Working with Models

Lesson 22 of 39

Challenges

 

Working with Models

Lesson 22 of 39

Challenges

 

Lesson Info

Challenges

Recently like when they break the role it's really interesting that catch my eyes because um when I go to school and then teachers I don't they stone did that and then like I see magazine at the break all the rules and that make stands out because something really unique about it, what do you think above break rigging the rules is so fight you said those exact words because I remember early on in my career somebody said to me, you know and photography in fashion be photography you learn all the rules about photography and then you break them if you look through even last night looking at the current issue of american vote september issue was like this thick with all the magazine and they are exactly doing that. Breaking the rules and always talked for is no everything there's no about photography and all the rules and standards they're breaking the rules and even today when a break rules our next shoot today is not a conventional shoot at all want change everything. So our next shoot t...

oday we're breaking rules and you'll see how to be a very different way of shooting as we fun and maybe brand new to you, I'm sure we'll have a lot of questions about oh, how in the world is he lighting this shot but it's not about that today it's about the connection you want about the lighting I have tons of videos in my store about how I lit different shoots but today is about connection and you guys getting connection the lighting will be interesting and intricate and technical but I want you to concern yourself with the connection between you and the model it will be more intimate than our first shoot our first shoot we're at a distance away from model you're bidding connection next shoot this is little more intimate and he said to work on that connection and how you do that so I left that question about breaking the rules you learn the rules to break the rules and fashion photographer anyway thanks for the question I'm question from carlo ribera who asked during a shoot and when something goes wrong with your camera equipment is it okay to tell the model about it or is it better to pretend everything is ok to keep the opposing flow going? You know I've been told by photographers to tell them what you're doing so that they're not they don't get uncomfortable just kind of talked him through I'm this is what I'm doing with the light or this is what I'm going forward here is that something that you do? I don't actually I do the opposite that if there's a problem on the sit and there are fifty people around clients who was being you know half a million dollars on a shoot they don't want to put your camera going down or having problems technically I don't every shoot something goes wrong it is the nature of the beast something will go wrong so my team that team again they're protecting everybody from knowing that's what is going wrong so at that point there's a problem the camera I'll go down put it down go talk to the models while my assistants scurrying around fixing that problem and nobody knows what's going on I don't think is a good idea for the model to know that there's a problem with the camera or computer or whatever I walk and have a conversation and build my bond with my client or the model as my crew fixes the problem is we always we all know in this industry that a light will go out or can we go down and you have you have backups for that part if something's going to happen period what every job lens camera battery something's going to go down the more you shoot because what happened? So do you have any recommendations for people that don't have a big crew? Yeah he's like even because we're starting a test and doing your your developing your career and even those first test it is just you in the model I don't want her to know if there's a problem I'm not gonna like say oh sorry my cameras broken or this has happened I'm gonna put it down, they just want to like work around it have lunch, you have a drink while I fix the problem because they're not photographers, they're not sure what that means that oh my lenses acting up like oh it's kind of broke I think I don't know I think it helps the shoot at all and they may not know understand anyway if you like saying, oh, my story is not working oh my my power cords broke or because you have another one and put it in and keep going you keep the flow going thank you positive that's my takeaway another question from paul earnest can you compare and contrast the communication style between a personal project or portrait subject versus a model? Yes, yes, so funny because it is different and I have the advantage of working on both of them recently um so with models in the industry, they're very aware have everything works there. They're used to being on sets around cameras being with lights, all that stuff so it's not a big it's not a mystery about anything they're comfortable being around the crazy sits a real person's, not a stranger for portrait then I used to any of that so you've got to communicate in different way ah models used to having my comments took a meter in their face it happens all the time a real a real person or an average person has never seen a meter you put it up to their face without saying, oh, I want to get this meter whilst explain is the light meter, it reads the light, I need to take a picture, so I take the leader and explaining what I'm doing. So then what does that? What does that? What does that? And, uh, even with this party I'm doing now, I'm going over america and I'm shooting strangers before I've never met before, I'm stopping them code to do a portrait, and then I'm lighting them some carrying all this gear with me all over america that if I've never seen before and it could be very intimidating, but I stopped them and my conversation has to make them comfortable as I like them to take my readings animal is no assistant with me, it's just me going around all this gear stopping strangers, making portrait pse and making them comfortable and that's not easy to do. I think it's kind of interesting that, you know, when you have so many great assistance and people helping you, the reality is that you have to know all of those things inside and out before you ever get to the level where you haven't been doing that for you, absolutely, and by doing the testing in the beginning of your career it teaches you all that stuff because the west thoughts with assistance and all is this crew of people you don't start that way that first test with tyra I did that ended in two in the morning it was me makeup artists and that was it it's the three of us so is me doing everything technically you know there's no assistants helping me sip the light and take the meter reading I'm doing all of that myself and even my person project right now I'm doing all of that myself on location under all types of conditions and the idea that I want for this project to make everything look consistent so well I'm shooting in hawaii or shooting in ohio or shooting in new hampshire where it is I want you all look consistently the same and that takes practice to be to do that without any weather sunshine, rain you know whatever it is it takes practice to do that and that means you've got to know your craft have a foundation, the testing teachers you would work in any situation tons of light shadow clouds in studio stroll no strobe you learn everything working as a fashion and beauty photographer everything in any situation I think it's so important when you're shooting cut that off like you need to have consistency because you shoot like throughout the days and then if you you need to set the light exactly the same absolutely you could be doing a catalog and shoot different states have to make it all of the same. Remember as an assistant where the entire crew went out to california from new york? Well, california issued a catalog and we got there and started pouring torrential rain they say the marines in california it did this time so the entire crew of the client decide to take the whole crew because I was like the forecasters like seven more days of consistent rain to the client said you know what? We're leaving we back the entire crew up and left california and went to miami continue the chute would make everything look consistently the same so you learn how to do that and that's invaluable I don't know this book making everything with the same too where I am any state with strangers you learn that in this industry and how important it is now more than ever because now everybody your clients but I had the same cameras you have anybody can buy a camera today and make a great shot that means nothing really can you tell a story make consistent having the camera means nothing it's just the tool is the paintbrush I can buy a paintbrush and a campus but I can't make a painting like michelangelo it's the artists the arse is the important part learning how to use those tools to make magic that's what this is all about our next section of shooting. We have a new tool painting differently. But it's all about how you communicate. I feel it's about communication more than anything else in my career was giving me. It must have given me a career is the communication with my clients and my subjects. Because there are a lot of great talkers out there. I teach anybody how the light, how to sit the camera to the right settings. Anybody can learn that the hard part is pulling it all together in pulling out a shot at you. Learn all that stuff. That's. The hard part. Learn the gear and technique and lighting. I think anybody that stuff this stuff, the connection. That's. The hard part is the most important part. I could teach you about having a team and crew and getting the right lights, which likes to use what stange's use which computer software to use. All of that stuff is not really that important. You need it. Of course. It's your tools to work. But the connection that's really important what you pulled out of your subjects that's the most important part.

Class Description

Want to learn how to find models, how to build your portfolio, and about the business of fashion photography? Fashion photographer Matthew Jordan Smith returns to the creativeLIVE studios for a 3-day workshop teaching photographers how to work with models! Matthew and fashion model Yoanna House from America's Next Top Model will take you through the model-photographer relationship from both sides, showing what sort of direction is helpful and what is confusing, how to cast for a photoshoot, and what you should look for in a model. Matthew will share his insights on how you get the look you need from a model and how to build relationships with models to get the best possible results. Models: want to learn how to be a successful model? Check out the related Modeling 101 workshop with Yoanna House!

Reviews

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.

a Creativelive Student
 

This course provided a lot of information that I was not aware of in the world of fashion photography. Great information.