Pre Shoot Communication
So we're gonna move on. So here's how this is gonna work, and it's a little interesting, I think. Simon is gonna be the retoucher onset and he's gonna be in his position.
Why thank you.
Go ahead and scoot on over there, darlin'. I am, think of me as a fantasma, I'm not actually here. I'm gonna be walking through the set and talking about what you're looking for. Please note that when you're on a job, you would not be doing this. The retoucher has no right to walk in to a set and make changes and make demands. You don't do that. I'm gonna show you what we're looking for, and how I'm gonna talk to the photographer, and give direction how I would really do it and then, hopefully give you guys some ideas. So I'm gonna invite Casey on, he's our photographer. Yay, our fabulous photographer. And, one of the things I wanna talk about is when you're starting a job with a photographer, you wanna definitely communicate with him. The key thing is he is the captain of the ship and you need to k...
now your position. He is captain, or she is captain and that is it. There's the rule. You're gonna pretend you're a first mate today, aren't you, isn't that what you said?
Which is really awesome. And what you wanna do when you're working with a photographer is you wanna set up and say, alright, honey. You may call him honey, I call him honey. How do you want me to talk to you during the set? So what you wanna do is establish some rules, because what's gonna happen is, imagine the retoucher is over here, seeing, oh crap, the hair is in the wrong spot. Or, oh, we're having a really big wardrobe issue. We can't have him look bad to his client. He's the captain of the ship, he's responsible for the whole gig. I can't make him look bad. So we need to establish in advance how do I talk to you and not make you look bad, and make sure that we correct the problem. As many of you, as photographers, know, when you're shooting, look he's responsible for vibe and getting what's needed, and what's the exposure, and my god is the catering truck there, where's the client, is the client happy? How much time is this studio? Oh, we're about to go into overage. He's got so much going on in his mind. Chances are he's not looking, is her hair on the shoulder? Is the hair not on the shoulder? Did I cover that? Did I cover this? Did I cover that? Dare I say it's kinda not your job.
Right, yeah. Like you said, exposure, composition, and the emotion that's coming through is what I'm looking for the most.
Right. So, can I ask you a question? If you had a retoucher on set, how do you think you would like to be approached to fix something right when you're in the middle of a shoot?
I think, for me, I would rather hear about it. Because it is something that, if we can fix it right away, and that's exactly why they're brought onto set, is to look for that thing. So if I'm not looking for it and they see something, I want to make sure that, at least that they would come near me. So that if I'm just wrapping something up or we get to a point where there is a good stop, that, you know, you could step in, or the retoucher could step in and we could fix that just right away and to have that shot, have that coverage.
So one of the things that I do with my photographers is I have a shoot list. They have their shoot list, I have my shoot list and they're often different shoot lists. And what I do is before he kills any kind of lighting, 'cause you know when you do a shoot you often have multiple setups you do. When he thinks he's done, we've already made an agreement that he's like, are we cool? And if we're not cool, then we redo it with whatever corrections. But you have to set that up in advance and you have to let them drive the boat. And you have to be willing to have him say, no, we're moving on. That's it, no. And there might be a hundred reasons, you might be noticing the model's getting tired, it's not working, you've got another issue. So you're gonna have to be flexible in this area.