Portraits Under Pressure

Lesson 15 of 28

Wardrobe and Make-Up Best Practices

 

Portraits Under Pressure

Lesson 15 of 28

Wardrobe and Make-Up Best Practices

 

Lesson Info

Wardrobe and Make-Up Best Practices

I'm gonna bring out the subjects that I'm meeting-- that I'm seeing for the first time; I've probably seen them around the building the last few days, but I don't know who I'm shooting, so I'm going to meet my subjects, and hi you guys, come on in. Welcome, welcome; welcome to Creative Live! How are you? Victoria. Arleen, nice to meet you. Nice to meet you, thanks for joining us. Hi, I'm Matt. Matt, Victoria, nice to meet you. Come on in, come on into the studio. So let's-- I really appreciate you doing this. So you're both-- Am I allowed to say that you work here? Yeah, I just said. These guys both work at Creative Live and I haven't seen you around the building; I have seen you, Arleen. So, they're probably-- Somebody probably really talked you into this, so I appreciate you doing it, and I hope to-- It's going to be fun, and I'm gonna make it... A comfortable process for you, so if you're at all worried about having your portrait taken, you're in good hands. Alright, so ...

let's see our wardrobe choices. If you wanna bring those out, we can do it one at a time. Basically, I don't know the space, so this is a big question mark. But a couple key things go into my decision-making. The first thing is I'm going to ask my subject what's their favorite, because that's-- When you're wearing clothes that you like, you're comfortable, so Arleen, of all of the things that-- Oh, sorry. Matt; of all of the things you brought, what is your favorite? I think the vest is my favorite. Okay. And obviously I like blue, but I brought a red one just in case. Okay, so color tends to be-- Can read really beautifully off the page, if the output is going to be printed. On the internet, I think bright colors look great, but you can also get away with more black and white. Black in newsprint or in magazines tends to just be a lot of ink, so editors tend to shy away from something that's all black, unless of course it's the intended purpose, and it's a really contrasty black and white image. Color draws readers in. It's supposed to catch your eye, and I think it does, so as much as I like color, plaids and other types of patterns can be a little bit more difficult, so what I would suggest, is which shirt would you wear underneath the vest? I would normally wear the blue stripe, like the light blue stripe, but yeah, I don't know. Okay; I would suggest doing the solid blue. And right there, I have two options, so we could start with the vest, and if you have a portrait session with someone, and you're in an outfit, something with a vest, and a button down, and you shoot the entire shoot with the vest, when you go back, you're not gonna have a lot of variety, right? So by taking off the vest, which I will try to remember to do, we'll come away with two sets of images. That means that if he wanted this photo, you know, he's investing in you as a photographer to get some photos for himself, right? Maybe it's for a LinkedIn page, maybe it's cause you're giving a talk, you know, there's gonna be a lot of varieties and uses for this image, while for the same amount of money, and the same investment, I'm giving him two options. That essentially could have been two photoshoots. They look-- They could look like they were taken on different days. So that's the value added for them. So I think that's a good place to start. I do like what you're wearing right now. Is it what you roll around in? Yeah it's what I rolled out of bed in. So this is data for me, that he's comfortable in-- You know, he's casual, but he has a style, so I think when picking his clothes, you wanna make sure that you stay on point, and that I don't pick something that fits my style, when it doesn't necessarily fit his personality. Okay, so we'll start with that, and go from there, and here's the thing, guys; if it's not working, if they put on an outfit and it's not working, shoot it a little bit, and then say, "you know what, I'd really like to try that green blouse", but I also never say "oh, this isn't working", because first of all, that shows-- It makes the person who's there insecure about their situation and what they're doing and their decisions, but also about you, and like "does she know what she's doing?, cause I think I look great". So you definitely have to communicate these things, but do it in a very delicate way. So, alright Arleen. I love the all black. This is great. I was channeling your New York look, so. Yes, exactly. So it's-- And all black can be very chic and beautiful, so it's always an option, but again, I have editors that will say, "make sure they're not wearing black", so that's something to consider. But, I like this blouse so much, I have it in pink and red. Just really embarrassing, so. Not at all! I brought some color; I brought a scarf to go with this, and then I brought jeans and (mumbles) shirt. Oh, terrific. You know, I think we should start... I'm having a red-- Red can be-- Red is beautiful, and that's where I'm going to right now, and I think that's where we should go-- What do you guys think? I like the red. You like the red? Alright, so we'll start there. Red can also be very tricky in print. I'm sure you've tried to make prints; sometimes it's... When actually printing-- and I'm not trying to get geeky and technical, but the gamma and the red-- How much red can actually be printed is a trickier thing, so if you're the one making prints, sometimes the red can be hard if you're sending it off to somebody. Make it their problem. So definitely don't shy away from red for that reason, but it's just something to consider. So if we had-- If we were doing a portrait session and we had a lot of time, I would definitely have you start in the black, and then we'd move to red, but for this purpose, I think we'll start with the red. Now here's the other thing, guys; I don't know where we're shooting these. So if I get there and we walk in and there's a red wall, I'm gonna have her change her shirt, or it's pink-- You know, whatever. If it's not working, I'm gonna have to take that into consideration. Obviously, sometimes people don't have a change of clothes with them, and shoots in my circumstances, and so if I walk in and I set up a shoot over here, and they walk in and it's a red on red, well sometimes that could be very cool to try, sometimes they'll look like a floating head, you never know, and sometimes I have to abandon that situation and go over here, because we don't have a change of clothes, so it's really about thinking on the fly, and just trying to take all the pieces that you have and put them together to make the best possible shoot. So alright. We'll start with this. I'll see you later, thank you!

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Leverage new techniques for choosing the light and locations for a successful portrait
  • Know how to build a rapport and utilize clear communication with your subjects
  • Set up a developed concept as well as how to light on the fly
  • Use successful strategies for marketing yourself as a photographer and how to get your work in front of editors

ABOUT VICTORIA’S CLASS:

Portraits require more than just great lighting and equipment. Sometimes a shoot doesn’t go as planned. The location is drab, the client isn’t in the best mood, or you forget to charge your camera batteries. Great portrait photography artists are able to think on their feet, connect with their subjects -- and capture great images under pressure. The best portraits often come from portrait sessions that didn't go exactly as planned, when challenges turn into assets.

Celebrity portrait photographer Victoria Will shows you how to use your environment to capture a unique, sharp image that reflects the person in the portrait. She’ll also highlight how to quickly evaluate a less than perfect situation and make it work for you and your subject. Take your portraits from amateur to near Mona Lisa gallery worthy by learning how to shoot portraits under pressure.

You’ll watch Victoria photograph real people in limited settings, discovering multiple opportunities in a limited space. Learn her three portrait musts for preparation, point-of-view, and connection. Gain insight into how to make every frame count and how to get the shots the editor requested, as well as those that speak to your vision. Learn how to make your subject feel comfortable in only a few moments while capturing exquisite photo collections in Portraits Under Pressure.

WHO THIS CLASS IS FOR:

The photographer looking to improve their portraiture through thoughtful lighting, creative techniques and leveraging the environment around you to get a consistent appearance.

Lessons

  1. Class Introduction

    In the first lesson, meet Victoria and dip your toes into learning her creative process. See the portraits that Victoria has captured in windowless storage rooms and learn why a bad location is no excuse for a bad portrait. Discover why portraits are about preparation, point-of-view, and connection and learn what to expect from the class.

  2. Evaluating Location and Set-Up with Assistant

    Portrait shoots often mean walking into a location that you've never seen before. Walk through the process of evaluating the location and prepping for the shoot. Learn major essentials and smaller tips, like why portrait photographers should deliver multiple images with a consistent appearance but varying orientations.

  3. Editorial/Celebrity Style Shoot

    Think you can't get several great portraits in 15 minutes? Watch a live 15-minute portrait shoot, from communicating poses with the subject to helping the client feel comfortable in front of the camera. Learn how continuous changes help the client feel comfortable while creating variety in a short time frame.

  4. Culling Editorial/Celebrity Style Shoot

    After watching the shoot unfold, see the results as Victoria looks through the images from the 15-minute shoot. Get answers to questions posed from students like you, then watch an image critique.

  5. Victoria's Portrait Journey

    How did Victoria go from a photo of a croissant at a tabloid newspaper to photographing Brad Pitt? Victoria shares her photography journey and the certain events that led to her success. Gain insight into how she moved from her early works to her current portfolio and stunning photo collections.

  6. Victoria's Sundance Experience

    What's more under pressure than a 15-minute time-frame to shoot an entire cast? Victoria walks through her experience shooting celebrity portraits in temporary studios during the Sundance Film festival as a prime example of working under pressure.

  7. The Power of the Portrait

    Rule number one of portrait photography? Portraits are never about the photographer. Victoria walks through the power of the camera and portraits that have changed the national conversation.

  8. How to Connect with Your Subject

    Human nature means most people are uncomfortable in front of a camera -- but portraits aren't about cameras and lighting, it's about the person, Victoria says. Learn how to create a connection that will bring out the person in portrait photography.

  9. Shooting a Commercial Image Part 1

    Photographing people doesn't always fall strictly under a portrait category. Watch Victoria's process through a commercial shoot designed to sell jeans and see how the same portrait photo tips work for commercial work.

  10. Shooting a Commercial Image Part 2

    Continue the dive into commercial portraiture and move into more poses and deeper insight into the process.

  11. Culling the Commercial Shoot

    What do you look for when culling images from a commercial portrait session? Victoria walks through her process and why, when she chooses photos, it's not the always the obvious smiling photo that makes the cut.

  12. Marketing: Websites and Portfolios

    Victoria calls marketing the eye roll of the photography industry -- but it's an important part of working as a professional. Walk through online portfolio advice, marketing photo tips and more in this lesson.

  13. Social Media & Blogs

    Social media is an extension of marketing -- and an essential one. Dive into photo tips for marketing with social media and blogs as a portrait photography artist.

  14. Interview: Lacey Browne, Money Magazine Photo Editor

    Marketing to potential clients is one thing, but what about attracting the attention of a photo editor from a major magazine? Gain insight into what photo editors are looking for when they hire photographers.

  15. Wardrobe and Make-Up Best Practices

    Just like marketing, makeup and wardrobe is an essential subject that photographers don't always have a handle on. Victoria walks through the process of selecting clothing and makeup for the shoot, from making the subject feel comfortable to what colors work best.

  16. How to Work with Agents and Reps

    Portrait photography is not a solo career. Learn how to work on creative teams, starting with finding a rep to working with an agent.

  17. How to Work with Assistants: Skype Interview

    Assistants help portrait sessions move quickly while under pressure -- but shooting with an assistant can be intimidating. Victoria dives into working with assistants and building a relationship through an interview with photo assistant Tim Young.

  18. The Importance of Being Prepared

    Portrait photographers often walk into a location blind -- but that doesn't make preparation any less essential. Walk through the process of preparing, learn how to scout locations if you can, and dive into the process of building flexible ideas pre-shoot. Learn the gear Victoria brings with her and more.

  19. Shoot: Conquering Dark Tight Spaces

    Portrait photographers don't always get to pick epic locations. Learn how to create a studio space in a small, dark space and how to assess a tight spot to create multiple different types of portrait images.

  20. Culling Dark Tight Spaces Shoot

    See the result of working in a dark, tight space as Victoria culls and critiques the images from the challenge. Also, watch Victoria's initial reaction and thoughts on the "boring" location for the second shoot.

  21. Shoot: Conquering Boring Spaces

    Learn how to make create interesting, riveting portrait photography in boring spaces. Watch Victoria set up multiple shots in this quick shoot, from re-arranging furniture to adjusting lighting.

  22. Culling Boring Spaces Shoot

    Examine the results of the portrait session in a "boring" space. Watch Victoria critique her own work and see how she progressed from testing the light to developing comfortable poses.

  23. Shoot: Working with Groups - Part 1

    Groups increase the challenges to portrait photography, especially under pressure. Get a behind the scenes look at developing a group portrait, from building a relationship to working with harsh light.

  24. Shoot: Working with Groups - Part 2

    Continue working with group portrait sessions and watch Victoria create her own shade, direct poses, and channel high energy in a group setting.

  25. Culling Working with Groups Shoot

    Build a critical eye by critiquing the group shoot, looking for what works and what doesn't.

  26. Portfolio Best Practices

    Building a portfolio is essential to working as a portrait photography artist. Learn portfolio essentials from how to build your point of view to formatting options. Learn how to create distinctive features to make your work stand out and why a consistent appearance is important. See classical examples of portraiture in Victoria's own portfolio.

  27. Portfolio Best Practices Q&A

    Grab deep insight into the most common portfolio questions in this Q&A session with students in our Seatle studio.

  28. Portfolio Critique

    Listening to photography critiques helps you develop a critical eye for your own work. Learn the common protocol editors follow in a review of photo collections from distinguished artisans in the CreativeLive studio audience, and gain critical insight to use in your own work.

Reviews

Helena Sung
 

This was a great class and I learned a ton! It was amazing to watch Victoria Will in action -- shooting portraits under pressure. I learned a lot watching her walk into an unknown situation -- not knowing the location, what the natural lighting situation would be, and only knowing she had 15 minutes for the shoot. I loved watching her problem solve on the spot with lightning and tight, dark spaces. She also taught a lot about how she interacts with her subjects -- always putting them at ease (like you're the host at a dinner party -- gem!) It's much easier for a photographer to take pictures in their studio, but this course was not about that. This was watching a photographer handle real world situations under time pressure and think on her feet. Loved it! I also loved the parts where she culled her photos afterwards and picked out the ones that caught her eye. In most instances, I found myself agreeing with her!! When she gets subjects to stand up and sit back down, it is the in-between moments she is looking for, or the moment right afterwards -- genius!! Oh, lastly, I loved how she went through stunning images she shot of celebrities like Brad Pitt and Janelle Monae and gave us the backstory of how she creatively problem-solved to get the shot! Hello, showing up two hours before a shoot and knocking on random hotel room doors for furniture?!! Of course she could do that because she has a lovely, warm personality! Oh, and by the way, the bits she shares about her early career path is very inspiring!

Robert Negrin
 

Great course! And the best part was the honesty. I was an executive in a fortune 500 company and what the critics watching this course missed is that there are a lot of talented photographers, actors, singers, accountants and even landscapers, but there are very few that are successful and accomplished. Yes, part of it may involve a certain degree of luck, but most of it is the drive and desire to suceed. It is obvious you have both. I used to beleive that a true image could only be captured by styling the shot, metering light and controlling the subject. (Yes, I shot film...complete with developing and printing all my images) Then, one day I realized that, if deliberate-shooting was the right way, why then most of the great images I have were the result of quick, rather than deliberate reactions. I get it Victoria. Love your style and how you get there. Three things I learned today are that the conditions... even the background, do not have to be perfect if the image is strong enough to carry the message. Second, setting up to capture the perfect image, misses all the imperfect, epic moments. Third, I disagreed with almost every image you picked until they were isolated from the rest. Then they made perfect sense. Well done. :) Robert Gabriel

Meredith Zinner Photography
 

I really love Victoria and her work. She's something suuuuper special and showed me a fab new way to look at portraits. I love her openness, honesty, the whole 'you're at my dinner party' intimacy, care and respect for her clients and am SO impressed at how quickly and reliably she's able to transform any location to suit her needs. She's super impressive, professional and inspiring thank you!