Working with Models

Lesson 27 of 39

Shoot: Matthew Working with New Models

 

Working with Models

Lesson 27 of 39

Shoot: Matthew Working with New Models

 

Lesson Info

Shoot: Matthew Working with New Models

All right, that's great time like that would change it around or start shooting again and won't work on trying to pull out more from both models. I want you guys to really pay attention to communication and how to get more stuff out of each model. I think a small adjustment or our main light also. So I just made a small adjustment I actually take took a piece of gap rotate black gaffer so my main light, as you can see, that was there. So I guess if you hold that for one second, I'm taking the black gaffer and making a little smaller there, so I'll take that body back. Thank you. Gps it's so good. I love the show. Keep your eyes closed. They was so beautiful. I want to stay in there. I'm gonna also pulled my seat back a little bit way small adjustment here is well itself flare. Exactly. So I'm making sure I don't get flares and this black card it was to keep me from getting hit by that back light, which is the only light we have in the room I want it sure is not hitting my limbs so he's...

moving in just a little bit he was getting flair that's going to go higher for me. That's nice that's nice. So if all these have the eyes close that's beautiful that's beautiful instead of actually touching it on what? The idea of touching it yes as we start shooting I want you to run your hand very slowly also slow motion devin that good neck passing right beautiful people being chastised chastise that's beautiful going a little closer toward her and could be at a different angle right there right there right there that's not fast. Nice that's nice job, beautiful beautiful new hire john new hire just like that that's nice to your face. To what? Because a tad more right in there right there right there, right? Just just like that just like that. Those hands make sure it's very soft and then turn it at an angle for me. You like that? Like that that's a bass where's work that's very filming just like that. You in johnny nice swing with the eyes close give me the hint of a smile like you have a secret and nobody else knows I want to feel like that because I should also have you faced is giving a small movements from side to side that's beautiful has people just like that right there right there, right past eyes cast eyes beautiful, beautiful that's nice bring face around toward me but even more and tilted so have your eyes now open looking toward john that's nice that's nice that's nice right there right there just like that just like that now I have the face where you're like looking down at you looking up and you're like it's spring your eyes about me as you look up I want that smirk yeah also got like a flirt well that's good job that's good that's good that's good oh that's nice that's nice that's nice beautiful that's what I want right there right there right there I loved well that's wonderful that's wonderful right there right there yes but the mouth going with the mouth go that's it's beautiful beautiful beautiful this's why I love this world this's so wonderful because you can do anything you want you can move things around I would have done a siri's from doing a job like this that first series which has turned away the ice floes will be one siri's when I feel I have that or it's not working I mean a small change into a whole siri's again here where I get her looking at me I keep going that's nice it's flirty I still have her in there I like seeing her I I like seems like it's the hint of the hearing that's beautiful past ties so that last shot when ty was shooting I interrupted and change the four by eight the flat from from white to black and I have these and white black just like this all the time for this purpose by training from black it became mohr intimate and moody if I go back and turn is backto white it's more open it changes the feeling matthew speaking of changing feeling we'd like to hear from katie difference between you shooting her versus maybe one of the students shooting her if you noticed anything different or your experience um yeah I think I thought a lot more direction just um kind of got more sense of what he was looking for I like directions so I think that that just made it a lot easier for me so um yeah let's do that again we're feeling like us he's a lot when you act that flirty thing the eyes toward me that was nice that was nice get that version that very like that and go jonathan angle you get her eye and the basque fast guy let's go to work let's go to work that's beautiful dear because like that last night with that thank you very salty with that hand very salt so instead of holding it you feel godfrey's you could move the hand so keep it changing throughout time give me like one finger used all the hand but he was soft and feminine oh that's nice looking away it's beautiful bass nice in that series looking away beautiful and keep that hand moving ask not what the eye toward me oh I love that last night stay there stay there I'm coming in close coming in close they're right that's nice well I looked close version past eyes past nice beautiful, beautiful fast pass it pass it beautiful just like that just like that uh this is lovely this lovely take a look at those for psychic I'm done you know I love this even coming in closer without with the macro lens aiken getting closer and it's like a totally different shot so then matthew can we switch get tara back and then absolutely dear thank you very much guitarra come on in. How are you doing here? I'm doing very good. Very good how you feeling? You set review that's quite nice. Wow. How do you feel wearing this? Um I love greens. What girl doesn't wait it's glitter in sparkling catches your eye miss you bringing around your face so what I felt when you did that well that you went into holding I wanted to be I want to be more like hold on folks that come with me for a second so when you're wearing this ring I want to feel like, come on, take a walk with me I want to feel likes my just give you this ring and you're happy about it you're like oh but it's never just like holding it in the polls it's movement it's really it's realize I want to feel that try to get that still polls look at me look at me look at me I want to feel like so much just give you this ring and you happy show you your best friend but your ring you just be in court in that moment so I want this may get a happy feeling forget about seductive I want happy like I want to see that from because your smell is so amazing I want to feel like you're like radiant although at this rate it's funny we use like this beaming with happiness about this ring I want feel that I don't believe that that's what I believe your real slap that's what I want that's what I want because that I believe so forget about that stuff give me that I'll catch that if you give it to me I'll catch it uh show me your smile your laugh kamu left that's it that's it that's that's more like it that's that's what I want coat on look that shot look at that shot because that's what I want to forget about the polls I want you because everybody interprets everything differently one model might see oh it's very intimate and sexy or my like oh this is great fun and I want that shot like that I want capture that I want to capture that alright that's beautiful that's beautiful that's beautiful open up a tad for beautiful let's go to work give me your smile give me a smile it is not to be here either could be here any way you want to be but whatever you do absolutely show me what you can do that's cool I want to feel so real laugh I want you to the moment not like hold it laugh I want the rial moment the real moment basque task right beautiful beautiful let me hear your life I want to hear it because I believe I believe it when I hear it past ice last night's last night just like that just like that just like that you don't hold on I'm coming closer to come on this side bring that hand here like you just like laughing like that and we'll come right to me bring it down more they're yelling so that lab there that's nice like backs like that beautiful, beautiful beautiful right there right there you're laughing I want to hear me that laugh me hear it let me hear it that's better that's better that's better that's it don't stop don't stop I'm not stopping don't stop right there right there right there you talked about two hands a minute ago what were you doing two hands give me them return you by profile may see a profile again oh beautiful come from this side inside that's the look that's the look but come like right there that's what I want that's what I want that's a visually stunning now I want that laugh give me the laugh right there could be the last last I want to hear it I want to hear it I want to hear it nice nice nice I want to hear I don't hear the laugh at all so that backhand take it back you're more yeah take that backhand back further further further past ties that's nice so I feel like from the neck up you're holding it leads to what you let go all of that let go of all of that I saw the hands move out sort of the shoulder movement and feel the head move so let go drop everything down for me and breathe that's better back now brain up little by little yeah let go again so as we shoot I think you're holding your breath let it go I want you to bring throughout I want you to think about breathing and just relax and let it go nash of the ring bastardize that's better that's good that's better that's sixty three then keep breathing keep breathing I love that past nice just like that right there right beautiful but head down that for me yeah now smell big smile ten percent more ten percent more that's great that's great like that right there right there right there beautiful come toward me a big smile past nice chastise beautiful now that I believe now that I believe that's what I'm talking about theo tour thank you very, very well look at these pictures but I want to talk about find out how you felt just now versus before what was it like doing this siri's s o during the whole week if everyone was watching my show or saw the other part of the show I kind of felt like a lot of models think that you have to be serious have like this pope is you look and and it's different things that they see in magazines and I think that this one this one shoot really I could bring out myself and that's what I've been going to d'oh all week and I finally got to do it finally was just like I feel so stiff here and you want me to be serious and I sort of laugh thought finally got to in the pictures and that's what you wanted to see me so I want to find your personality and when I find it then we'll keep you this I know that's sincerely you so if it's not if it's being seductive and is not in the core of you I want to find out what that is and once I find it I'll keep you in that space it's all about communication to find what works for that model I'm shooting like a jury campaign I have tendon models they're all gonna have different personalities gonna find what works for that girl was I find it I keep her in that space because then she'll shine that's how it works thank you thank you thank you that's how it works so well turn this light off for a second and talk to you guys about this as well and what it's like for you to start left to right when we started with you I like the environment a lot the beef rat make it cozy and like really like feel like protective and I felt the model also like more comfortable and, uh connection wise it was um I'm not used to like moving like subject movil all over the price and I follow as they go. But this competition like I have to think ok, what else I can still and because it's it's limited very area and and also like um yes, I was a really challenging experience stopping for a second before going david because having the v flats does help give you this feeling of intimacy even when you have thirty people on the set all around this helps give intimacy intimacy to the shop, even when you have a very experienced girl. This makes them feel better, or a big celebrity who's used to being in front of two hundred, people want a set of a movie. This helps I've heard from, so celebs have shot having this around helps give it's just a small little area, but it helps give you this little privacy on the set when you have a million people around staring at you. So if I have this, I got a better shot, you know? I don't have it. I needed to help my life, but also helps increase this barrier that makes them feel comfortable, it's very good and beneficial for photographer before anybody gets here, sit and this chair and know what it feels like to be that model and figure out how you can make them feel comfortable. So get in the habit of doing that as well, finding out how they feel when you're sitting there, doing on a testing before anybody gets there before the models and she's in hair and makeup sit there in that chair or sit in a place where she could be standing, we'll stand with the standing to figure out how she's going to feel it helps a lot, david uh, wolf through observation and just watching you and the other photographers was trying to synthesize that and you try to translate, ok. If I was in that seat, then how would I communicate again, connect and communicate with the models? And, uh, kind of went because that that analogy, as you put the models in the mood, if I was how would I would try to communicate that with them, perhaps like that romantic drama, to get that very mood and seductive and then with qatar, more of a romantic comedy, a little lightened, playful that's, how I saw it sounds good. Sounds good. You shoot on this one. But you were observing this. What if you like to watch this? I think to meet emphasized how the connection of the model, how much more important it is. And how different is this with everyone? If you just tell someone toe, you know, just caressed themselves and be sexy, that might not work for some models, they just might get shot down. So it was nice to see how you turned it around and completely went different direction, and it really worked out because it wasn't working for her. Find her space where she really shined was I found that I was like, oh, and sometimes that you're shooting, you're trying to force something to happen and it's not gonna work, got go a different direction, maybe times go the opposite way, and then you find what works taught. You know, this was new for me. I've never been in an environment quite that intimate, so it was, it was different, but if you're like, it was stressful. E I like the concept and all that, but I wasn't getting exactly what I wanted, and I wasn't sure exactly how to do it. I think any more practice, it takes practice, all this takes practice. This is giving you the tools to leave and go back home and tweak and make your own that's. We're all doing. You can't copy what somebody does exactly gonna make it your own, but your own thumbprint on it, and then you're comfortable.

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!

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