Peter Hurley's SherlockHolmsing
Peter Hurley's SherlockHolmsing
6. Peter Hurley's SherlockHolmsing
The Headshot Introduction20:47 2
Connecting with your Headshot Clients11:51 3
Things We All Do in Front of a Camera16:05 4
Be the Mirror for Your Client11:22 5
Teaching Photographers how to Direct Clients19:32 6
Peter Hurley's SherlockHolmsing09:07 7
Getting the Lighting Right for Your Client's Body15:20 8
Hair and Jewelry Tips for Headshots11:58
Hurley Headshot System Steps09:28 10
Best Body Positions for Female Headshots05:50 11
Shooting Male Headshots19:25 12
Black Wardrobe on Black Backdrop Headshot09:45 13
The Richotte Effect02:20
Peter Hurley's SherlockHolmsing
I'm ready to roll I know all you guys want to see me photograph a human being right? Who's ready? We're fired up. All right, good. Okay, so when you first this is everything that I've talked to about up to this point has been basically you know, about how you work with individuals, right? So then in you ready? You want a photograph? Can I photograph you? That would be great. So my first victim here stand up? Um so there's a couple things I do most the time uh when I know we just met this morning, but I most the time I don't meet my clients before they walk in the door. So the minute that I see them immediately, I go into what I call sherlock holmes ng so I'm checking him out like I'm looking at them and I'm trying to figure out their features I'm looking at their face, I'm looking at what they're wearing, I'm looking at their hair, which is crazy and then I'm like on I'm trying to figure out what is it that I'm actually going to do when I start? Because I want to see how they'll behave...
now we had a conversation we hung out a little bit, we did a selfie bases are we did a show on or whatever, so I got to know her a little bit so I kind of have a sense of her personality which she's very cool and I got I got to know you for two seconds, but what happens is is that when they go in front of camera they're going to change so you want to get to know them even if it's for two minutes um I will try and get a sense of how they behave when they're not in front of the camera and see what they do in front of the camera now one of the things that is critical when you're sherlock holmes and some somebody is I like I caught becoming a scan artist so I'm gonna scan you right I'm scanning to figure out now I'm trying to figure out things that I have to contend with or features that I really like so one of the biggest things you know which side you're fishing like best you're sure did you hear that? Did you see how quick that was left side how many people know which side of their faces their good side you know which side is left left right left left left for you you know? Okay, so ken is a lefty um I think I'm all I think well, I'm not gonna tell you what, maybe I'm maybe and the facial okay? Some people are its only it's a very low percentage it's about three percent of the population have like ambi facial where you can shoot them on any angle now have you ever had a person step in front of your photographing them and they look at the picture they go that doesn't look like me I mean how that everybody's had that you guys have all had that you know what they're saying way have mirror relationships with ourselves so hopefully you look at yourself in front of a mirror more than you look at pictures of yourself otherwise there could be an issue there, you know? But hopefully you're checking yourself out in the mirror see primp yourself in the morning and get yourself going out the door, you know? But if you're looking at pictures a lot then you then you wouldn't have you know, this kind of relationship, but we do have this mirror relationship, so a lot of times people that doesn't look like me is a couple of things reasons why we see each other is flipped most of time because we're looking at each other in a mere which is weird I hate if you ever shoot somebody and you flip it like for me, it just I had a magazine do that I'm not gonna mention which one and then I was like, you are flipping my work without asking me and I was like, flip that back and they did and I I just don't like I don't like doing that, you know that little what is it? There's a little button in photo shop it's like a little thing you click and you just I don't really open photoshopped much. Ijust resize my logo on my re toucher handles all this photo shop stuff, but I think I could find that the it's a horizontal flip thingamajig don't do it don't do that anyway, the reason why I say this is because you want to figure out which side is the good side when somebody says to you that doesn't really don't like that picture, they might not know why they'd be like they might be like it doesn't look like me, you know what she did nine times out of ten you shot their bad side. Would any of you want to be shot on your bad side? Would you use any picture that shot on your bad side? If I shot john your right side, would you be happy about that? You'll be all right, all right, so I am going to do the first thing I'm going to do. We're going to get him from the camera and we were going to suss out which side's the good side and she says left and I'm looking sixty percent of the people are that it is their left side all my lighting in my studio is always set up for left it's sixty percent of the time so sixty percent of the time if you shoot the person left side you're going to be right remember that it's easy to start left I always start left all my lightings left now an indication of how you know what the good side is is generally beside the hair's parted on so she parts left what am I doing? What side of her face is open the left turn this way which side is she covering? She's smart you know she covers the side that's a disaster area alright so I want you to do this with me what I do and it's it's in in sure because we were just on that page in the book that's the page I ended on in the book was where I do a one eighty this page. Okay, watch this. Okay, so see how I spend this girl? I spin her around and I shoot a bunch angles. I like doing that because I look when I'm unsure of which side of their face to shoot sometimes do that now normally I don't tell him what I don't say I'm going to do this because you want to act like a pro remember if you start to educate them on what their good side is without saying I'm going to try and figure it out just say no it's this you just be quiet and you can move him and you use direct direction to get him around or sometimes all say turn so this what we're going to do you do a one eighty so try and face that wall and you guys watch her face pull your hair but you have a hair band or something put it on put it on put it on so you can see your face just put the hair band that's on your wrist on your hair there you go do that perfect okay, now watch her face and tell me if she's right about the left side being better spin around to me slowly slow down take it slow I kind of like her left eye like this right side I didn't see the left yet keep going I don't know what do you like the right she might be ambi facial that's rare that is rare we're going to find out. All right we're going to find out here don't do it with me here I don't have a hair band let me borrow yours. All right? I'm going to do it. You guys tell me which side my side you ready what you got you like the wright who likes the wright who likes the left you like the left? All right, see, I told you I was an mp facial. What do you got? Can you can you tell us again? What exactly? What part of the money are you looking at? As the person is moving? Like where we looking, you're looking you're this is the hardest question. So it's all subjective it's, what your brain is telling you, it's feeding you information as we move and you're looking at the features and usually the cheekbone and the way it hits the jar line and the angle of the nose and things like that to verbalize it is really tough, good, good, clear that you picked up on it, but seriously, when you do that, look at somebody and figure out what your brain is saying to you, it's all going to be what we all have an artist inside that's visual because otherwise we wouldn't be photographers and it's what you think now convincing your subject that their side, that the side that they like is not good and the other side's better is going to be tough, so there has to be this you shoot for yourself, the shots like let's say I like her, right, and she'll never use a shot like that I'm shooting in anyway because I might use it she's. Beautiful, like her in my portfolio. Why not gonna boom, maybe get this war going, alright, just to get everyone on the same page? Are we talking about the person's, right and left, or what you're looking at, right, and the person's right in the person's, right? The person's writing left there find problems, so the so, for instance, you're a lefty, you part, your guys go to kenya, you part your hair on the left, the side you part your hair on, and she'll go right with your face. You blocking it with hair. Go back the other way that side's open so that's usually indicate, indicate an indicator of a good site. Now, for the dudes that air follicly challenged. Have to think about where you parted your hair when you had it.
Ratings and Reviews
This is a fantastic course! Peter clearly explains his techniques on how he brings out the best in people, to obtain the best headshots possible. There is a wealth of information here, presented with some humor, humility, and a must see for anyone who wants to learn or improve their headshot photography skills.