-Pop says she likes it then we'll go with it. There we go. Take just a little, tiny step back if you would. Reflection also might be an issue. Oh, it's broken, that's why. It's broken under there. It's split. Yeah it' split. Yeah I don't like it as much anyway. Alright, let's put the mask back up. I think she just got out of the water, she just took her mask off and she's just like," whew", standing there. Same kind of position that we've done but that's the motivation for why she's why she's wet. Is that water or what have get there, Bonnie? Water. Let's get her up a little bit. I don't know h...

ow important it is where she's standing. Let's get her up a little bit more though too. In fact, a little across that thing. Yeah, let's put the flippers on the well of the John Levitz Thank you so much. I'll get her necklace. Oh okay. Good there? Sorry just like another inch forward maybe. There we go. I'm gonna go for the face. I knew it was coming. Good thing we got that water proof on. Lets bump the fill up a couple clicks too on this. A little bit more about this, about the new set up and what you might be changing lighting wise or what you're going toward. So I feel like I've got a picture I'm really excited about. And so now again we're just kinda having fun and experimenting, exploring what else we can do. So they're putting water on her and the floor to make it appear and feel like she's actually just got out of the water. And I'm just bumping up the fill light a little bit because we have it's a little darker and her fins are black and the pants are navy so. Now that we're trying to motivate and see water I just wanna get a little more light in there so hopefully we can get some highlights and shine on the water. I'm hoping that bumping up the fill light a little bit more will let us see the water on the floor as well. It's gonna be tough to really I would like her back turn. I know, yeah, it's probably not gonna read perfectly but if we can get the idea there. Maybe. Are you looking for any kind of reflection in the water or you don't know yet? I don't know really. What John just mentioned is totally acturate. I think the same thing with the fog and mist we did in the last shoot. Probably if you really wanted to really wanted it to read you'd have an edge light coming from the back, that's probably gonna make water read. Should we do a plate for that later? The best but-- Put a light back there for one shot? I just don't know how we'd motivate it though is the problem you know? We could certainly try and just see what it looks like but I don't know that it's going to work in this particular set. Take just an inch to your right. And we need heels that way a little bit. There we go. Actually I lied. Bring your body. There we go there we go. Good, good, good. Don, I'm sure you're ready. I'm just gonna do a fresh-- Yeah go for it. This on her face. You ready to go? Yeah this isn't even reading at all. Okay close? Getting closer. Close up but not. Oh yeah we got some drops on her, okay. And got those fins. Is there anyway to make more of a pool of water on the floor? [John} Well it just spreads out but I can-- But there is a way to do it though. Water on the floor. You're not gonna get it thicker than that. A whole bunch of clear glue or something. I don't think it's gonna-- Can we just glue her to the floor? It's gonna be more about the reflection more than anything. And that's already that's as wet as it's gonna get Gimme eyes closed big laugh. Laugh on command ha. Swivel your head a little bit to your left. My left? Yeah there you go. We're seeing her reflection. And action back towards me a little more. And big one more big smile. There we go. You are seeing her reflection on the floor, Don Okay cool. Alright now dead pan right back to me. Eyebrows up a little bit. What do you mean you're seeing her reflection on the floor? I see the reflection of her legs right there. Okay cool. Alright there we go. Eyebrows up a little bit. This looks cool. Give you in its. Put your hands back up on your hips. Lips together. Swivel your head a little bit toward the side. There we go, good, that's good. And move your body this way. Just kinda shuffle over a little bit more. Like this? Yeah yeah there we go. That's perfect. Half half an inch back this way. There we go, yep. That's good. And then hands straight down again. Look down to the ground. Look over this way head over that way. Swivel your head again a little bit more. Perfect, focus is good. I'm gonna raise up camera just cause I feel like it. I feel like I have some room to do that. Thank you. Lets see here. You have to pull back a little bit. It's hot. Stephen always spots looks right now. Awesome. What's happening? There's just water droplets Oh the whole thing is? Oh I getcha. Studio audience question. And it was about your focusing now that you're on sticks are you manually focusing? Are you auto focusing? How is that goin? I was there's been a couple times the last couple days that we've manual focused but I tried that I think maybe 15 minutes ago when we were fishing so. I just I'd like to avoid it but every once in a while I'll pan up and focus on her face. And I'll pan back and lock it in. So once we have her set but every time she moves and all that kind of stuff, I'm trying to refocus. Cool, thank you. But I typically rely on auto focus actually. I'm not a manual focus person. Alright lets see about that. Focus is good? Well actually here lets do it one more time. Cool. Alright hold it right there. That's great. Good, good, good, good, good, good. It's not current. Alright lets see another one, lets see the whole thing. Good it does feel I think a little high now. A little too high. Alright. Okay good, hold it right there. Eyebrows up a little bit. Are you getting anything on her feet from this (mumbles)? I think you're doing something. I haven't studied it quite yet. It's not bad. It's not bad, Joe, actually. Eyebrows up a little bit. So these guys are flyin in some light. I think on the floor to try ta bring out those beads on the floor and on on her flippers. Look down again at the ground. Alright there we go. That's good, that's good. Look over to the side a little bit more. Look straight down again straight down in front of you. And then look kinda over here. Turn your head that way as well. And then chin down a little bit more. And then straight towards me. Give me a bold confident look. A little bit of a smirk even. There we go, perfect. That's good, that's good. And then give me kind of like shock and awe. Just like-- Even more mouth open and let that fade a little bit. Chin up just slightly. Eyebrows up kind of like are you serious. Chin up a little bit higher. And lips together. Kind of just indifference. Deep sigh. I wanna get one more of this. I wanna move her snorkel a little bit from lining up right where the chin line's at. Those right? Yep. Gonna spray your face. Start up here. Can you see any highlights in the flippers? No. But it's bringing them out more. Lips together. Lean a little bit this way. Chin up a little bit higher. Slightly lean towards me at your waist. And then chin up a little bit. Head out towards me a little bit. There we go that's good. And look down at the ground. Turn your head a little bit, look over that way. Tilt your head a little toward the side. I wanna look of longing for this one. You miss home. You've been out to sea for six months. Chin down a little bit more. And then straight ahead kind of down my feet for this one. Big drip on her chin looking good. And then look over here this way. Tilt your head down a little bit more and then tilt your head a little bit to the side too. Like more kinda more yeah that way. There we go. Then slightly swivel back toward me. Keep your head tilted. Okay yeah there we go. And then eyes right at the camera. Good, good, good. And then straight up and down again, parallel. Right towards me. Eyebrows up a little bit. Hands on your hips. There we go. Eyebrows up. Alright good, good, good. Lips apart a little bit. That's good just like that. Okay good. Lean towards me one more time, a little bit at your waist. I can feel it. Lean this way just a bit. Lips together eyebrows up a little bit. Like can you can you do one eyebrow? Can you do your left eyebrow? No I don't like-- Lips together chin up a little bit more. Can we push her googles a little higher on her forehead? Should we see if we have a (mumbles) Yeah. See what time it is. Yeah. On the one put a-- Red mark? What's that? It left some red marks on her forehead. Do you want me to cover those or you just wanna deal with it later? Oh it's okay it's an easy fix yeah. Thank you. Alright chin up a little bit higher. And then straighten your head out a little bit. There we go. That's good, that's good. Hands down at your side again. Perfect. I'm gonna move in. Right there. I don't know if I like that as much. I don't like that as much. Alright. I think I think we're good. I think we got it. Awesome. Can we get one holding a seagull? A seagull? Yeah we gotta. John Lavin made this seagull and we never used it so, we gotta we gotta get it in there. It's the last shoot, last shoot. You kinda wet the floor makes it hard to see. Right under there. Oh c'mon stop. You know what type of state Put apple boxes in there. Kinda like you're trying to keep him from flying away. There ya go. There we go. Oh I like this, John. Thank you. This may actually be the best one though John. Well hang on just a sec. It may not be just for you. There we go. Gotta relax his feet a little bit. Hold it right there. Swivel your head a little bit more away from me Yeah this way a little bit more. There we go, good. Hold it right there. Are we sure? Check focus Josh. I think this is good. Eyebrows up a little bit. There we go. Good, good, good, good. Can you treat the seagull so we're seeing a little more profile of it. There we go yeah. There we go. Lean this way a little bit. Just your sh and then lean towards me a little bit at your waist. There we go. That's the funniest. Hold it right there. John I like this. You feeling it? Hold it right there, hold it right there. She gave me a whiffy too long. I love the seagull. It's pretty good I like it. I want like a dead sand vanil on this side. I like it a lot. Let's just keep goin. Alright how do we. We just need our lines are totally off though. We do need to figure this out. We need to come over this way maybe. There we go. Hold that seagull. Alright lets see. How's that? A little off. Nope wrong way. There we go. I think. Lean towards me a little bit more at your waist. Chin up a little bit. Lean your body this way a little bit. There we go. Just dead pan like this is my seagull. I have nothing else to say about it. Chin up a little bit. Try to try to it feels like you're leaning a little bit this way. Try to stand like almost ignore the seagull for a second. There we go. Lean towards me again a little bit at your waist. There we go, perfect. Good, good, good, good. Look off just kind of sad. Turn your head a little more toward the side. Lean towards me again a little bit more. Lean your shoulders this way a little bit. And I just want dead inside. There we go just like that. Good good good. Then same thing we just look over this side here. You can turn your head that way too. Think of the saddest thing. Think of the man you just took to the bottom of the sea. There we go. That's good that's good. Hold it right there. Cool.

Class Description

Connect to your photos
Don’t capture another picture that says nothing of your own style. Grow your confidence in creating or styling a portrait that pops and, more importantly, resonates. Recognize that you’re tired of feeling disconnected to your photography.

Tap into your artistic vision
Establishing your creative voice and finding the inspiration and support to stay with it are essential skills for a career in photography. Commit to mastering the technical elements so you can save time in production, focus on creating images with emotion, and start making the pictures that express your creative vision and ultimately resemble what you want to get paid to take.

Learn from the authority: John Keatley
John’s photos have filled the pages of Rolling Stone, Wired, and the New York Times Magazine. He’s covered celebrities from Anthony Hopkins to Macklemore, and even had the rare opportunity to photograph Annie Leibovitz. He’s also passionate about education and supporting artists to find their personal style.

In this one-of-a-kind class, John breaks down how to conceptualize, produce, style, light and fine tune your ideas. He leads you through the creation of an environmental portrait series, showing you how to make a vision come to life with any budget.

What you get out of this exclusive shoot:

  • Find inspiration and execute your vision
  • Research and create desired environments for set design or location scouting
  • Cast for portrait and direct subjects on set
  • Build a team of support around your project
  • Lighting and styles to make the background and subject work together
  • Creative ways to build your vision, regardless of budgetary limitations

What our students are saying:
“The amount of information John gives is mind blowing. To see the process from beginning to end, the road map to creativity...you cannot help but to be on the right road to success. He gives you steps to take and shows you how it's done.”
- Lorenzo Hill

Commit to your creativity
Are you ready to push the boundaries and find your unique voice? Get the hands-on tools to flex your creativity, collaborate for results, and carry out your vision.

Lessons

1Class Introduction
2Creative Photography Path
3Importance of Personal Work
4Concepts and Inspiration
5Choosing Your Environment
6Research and Mood Boards
7Finding Your Style
8Establishing a Team
9Jobs on Set
10Production Hurdles
11Working with an Art Director
12Pooling Resources
13Casting
14Wardrobe
15Set Design and Props: Interview with John Lavin
16Gear
17Lighting
18Technical vs. Flexible Lighting
19Creating Environment
20Gear Essentials vs. DIY Solutions
21Lighting for Your Subject
22Lighting for Your Environment
23Q&A
24Directing Your Subject
25Tips for Directing Talent
26Pre-Lighting and Test Shoots
27Shoot: Stylized Portrait - Close Up Part 1
28Shoot: Stylized Portrait - Close Up Part 2
29Shoot: Stylized Portrait - Close Up Part 3
30Set Tour and Lighting Set Up
31Shoot: Building Environment & Lighting Adjustments
32Shoot: Building Environment Part 1
33Shoot: Building Environment Part 2
34Photo Critique
35Shoot: Row Boat in Fog Set Tour
36Shoot: Row Boat in Fog Part 1
37Shoot: Row Boat in Fog Part 2
38Shoot: Row Boat in Fog Part 3
39Shoot: Row Boat in Fog Part 4
40Shoot: Scuba in the Hull Part 1
41Shoot: Scuba in the Hull Part 2
42Shoot: Scuba in the Hull Part 3
43Image Selection: Stylized Portrait
44Image Selection: Building Environment
45Image Selection: Row Boat in Fog
46Image Selection: Scuba in the Hull
47Next Steps: Create New Work
48Next Steps: Share Your Work
49Next Steps: Marketing and Branding Consistency
50Final Image Reveal - Concept and Casting
51Final Image Reveal - Retouching: Communication and Direction
52Final Image Reveal - Final Q&A