Skip to main content

Senior Portraits: Create the Ultimate Experience

Lesson 19 of 38

Segment 17 - Rooftop Shoot: Senior Girl Part 1

 

Senior Portraits: Create the Ultimate Experience

Lesson 19 of 38

Segment 17 - Rooftop Shoot: Senior Girl Part 1

 

Lesson Info

Segment 17 - Rooftop Shoot: Senior Girl Part 1

it is a little overcast, so but the sun is still coming from right there. So to give you a little more light in your face, I'm gonna have you facing that to come right over here and turn around right there. Yeah, right about there. Okay, put that down for a second. Okay. I want you to cross 11 leg over and give me like this. Yeah, Kind of. Yeah. There you go. Fix your hair. All right. That's what I'm here for. Okay, Okay. So make sure there are, you know, no hairs fixed her. She can't see herself because she doesn't have a mirror. So that is what I'm here for. Okay. Just like that. That's perfect. Awesome. Can get down perfect. Again. We're coming close to you. Okay, Get bring that shoulders more figure. Fix one little piece of hair right there. It's a little windy. I may have to do this a lot. That's okay. Get right there. There you go. Just Oh, that's so pretty. Oh, my gosh. Hang on. One more. Yeah. Struck that shoulder. Perfect. Okay, give me one without a smile. Just like a closed ...

mouth smile. Just a gentle Yeah, that little smirk. That's perfect. Oh, perfect. Perfect. Okay, let me get a full length. Oh, these are awesome. You're doing awesome. Okay, let's change up the post just a little bit. Take your arms and almost hug yourself, and Yeah, There you go. That's cute. Yeah, a little bit down like that. That's perfect right there. And I'm just getting from here up. So it's good that you squatted cause I'm short. Yeah. Oh, those were so cute. OK, turn around and face that way. And then what I want you to do is put one hand over the hip and turn around like this. Okay? Yes. Perfect. Turn your turn your body with it. Just a little. There you go right there. And no smile. That's perfect right there. That look, I got back up. We're working with some elements here with wires and telephone poles. So I'm moving to make sure that nothing is going through your head and stuff like that. Okay, Now give me more of a cute like, you know, like you turned around like, Yeah. There you go. Hold on. We're coming. Close. Oh, my gosh. My memory cards already full. Well, I'm shooting with a D 800 which is not my typical camera. I usually shoot with a D 700. So with the D 800 the memory card fills up a lot faster. So just take a minute, take a break. Hang on. If I could get this one going, Okay. Lets stay here. Make sure format the card. Okay, Let's go back to that little. Yep. Awesome. Okay, let's do a squatting pose. Were quick. So when you squad, make sure your back leg is up higher than your front leg and just go straight down like this, and then I want you to lean over like this, Okay? Okay. Hairs on a stick in the make up a little bit. Right? We are in the look glass, right, Actually. Know what? Why don't you pull your hand right there? Right there. In that way, you can hold that hair. That's perfect. Gorgeous, gorgeous, gorgeous. Tilt your head just a little bit that way. Yeah. There you go. That's perfect. Okay, I'm coming right here. Oh, so pretty. I love it. Okay, let's do another one where you are standing up and I want your need to come in like this and just kind of give me a little bit. Yeah. There you go. That's all Some perfect. Okay, Now we're gonna throw in a crazy model pose, OK? Because I know you can pull it off. Okay, So I want you to pull your arm up like this and then pull this one up right here and then. That's cute. I like that. I like the head tilt. That's perfect. OK, I like that. What you just did is awesome. Okay, let's do that. What? You just did. You just kind of laughing and Yeah, it's totally killed. Oh, my God. Give me like something like this and laugh and go. Yeah. There you go. Perfect. Oh, my gosh. So cute. Okay, let's go over here and sit down. The only element that we have to sit down on is right over here. Okay? So I'm actually gonna want you to sit right here on the corner, OK? Legs in like this. And then I want you to lean down like this. Okay? I really think I need this. But that's perfect right there. Yeah, till that head there. Ugo. Right. Okay. Close your eyes and I'll count. 123 and then I want you look at me. Okay, Actually, Okay, That might help you a little bit. Not blind. You okay? Close. Um, right. Perfect. Coming right here. Head Children, go right there. Perfect. Right there. Ok, now into the kind of look up and giggle like there you go. You wouldn't do my booty day. That's for you. It makes you giggle, right? Don't dio. Hold on. I am again Out of memory, man. This memory goes fast. Does he have another memory card? Only brought two up here. You guys want to shoot real quick? Yeah. You want to come in and shoot? Okay. We got to get another memory card. So that is what? Yeah. Yeah, Well, the meeting of the shutter speed sappers. Okay. Dial's is different than mine, but it may not be different for yours. Just play around with it real quick and see. Although I gotta get another memory card, I don't take anything. Okay, so let's talk about what you normally bring with you on on a shoot. That's on location, which is pretty much all your shoot. Yo, what do you bring with you When I bring the reflector, which is a five and one photo flex, nothing is the name of it. Reflector. Bring my reflector. I bring my killing more bag full of my love. The more bag that I don't bring a lot of equipment I'm very simple, shooter. I don't want to lug a bunch of stuff. I use my 85 mostly, which was what I was using Just now on Ben. I have a 70 but I don't use it that Why is that? Just because I don't love Ah, Prime Lindell of the sharpness of a prime looms Ah, 21st 70. I tend to use more for if I was going to shoot a family or if I used to use it a lot when I was shooting kids because I didn't necessarily have the luxury of moving as much. So I needed Teoh have the lens move on. But I also have a 50 millimeter which I still love. But I like just a little bit more So typically, 85 is usually what's on my camera the whole time now, I have also used the 35 millimeter prime, which I love for wide shots so that as well. Yeah, it's usually just cameras memory card with lenses. I don't use artificial lights. I don't have a flashing on. Break it on down a reflector, Andi, sometimes a stepladder and sometimes my little crate that I mentioned earlier. So that's what that's what goes with me. Awesome. Thank you. I love the little stepladder that could be really I'm short. So what? You know, it helps a lot, but you also find the climbing on step like I'll climb up steps or I'll climb on the ledge of a wall or something that I might see in the on location and stand on that. Awesome. So a question had come in about way talked earlier a little bit about the fact that you do shoot a little over exposed. Can you talk a little bit about why that is right over exposing tends Teoh move skin in and of itself. Now I do do some skin smoothing in photo shop, but that does help also love the brightness of it on their face. That's just my style, I guess, if you will on. But also it's a little bit easier to pull an over exposed image down and pull and under exposed image up like in photo, shopper, camera or whatever. It's usually like one stop, maybe two stops, depending out here. It's a little bit darker. Samite would go up another stop here. No good for us, ladies with going. Oh, my God. I'm not thinking over. No, I tell anybody, okay? This question has come up a couple of times. And it was about driving. And actually, did you do you drive the seniors? Do they follow you? What sort of the protocol? What? Rangel, What's safe? What should what Protects yourself? Well, I'm not a lawyer, but I would venture to guess that probably you might find yourself in a sticky situation if something were to happen and they were in your car again. That is not my I'm not. I'm not a lawyer, but yes, that would make sense that maybe you don't want them in your car. So typically they're following me to locations and, you know, most of time, my locations aren't that aren't that far away from where Here makeup is just for that purpose. That we don't have a lot of travel time. I could go on the outskirts of green bone, fine mountains and things like that, but I don't because I don't want them having to drive that far. I try to keep it because even if the mom's not coming, I don't want her worried about her senior driving all over the place or whatever. But to keep it safe, it's better for them to follow you. And that way they can have all their stuff in their car. Sometimes they will jump in my car to change because maybe my car's bigger than theirs. Or maybe mine has attention. Winters. There's does not. But yeah, just just haven't follow you. And then, if you happen to change locations happening, follow you there as well. So and that was another question that we talked about. We talked a little bit about yesterday, but people who weren't with it yesterday it asked again today about where do the senior chain, right? Right, And it is in the car. They do make pop up dressing room, so that's a possibility that I've always found that they're almost more trouble than there were kind of like an umbrella to me an umbrella is more trouble than it's worth. But then again, I live here. In fact, if you use an umbrella here in Seattle, that means you're not from here, right? Right. I'm cool even in South Carolina using a fella. But you know what I mean? Like, it could be a little bit like you definitely have to stand there. Hold it. Because if any wind comes, it's gonna blow it away. So I find it just easier to do in the car. Most girls are somewhat used to that. You know there, especially Kendra's dancers, that she's changed all over the place. Right? So she was used. Teoh change. So this was a question that I come up from Stephanie, Michelle, And do you have sort of a catalogue of images of locations that you show your clients to say? Where do you want to shoot or do you do it? Do you suggest them based on questionnaire that you fell out? Well, you know, most of my clients trust me to determine the location. They don't actually ask where we're going too much. I think that's a great idea from her. I think that's awesome. But most of mine. You know, they fill out that questionnaire and they know that I'm planning it accordingly. And I told them that. So I might mention, you know, I've got the locations in mind. Of course, they may see some stuff in imagery in my portfolio on my welcome guy, Things like that. If they ever see something, they specifically won't say something, But most of time, they trust me by now to know the different locations. So I do think that might be a good idea for people that may be your our newer and can showcase something like that and just say, or even if you're not knew, you could still do it. You know, if your clients interested. But like I said, most of mine just trust me to pick the right location. Yeah, but I think, like you said, having those the variety in your portfolio exactly talked a lot about yesterday about branding and showing. What is that? Your style is in the types so cool. Well, looks like we have a camera ready to go with the memory. Okay, so, ready. Come on out. We're gonna let Angel shoot a little bit. And what do you want Angela to be looking for? Well, since it's overcast, I don't let you automatically need Teoh plump up your eyes so I typically will start at 400. So I would start there. You may have to bump it up more on Ben. Typically, I shoot where, you know, like a 2. backgrounds blurt out on Ben. I meet her with the shutter speed, so that's typically I shoes. That is starting. And that's the thing. Gets the starting point. Take a photo. Let model. Knowing I'm going to check the lighting, check my settings on day, take the photo, and then you may have to make some adjustments, but you gotta start. So that's what I would do on Ben. Always. Just inform your senior about what you're doing. Just talk to them. Tell them. Okay, take a break. I got to check something just so they know it's not anything they're doing making them feel comfortable on. And like, they're doing the right thing. Okay, so good for you. Get back into dispose where your leaned over like that and always make sure toe check their hair, pull it out of their faith. take the time to do it now because you don't want a better shot at later and you may get in the shoot. Just say OK, I'm gonna be come up to you removing hair. That it Is that Okay, They're always Yes. So that's on and they just let him know that's what you're gonna dio not like. Can you look down, Terry Shoulder Little pretty The way her hair is parted because when she looked this way, this was covering which could be an artistic way to take it, but also have it this way. So then you see more looks here for your right. I don't get close right now. Give me a little blue look up at me a little. It's hard to see on a back of a camera that you're not used to. That's another thing l LCD display might be different for cameras. You kind of have t o. So who knows what that way. But you know, your know, your gear is super important because I know exactly how common is. So I know when I'm looking at it is true to what I will see on the computer. So make sure you know that as far as the screen on another thing is, while she's sitting, get as many sitting presidents as you can. It's a lot of times I will go and say, OK, we're gonna start out with your arms draped and then I'm gonna take a few and then I want you to pull your arm up here, and then maybe I want you to wrist it this way and then take three or four different quick changes just before you move her and you're not constantly coming back and forth back and forth like that. So that might be something if you can think of three different ways to do her pants while she's sitting. Okay, maybe change your legs, whatever. You could always put her legs over to side like that. I think I hope you take your Yeah, that's really pretty. It is hard to laugh out loud. You have to decide to so little, very pretty. And then also, just make sure you take a vertical. It's hard. You take mostly vertical ideo, try to and then autumn bell. She really wide and I close. I remember, Yeah, yeah, they definitely make sure you do vertical close up pulling 3/4 horizontal because you may not use all of those that make sure taking them. So when you get back, you pick the best possible shot to make sure you're going in there coming out vertical McDonnell before you move. Because you may mover and a Okay, So do with hand placement change your legs a little bit. Maybe, like kick him to the vital. Yeah, rest on that. You and maybe about, like, maybe like she kind of okay, maybe lean like, Yeah, I love us. What? I'm taking the right here. Right hand touch smiled and looked down at the ground. Kind of laugh out loud, feel cared for just a little bit. Funny positions, Dragon. Yeah. Have a good time with you. You're gonna get the natural laugh, you know? Exactly. And then, like, even if you are trying to have a laugh, usually if you tell them to laugh the last silly. But they laugh at themselves for laughing, Billy, Or you can always do the booth at totally okay with them laughing at me. I will make a fool of myself to get the right shot

Class Description

High school seniors are energized, creative, and fun – and the best photographers know how to take portraits that capture that spark. Join Leslie Kerrigan for a guide to designing, marketing, shooting and sustaining a senior portrait business.

In this course, you’ll learn everything you need to know to create senior portrait sessions that aren’t just a photo shoot, but are memorable, once-in-a-lifetime experiences. Leslie will share her unique approach to creating a style closet, providing wardrobe consultations and keeping up with the of-the-moment social networking tools teens use. You’ll learn about connecting with seniors’ personalities, interests, and sense of style to ensure their portraits are every bit as unique as they are. You’ll hear from the teens, themselves as Leslie hosts a roundtable discussion with a group of teenagers who will talk honestly about what they want out of their senior portraits and how to reach them. You will also explore ways to leverage that personal connection into more sessions, sales, and referrals.

Don’t miss this opportunity to become the dynamic, must-have senior photographer for every teen in your area!

Lessons

  1. Bonus Video: Beach/Park Senior Shoots
  2. Bonus Video: Concept Shoot
  3. Segment 1 - Why Senior Photography
  4. Segment 2 - Getting Started & Research Your Market
  5. Segment 3 - How to Get Started Q&A
  6. Segment 4 - Branding: Your Ideal Client
  7. Segment 5 - Branding: Define It
  8. Segment 6 - Visual Branding Tips for Websites & Blogs
  9. Segment 7 - Educating Your Potential & Current Clients
  10. Segment 8 - Get to Know Your Senior Client: Questionnaires
  11. Segment 9 - Senior Portrait Experience: Plan the Shoot
  12. Segment 10 - Senior Portrait Experience: What to Wear Guide
  13. Segment 11 - Senior Portrait Experience: Building a Style Closet
  14. Segment 12 - Interview with Senior Photographer: Jared Rey
  15. Segment 13 - Wardrobe Consultation with HS Senior
  1. Segment 14 - Senior Session: Hair & Makeup
  2. Segment 15 - Senior Session: Guy Wardrobe & Locations
  3. Segment 16 - Senior Session: Posing Girls vs Guys
  4. Segment 17 - Rooftop Shoot: Senior Girl Part 1
  5. Segment 18 - Rooftop Shoot: Senior Girl Part 2
  6. Segment 19 - Workflow & Post-Production Overview
  7. Segment 20 - Leslie's Editing Process
  8. Segment 21 - Senior Session Q&A
  9. Segment 22 - Social Media & HS Seniors
  10. Segment 23 - Interview With Teen Photographer Sara Cooney
  11. Segment 24 - Senior Panel: Teens' Perspective
  12. Segment 25 - Senior Panel Q&A
  1. Segment 26 - In-Person Ordering Session
  2. Segment 27 - Ordering Session Q&A
  3. Segment 28 - Pricing for Your Market
  4. Segment 29 - How to Build Your Collections
  5. Segment 30 - The Formula for Pricing and Q&A
  6. Segment 31 - What is a Senior Model/Rep Program
  7. Segment 32 - What Makes a Great Senior Rep & Rep Marketing
  8. Segment 33 - Senior Rep Program Q&A
  9. Thanks + Credits
  10. Segment 34 - Marketing Tool: Concept Shoot Part 1
  11. Segment 35 - Marketing Tool: Concept Shoot Part 2

Reviews

Lightfoot Studio
 

I can't say enough great things about this course! I went into it thinking I gain a little bit of info on posing and social media ideas... boy was I wrong! Leslie covers topics that I didn't even know where apart of Senior Photography. I highly recommend purchasing this course, if for no other reason then for the awesome senior panel that lets you know really want seniors want, are looking for, and actually care about in regards to their photos/social media/etc... I hope to meet Leslie one day and thank you personally! :)

Lynn Powell Roberts
 

I learned a lot from this course. I watched all day when CL replayed Sal Cincotta's senior course and I wanted a second perspective, so I bought Leslie's course. I'm really glad I purchased Leslie's course because it was a great complement to Sal's course. Leslie covered different things like using a style closet that I especially found useful. She also did a beach shoot with a male and female model, which I found very useful and different from Sal's style. Leslie is so excited about "her girls" that she photographs - it's very engaging. I highly recommend this course.