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10:45 am - Morning Q&A

Lesson 20 from: Working with Models

Matthew Jordan Smith, Yoanna House

10:45 am - Morning Q&A

Lesson 20 from: Working with Models

Matthew Jordan Smith, Yoanna House

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Lesson Info

20. 10:45 am - Morning Q&A


Class Trailer

Day 1


9:00 am - Introduction


9:15 am - The Model Agent


9:45 am - The Model Go-See


10:00 am - Making a Team


10:45 am - Your First Model Test


11:15 am - Testing Q&A


11:30 am - The Value of Testing


1:00 pm - Expectations of Models and Photographers


1:15 pm - Test Packages


1:30 pm - Casting


1:45 pm - Booking Terms


2:00 pm - Photographer as Team Director


2:45 pm - Conditions on a Shoot


3:00 pm - Student Casting Session: First Student


3:15 pm - Student Casting Session: Second Student


Day 2


9:00 am - Shoot: Rooftop Catalog


9:15 am - Student Shoot: Dave, Rooftop Catalog


9:45 am - Student Shoot: Agnes, Rooftop Catalog


10:30 am - Connecting with Models


10:45 am - Morning Q&A


11:00 am - Reviewing Rooftop Images


11:30 am - Challenges


11:45 am - Assisting


1:00 pm -Shoot: Jewelry with Yoanna


1:30 pm - Student Shoot: Kumi, Jewelry Shoot


2:00 pm - Student Shoot: Todd, Jewelry Shoot


2:30 pm - Shoot: Matthew Working with New Models


3:00 pm - Personal Projects


3:15 pm - Standing Out


Day 3


9:00 am - Working with Multiple Models


10:30 am - Student Shoot: First Two Students, Benetton Ad


11:15 am - Student Shoot: Next Two Students, Benetton Ad


11:45 am - Benetton Shoot Q&A


1:00 pm - Shoot: Karaoke


1:15 pm - Student Shoot: First Two Students, Karaoke


1:45 pm - Student Shoot: Second Two Students, Karaoke


2:00 pm - Discussion of the Shoot and Matthew Shooting


2:15 pm - Student Shoot: Second Round of Karaoke


3:15 pm - Your Life Inspires Your Work


Lesson Info

10:45 am - Morning Q&A

Ronnie mills from new jersey as how and where do you show your personal work? Oh that's a very good question how and where do I show my personal work in different in different ways? My my first project was a book no, I shall I back up my first personal project um it was even a project my first personal work I was seeing just for me and this is back in new york years ago and my agent came to my place we were having a meeting and I had when my personal images on my wall agent walks in and says matthew, whose work is that it's like it's mine he's like I've never seen it before like it's my personal work he's like ok monday morning so this to the office and we'll talk about this image so I said the image to the office and they buy in the office I was like, oh my god, this is great we love this image and they put it in my book before I wasn't showing my personal work is just for me they showed that personal work I did a whole series of those images and people like, oh my god, we love this a...

nd it became a mailing came a promo piece for me we sent all my clients they loved it, then a client hired me to do that look for a campaign I was like whoa I think that was like the first time like the light but was turned on to show my personal work now I showed in different ways I'll show it through and exhibit I'll show it through my books it's just a way for me to express how I feel because very often when you were just doing a job shooting for client you're shooting their vision and making their product look good you get caught up in that world but you still must shoot stuff for you that keeps you in the photography that is really your thumb print was not client telling you what they want it's just you shooting for you you need that I need that follow up question so is your personal work do you still stick with people? Is it mainly portrait or do you do landscapes do you d'oh other things besides people in your personal work I do because my sick it love after shooting people is travel so I have tons of landscapes travel images I love that but they're always resort to shooting people even when I'm traveling and stuff and I love that all right back to the roof jose photography says and from michigan says when doing fashion to the chutes always looked far away or do we zoom in more on the model and fill the frame with just with just a full shot of her? No ideologies that we couldn't hear everything that you were talking about on the roof so things he talked about that sounds good there's there's no rule is a matter of fact when you shooting fashion, if you go to a magazine and you open a spread, you'll see if it's a fashion story you'll see full body recorder tight if you doing a fashion story, you're shooting all of that you're not just doing pull back we're teaching today, so to teach that we are issuing a full body. If we're doing an actual story shooting a four story, it would be a four day shoot just in this one location or locations and you're shooting full body three quarter tight because you need all those elements to tell a story question from jake rain do you ever find that constant stopping and walking to the models makes them feel uncomfortable like they're doing something wrong? Uh, we should ask the models that bring the men's second second answer that way did answer that on the roof, but they might have heard that the first time she said it, so we should ask them that and see what the model says I can't say what I feel was five better coming from the horse's mouth, ok let's do that well, we'll wait for the models than cool, so another question um yeah there is that there were a number of more questions about interaction with the models so louise henry I asked the approach to talk when we're going when you were going back and forth is that just for new models or can that be with experience models to its it's more for new models or experience models because they need it they need the reassurance they need direction mohr from shooting a girl's month for a long time it's not as much it might happen in the very beginning of the shoot and maybe once throughout the shoot but not as much as with a new model the new model needs direction figures back there shooting and then you get back like oh, she could do anything she wasn't doing it's more you not communicating with her so a brand new model whose brand new into modeling and trying to her first time to do their first images she needs direction a lot of it so you have to go back and forth quite a bit and to follow up on that point who is mike? He asked you want the model to have the confidence so you keep shooting how do you stop something that's not working without killing the energy uh well when you're stopping to talk to them it's like starting all over again let's give them a fresh start giving them a fresh start um if I feel she's finally in the mode of give me what I want then I'm not going to interrupt it because then I want to flow but I feel that she's finally getting it and she's giving me the energy I want I'll continue to shoot then I feel she understands what I want I'm getting my images and I don't want to break that moment I feel I'm not getting it I'll stop and keep talking to her until I feel she's relaxed enough so I give me what I want so if the girls got the high energy but it's not working for you you'll stop you'll stop the shoot you okay? Absolutely okay great depends on the model so most were working with now a brand spanking new this is hard as it gets so a question from michael in atlanta with the shoot that we just did this morning on the roof would that be considered a test shoot that would be that would be absolutely to a degree she wouldn't be that style usually she would have she would have closed like that may be more you know I will take that back it will probably not be a test shoot because this is not really about showing the girl the way you sent to an agency this is mohr like teaching them how to communicate than doing a test for the model the tests you would not have these types of clothes usually is what distracting and it would get data very easily so I don't want that in the girl's book the would not like that in the girl's book long term they want in this little more carefree they want the energy is not about them trying to sell fashion he would have to teach photographers howto work models good question, all right let's see, fashion tv from singapore has asked said the model has spoken about hearing directions from a wall would you encourage your students to shoot with a tripod so that they can direct off camera without hiding their faces behind the viewfinder when giving instructions tripod get that question a lot from people often about should they use a tripod that's very personal I feel what I use a tripod that I don't get response in eighty that I want I can't move around I feel like I'm I don't like being tethered to anything I like going to get up and move around the way I feel I need to move the guys who love using tri part or ma nepad all the time I'm not one of them I want you to move around and catch of things as it flows in the tripod maybe stay in one place that's a personal thing you better welcome to jump in and any of you have any questions about what we did or anything you want to know about way it's this more about the clothes rather than the model it's about the model this point because they're really not experienced enough to show close yet, so I wouldn't really worry about putting a brand new model in great clothes because they're not really experienced enough yet to show off the clothes of the full potential, but I used to modeling right now and get a couple in their own skin, then you get a girl who get too close right now. They're not at that point, yet they're still they're still green, their brand new and a lot of girls will brand new feel like they want to be and some amazing closed because we make the pictures look better it won't they get better first, and then it gets great clothes it's that random tests for brand new model, she doesn't need prada and gucci and always amazing brands to wear because they're not right to show it yet not able to show close to the best of their ability. Good question. Uh, as we saw with care, cara kind of getting into the mood personally before we started shooting her from the photographers perspective, could we also kind of do the same as kind of just doing as we start to shoot kind of discount those first few images just to get them till absolutely, absolutely, because nobody will ever see all the shots you find the best image the first images are getting her comfortable fine you can shoot two hundred if you want to make her comfortable first and then people will only see the image that's printed that goes into your portfolio or her portfolio it takes whatever it takes to get her comfortable if it's a thousand shots it doesn't matter that's just the war to get her comfortable to get you to that spot is a matter of fact on this this shoot this is a very experienced girl we're doing a cover shoot so the entire day we started nine in the morning we do hair and makeup for like two hours and then I start shooting and we shot to five we shot all day long to get this one cover for the magazine and this is a very experienced model it's an all day shoot and as we shot this image I felt her this is an experienced model again I can't reiterate that enough she was she was great for the very beginning but I felt when I had this shot and I took a client oh my god this is the moment and we also what she fail into this moment she gave us like fifteen, twenty frames where they were absolutely amazing and that was in that moment and I felt it as we shot it and then I said we have this job we have it how long you keep shooting because they want to do more stuff but I knew we had it in this moment this party around maybe too fucking afternoon when this was done and I felt we had it we shot to five but I knew way had the shot in this moment and then they got back to editing the images they found the cover and like I told him and you feel it the more you start shooting you feel when it all clicks a brand new model it takes a lot more time to get her comfortable to get to the shot do you find it that it's for new models that it's helpful helpful to sometimes showed the image on the viewfinder sometimes you try to explain it and they I've noticed with some that I shot once I showed is that ok? They don't realize how they look yet with their body it is I don't like showing people so from the back of a monitor of the camera cause it's so small it's hard for them to see really especially in the sunlight they can barely see in bright sun was in the back of the camera um it might have a little bit depends on the model it's hard to read that I don't relax showing the back of the camera that often it's too hard for them to see it that's how I feel anyway let's have another question from the internet all right, another question. And then if you want to keep showing going through, says love the awesome. All right, so a question from a turtle or a turtle eighty eight as the photographer do you ever put yours? Do you do anything specific to put yourself in the mood that you're going for for this the look and feel the shoot. So, like, dress yourself based on the theme of the concept of the shoot, yeah, I think that sort of thing way before the actual shoot day and that's like, you know, doing your research, which I believe in heavily, um, getting us afraid for that job whenever I get hired for job, I'm thinking already about everything around it know what music out play for it. Who the hair mick will be. Why did you from my client without looking for I'm doing in terms of research before the shoot and the day of the shoot, same thing, you know, even more so. So yes, all about getting yourself in that space once you had that job, and the more you do it, the more it becomes like, you know, second nature.

Class Materials

bonus material with purchase

MJS creativeLIVE Keynote Slides.pdf

Ratings and Reviews

a Creativelive Student

This was more of a collaborative course with Matthew Jordan Smith and Yoanna House, and it is brilliant. I just finished watching this for a few hours straight. I own several Creative Live courses and this is definitely in my Top 3. Matthew's teaching style is so kind but to the point and informative. That's the kind of photographer I aim to be. He puts forth his knowledge here in a way that totally encouraged everyone involved. I loved Yoanna as well. She was very direct but friendly as well. I loved watching her direct the budding models and her experience showed quite well. This part is for John, the guy who commented on June 2017. I completely disagree with you that there were too many questions and that other people were talking much more than Matthew, and that that was a negative. Matthew's whole point was not just to get straight to shooting but to talk a bit about interacting with people in general. This wasn't just about technical stuff; this was about forming that connection between photographer and model/subject. This was as much psychology as it was about actual shooting, and I absolutely loved that. So I 100% strongly disagree with you as this is one of Creative Live's BEST courses that I've seen thus far. Thanks a ton, Matthew and Yoanna, and thanks so much again, Creative Live (I'm a huge fan of you guys!).

a Creativelive Student

So amazing !! Bought this and Lara jade Fashion Workshop and the 2 compliment each other really well. If you're interested in fashion photography these 2 courses are so inspiring. I Love the Matthews passion for the creative process, its inspiring and informative.

Student Work