Skip to main content

Senior Portraits: Create the Ultimate Experience

Lesson 20 of 38

Segment 18 - Rooftop Shoot: Senior Girl Part 2

 

Senior Portraits: Create the Ultimate Experience

Lesson 20 of 38

Segment 18 - Rooftop Shoot: Senior Girl Part 2

 

Lesson Info

Segment 18 - Rooftop Shoot: Senior Girl Part 2

we were talking about this this morning. Actually, this question came from Colleen Davis. How Maney images do usually capture on the average session. And then how many do you show your client? Usually I try to stick with a four gig card, and they may use a little bit of another four good card. So that works out because I'm cheating Raul. That works out to be maybe around 200. I think it's 1 98 to be on my four gig, and then I may take, you know, more on on a new card if I feel like I need it. Yeah, it also depends on the outfits. They bring a lot of outfits. I may end up taking mawr and the night top session that I offer that that where the makeup artist comes on the shoot and changes their look, those tend to result in a little bit more images because we've got a lot more variety there to take. But one thing I will say that sometimes I catch myself. Doing that I need to improve on is the fact that I'll start with that first outfit on. I'll get in my groove and then I'll remember. Oh,...

shoot. I've got four more outfits. And so the time spent on the last three are for a little bit shorter than what I did on that first outfit. So I would say, you know, make sure not only you know how many images you're taking, but make sure you space it out amongst the number of outfits. I don't like to shoot a time because I don't frankly want to go through that many images. I think that was when I first started. That was the hardest thing for me with to know when to stop. Exactly. Because I would come home from a shoot and have 708 100, images from three hours to hours. Shoot. Right. So the amount of time that it take that Teoh just catalog those light room. Don't prove starring exactly. So getting to that point where you know when you got it, how do you tell yourself? How do you know when you've got it? Well, I look at I mean, I'm confident. Look in the back of the camera, I'm showing her gauging her reaction to which I think is always a good way because you can immediately get their reaction that way, they can immediately feel comfortable on the okay, I don't look weird, so I think that's all sound. I think the more you shoot, the more comfortable you are with your shot. Therefore, you may not feel the need to shoot as many. And then I also think that not feeling like you have to be own in front of your senior, you know, just telling them. Hey, you know what? I've got to check my lining about change my settings. I got to do this, That the other you don't have to be. Shoot, shoot, shoot, shoot, shooting. They're not judging you by that. Take your time and know that you set up a shot. You took a shot and you can move on. Now. I do have my camera set to where I think I take about three photos and sequence. I don't know why it's free, but it just ends up that way. So I do have three quick shots. You know, if I took my time and I had her opposed the way I wanted her and I took the time to take the hair out of her face, and I make sure all of that was right. Well, then I don't have to have 50 images of that pose right about, like you said being intentional in what you're doing and then No, you've got it. Move on. Exactly. But, you know, we're always photographers, but right. Yeah. Oh, this'll is another one that we were talking about While we're watching one of the videos from Doug Mall notice that you are taking a lot of portrait oriented shot purses. Landscape what seems to be your standard ratio and change depending on whether it's a boy ago, I wouldn't say it necessarily changes depending on whether it's a boy or girl. I would say the location in the fact that up here, I'm not gonna take a lot because we've got all these wires and stuff. So I was trying to not have to have a lot of stuff. I think there are certain locations that look amazing as a wide shot, and I will then tend to take it. But for the most part, my images are vertical. That's just what I like to look at. I will say that my favorite images very close up vertical shot. So I'm probably going to take more of those just because that's personally what I like, I felt Yeah, well, I mean, I think they get used to my work regardless. So, yeah. I mean, I don't think they ever I've never had a customers say Okay, I wish that was horizontal or anything like that again. It goes back to the trust thing and the style thing, and they know what to expect for me. And that's what they're looking at. Portfolio. I will say When you're doing the concept, shoot or things like that, I tend to take more wide shots with negative space because those are great for marketing purposes. So having that in your catalog is a great thing, and then I consciously have to remind myself to take horizontal photos. I really do. Just because I don't know why. It's just more natural for me to take a vertical photo. But I definitely think you need that variety. So definitely remind yourself whatever you have to do it. If you have to go through the in my mind, you know, vertical close up, pulling 3/4 horizontal close up, pulling, you know, whatever. So do that if that helps you. And I am constantly sort of saying that my head so I can remind myself to take it because that's what I was gonna ask you was Do you have sort of a shot list? Get that you want to get with? You sort of posed what you got in your problem. A shot list for today. It's just my notes. I don't think anybody else would be able to interpret it. You know the name. But to me, I knew even drawn stick figures remind myself, but I had shot list outfit one pink romper black heels and I had 12345 shots that I just wanted to make sure I got on. Guy just described him. Lead crossed over one another, arm across the body, other arm propped up like this, which is what she did. So I had that written down, You know, something like this. So I had legs shoulder width apart in our most shoulder shoulder till the tour forward. Just things like that. Whatever will help you remember to take this shot, and I even got on here. Take it Horizontal. Take it vertical. I have that in the in the actual post, so I can remember I don't typically necessarily pull it out, but just by a stake of writing it down, then you had a case. I don't even think it's a bad thing to pull it out. You know, the main. Just say, Hey, I want to make sure what I've got because you put it on your phone in your notes section and type it out and just have that that sometimes you're shooting and your mind goes blank. I mean, no doubt another thing is good when your mind goes blank is have the move dual walking shot because it breaks up the monotony opposing. Of course, we couldn't do that up here because it is the roof. We can't walk around in heels and she had on heels. But that's a great way, right? Safety first. That's a great way to just say, you know what? Let's walk toward may. Just walk toward me. I'm gonna capture you moving. Don't really look at the camera, because when you're walking, you're not state staring in one direction. You're looking around. You might look down things like that that will break up the monotony opposing and maybe reset your brain to start thinking of some other poses. And I love the idea of sort of the little stick figures And because truly I, especially when you're new and beginning, yeah, when your mind goes blank and you're like, I don't know what toe ask them to do neck. Exactly. It's very scary. It is there. So having that on your phone, I love a swell in your back pocket didn't even take some of your old photos that you've done so far and put those on your even even doing research. For example, when I started Teoh Shoot Kids, for example, I went and looked online and found and made my own little cheat sheet. Totally printed that out, had it with me. I'm so same thing, totally. Look at magazines. Look a t agri. You know it's inspiration that way exactly. So we have a couple more minutes while Kendra is still changing lots of questions coming in. So Kayla Clouds asked, when shooting in public places, how do you manage other people being in the background and right by yourself? Usually I am bad myself. I don't usually taken assistant, although I will tell you that high school girls that are interested in photography are great assistant Caroline. I don't have Carolyn's watching that. Caroline is a junior at Riverside High School, and she she is very much interested in photography. So every now and then I'll call her. Sometimes it's easier not to have to worry about somebody else's schedule, But, yeah, that's a go to place. Maybe if your local town has a college or something like that, and it has a photography school you could always find and in turn that way and they could be your assistant. But yet typically may on. But typically, you know, sometimes I'm just having to wait until the right moment to get somebody out, or I will choose a different section of wherever I am just because I'm not going to better shot people out if I can help it. So it's a matter of just working with what you got. Now, if you're going somewhere like the State fair and you want to do something fun like that, you're gonna have to contend with people, and maybe they're just out of focus and your persons and focus. And that looks really cool. In fact, yesterday I took about five shots of a girl, it Seattle market or wherever the place was called. Thank you, Andre. Were people all over the place and cars come in. And, you know, I would just wait grabber go out there, take a quick shot, go out of the way. You know, you gotta work with it. Exactly. And I do find it hard. I remember being in a spot where I wanted to get a little girl on a swing. Yeah, and so I had to wait it out on the playground. And what have you and I think I asked Dad people here swing and he gave me this Look. Excuse me. Being aware, being conscious, I would say most people probably would move if you asked him to. They don't want to be in the background of a better likely. All right, Well, Kendra is ready and her next out a little already. Oh, my gosh. Okay, killer over the dancer Yankee. So she is a dancer, which we knew from her questionnaire. So I wanted to definitely incorporate that into her her shoot eso and I thought it would be really cool to have something unusual with the Pointe shoes. Yesterday we talked about doing the gray dress, which is what we did in the wardrobe consultation. But because we realized today is very grey, we thought something different and actually was Kendra's ideas a good, good idea, girl. But we thought the gray might not really show up as much since it is a great day. And then, actually, I love the fact that this one is not necessarily a predictable dress to put with toe shoes. The other one was very ballerina. It's looking, and it would have been gorgeous, but I do think sometimes it's nice to mix it up. So you look awesome. I'm gonna I'm gonna tuck this built just so it's not sticking out. There we go, OK, And see fashion tape would be good for that. If you had some on hand, you could, you know, make sure just because you don't want to be taken a photo and have that built come out. But just tucking it works to Okay, so we're gonna go back over here. Is that OK? Are you Yes. Okay. We need some open room for? Um, I get that. Okay, so we're gonna work with your valley poses, Okay? So let's just do something simple. That was this 1st 1st this is first. Okay. Yeah, let's do that. Okay. I used to do it, but is there one like this? Okay, Yeah. Okay. A long time since I've been a dancer, girl. But anyway, let's do the one words. Yeah, in front. And then maybe you even do that. Traditional. What is that one called? Yeah, let's do that. Yeah, I think it's pretty. Okay, I've got a hang tight for second cause I've gotta adjust my light. Make sure I'm getting it as perfect. Okay, now go up on your toes. Same thing. Awesome. Okay, Now can you do one air? Best visit call their best. Yeah, we'll do that. OK, come over a tiny but this way, I don't want to get the satellites in there. If I can help it. Yeah, Come over a little bit more. Keep Keep coming. Right there. Ready? 123 go. Okay. 1230 perfect. I love it. Okay, we'll move, and you do the same thing one more time. Okay? I gotta get far back. Hold on. This would be actually a good time to change lenses. Do we have that 35 millimeter? Because I am trying to take a horizontal shot, and I have limited space up here, and I'm trying to get her whole body. When she's doing the arabesque, we're gonna change to the 35. Oh, yeah. Okay. Ready? Awesome. Okay, now, just give me one where your Yep. And you're almost looking back at that leg. Like, calm down. Yeah. There you go. Right there. May pull that one piece of here. I wanted to separate itself. And now with this belt back. Okay. Yeah. There you go. That's perfect. Take that hair that's on this this shoulder and sleep it off, gorgeous. And now turn your face towards me. There you go. And tilted. Just love it. Awesome. Okay, um, show me a couple more dance moves. Okay? Let's do that. Okay, Because she knows dance moves. I'm trusting her on this point to really showcase her talent. It's been way too long since I've been a dancer, so I can't remember the name. Okay. Ready? awesome. Let's do it one more time. Ready? Go. Awesome. Perfect on. My gosh. These are so cool. When's the last time you've been on a roof dancing? Only you would have that experience, right? Okay, let's do one where you're facing that way, and then your put your leg back and turn over your shoulder. Yep. Exactly where you go. You Can you pull this arm up? Yeah. There you go. And I must remain closed and just get this awesome. Perfect. Turn your body a little bit more with it. There you go. Right there. I love it And let me get one like this. Perfect. So pretty. Oh, my gosh. Okay, okay. Let's get Angela in here and let her try couple with the dancing. You may run through. Those typos is again, again. We're really concentrating on what is comfortable for this client and who she is. So trust her to show off some dance moves because most of your your senior clients aren't going to be dancers. So this is fun for us. I know that it's fun for us to take photos of something different, so Yeah, OK, now we're using the 35 millimeter was because I could say we don't have very much room with 85. Get all this exactly. Let her know what you want to start with. You want a Yes. I don't know anything about dancing. Okay, You know what? Don't just try toe, hold it about right here. Beautiful. Sorry. Okay. Over time when your run trying to get back. Beautiful. Can you even do a tour? Can you do up? Because that was pretty capture. Yeah. Okay, let's count it off. And you just shoot. Okay. Ready? One, Teoh. Very. Okay, let's run through it one more time. Just because when you do a moving shot, sometimes it takes to make sure you get the right line. Ready? Ready? Beautiful. I need shoes. I want todo. Oh, I wish I was grateful. No, they don't already hurt. And because they're flat on the inside, you can somewhat day if you have to balance. Yeah. Do you want to do some basic poses or continue with van? Oh, you mean with like some? Yeah, like she could be 1st 2nd 3rd Whatever. Maybe something like this. You get that. Okay. Yeah. That's pretty space. needle on background. Yeah, that's right. Yeah, it's super. I think I'll dio when you have an interesting element in the background. You know, make sure you get that cover satellite dishes. I never I e beautiful. That is beautiful. Let's do one where you're maybe, maybe have your toe. And then you're, like, playing with your hair a little bit. Yeah, exactly. Exactly. Yeah, gorgeous. It's hard to see. It is very hard to stay out here. Yeah, exactly. I'm probably gonna get back in a matter away, Teoh. See it. I know. And mine are gonna be really

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.