Working with Models

Lesson 30 of 39

Working with Multiple Models

 

Working with Models

Lesson 30 of 39

Working with Multiple Models

 

Lesson Info

Working with Multiple Models

So today is our final day of working with models, so I wanna make sure I give you is much information as possible to help your journey and as photographer were on it all on a journey so I want to show I give you all the tools for success. So yesterday we shot models one by one to different shoots, but we were shooting girls one at a time there's a lot of work doing that, but allow the work also in the industry, you're shooting multiple models together, so today we're changing the skew from being single images to being girls together. So your first testing your testing, usually on ly one girl at a time. But then as you start building your portfolio and getting hired to work to shoot jobs, you shooting multiple people together a lot. So now deal with two, three, four, five personalities at one time making come together and get a great shot, so it adds to difficulty and doing that. Today you'll be shooting mostly girls together working with multiple models. How does that happen? Well, yes...

, we need a bigger light to shoot multiple people. This is one of the tools I use I got questions early in the week about what's the light that I use one shooting big groups and this is one of them this is ah a huge paara so using bigger lights today we will be using that light but close to it so that's me in the bottom if you're curious so working with multiple models it's it's more difficult because you've got to set relating to one person to the group so it's still the same process of getting to know the model but you doing each one one by one and trying to pull out their personality and make them merge together so it's seamless together and that's not easy so once you feel you're comfortable with one model uh then you move on to doing multiple girls and trying to get them all to blend together where it works this is what tests you as a photographer to make sure the light's consistent and all that stuff and that's the easy part again the hard part is give them all to merge together where just works with cliques together we have all their attention and when you have big personalities, hair and makeup altogether try to make this one shot come together it's not easy so today you will be a tested even more than yesterday but it's been great fun don't get nervous I see their faces right now would be a lot of fun and as long as you have fun doing it, things work out better but this is where communication really pays off this is what communication really pays off when you have multiple people together and throughout your career you've probably doing mohr the shooting one model at a time as you progress as photographer and start really mastering your testing and the agencies now know you and they're calling you all the time and you're getting jobs most of those jobs will not be shooting one model at a time and I see a lot of people when they're testing and becoming fashion targets the shooting one girl but you've got to really start telling stories with multiple people and then managing that entire set that entire shoot to get what you want and having your your concept really tight together and having a storyboard or you call scheme together your old all your concepts together makes your life much easier we have multiple people on a set this is my first job in my career actually my first location job um I was probably a few months into shooting and I get my first big location job so the location was a go to st lucia in the caribbean for two weeks and do three fashion stories three fashion stories with multiple models so this is day one of that shoot and I remember this picture is so well I think about it all the time because it was my first time shooting models together and it was it was so different after shooting no tests with one model at a time so here I am on location in st lucia with ten models and I'm in charge of the entire crew for two weeks is like being thrown into the lines did but I had to like sink or swim and it taught me a lot doing this job and I love the process and even now this male model is now big actor so whenever I see him he still talks about this trip that we were away for two weeks and like last night with far crave live audience we were we were all bonding together and one things I love the most about this industry working in fashion and beauty is doing the trips and being away with an entire crew for a week or two weeks because you really bond together and whenever I see any of those models or from any of my trips nobody talks about the image or the shoots a my talks about everything else that happened on that job the bonding that happens within the group because you do become closer when you want a trip like this with a bunch of people the hair, the makeup, the stylist, the models the art director the art buyer everybody you're shooting all day long you're getting up three in the morning for the morning to start hair and makeup so you can shoot at first sunlight so you're working throughout the morning sometimes you breaks in the middle the day they start again at night and you shoot you might do that like seven, eight days in a row you're worn out by the end of the trip, but you have so many great memories as well, because you're also all eating together and going out together and and getting me to begin next month at three in the morning, do hair and makeup and use flashlights to get around and find out where you're going is a great experience backto muscle model, so even when you start to test you start building your career, start testing with model models when you can, you want always shoot images of each model for themselves and for the agency, but learn how to work with multiple, almost together that's what you really grow your career, learn how to get direct given direction to more than one model of time and thank you figure out where you want the energy to go who's the focus who you look at it will help you get bigger and better jobs with bigger models. Here are two x models were now big noah women who are doing very well in the career remember this job very well, I'm sure you cover of miles who are now doing very well on their own and other businesses, and should these two very big models and we had so much fun creating the images, so here we are behind the scenes, laughing, having a great time and it's just me talking to them and going back and talking about all the jobs we've done in the past. You know, reminiscing about our careers and being together for the first time together is the first time I had both tyra, any mind in one place, and I shot both the multiple times we're all together, reminiscing about all the things we've done over the last well, I won't say a zillion years, and then at the end of the shoot, they all want pictures as well remember the day because it's, all of our history, we have done a great job, people want to remember everything, so we've been talking a lot about fashion models, but there's another part of the industry as well and that's commercial models, because sometimes you'll be hired to do a job outside of the fashion world. But you still using all the contacts and all the experience you learn from the fashion world, so I want touch on that briefly before you go on and get you guys ready to start shooting, so commercial models it's another korea altogether, and people who work in the commercial sector can have very good careers the models the photographer is remember, so I want to make you expand your vision beyond just fashion and beauty, because it's another world, the compassion commercial realm. So here we are, get ready to shoot a an ad for for wells fargo and on this job, this is our last shoot of the day we were in three different locations. We've been casting models for a month for this job. We're shooting all types of people from babies, two children, two teenagers to young adults to older adults to grand parents, some casting all these different characters together. And when you have babies, it's another thing not to get because you have to have most babies in case one cries and it's another ball of wax. So for this shot, I'm shooting a grandfather playing chess with his granddaughter, so a casting left and right. And early in the week, I talked about the grandfather who had been cast for job he had to shave off, he shaved off his beard a week after to see the commercials shot this the grandfather with his fake beard on now. So here I am, giving them direction, so I have my story board in my hand, I'm telling them exactly what I want and making sure I get the right energy and in the back there's a makeup artist. And she's making pars I use a lot when I test and we met first testing so then when I get a job I hire her for the job so here I am again because I'm giving them all the right direction so I can get the energy I want for the shot and look how she's looking at him to get the direction she's like ok are you really understand what he's saying and quicker so here we are sitting up so very often what looks natural is not natural this is a big city we have winnebago we have lights, we have generators we have ah huge crew dues one shot we've been casting we've been scouting all over to get all the shots together and here we have the layout so it's the same thing when you're doing your tests I use my visuals in fashion to help tell the story and even in advertising had my visuals that we use to tell a story to get everybody on the same page and this is very, very common so get used to doing it now having visuals toe work from and when you have multiple models in one place this really helps save the day having it with you all the time to keep everybody on the same page so offer shoot today we want to do it without any visuals so you get a feel for what that feels like and then the second shoot, we're going to use visuals so we can see the difference don't you guys to really pay attention to what that feels like to shoot without any visuals at all? And then she again having visuals, and then you can experience the difference and how will help you become a bit of photographer not say that the second it would be easier, but it might be slightly easier. So here we are on the set shooting. Now they're both into character, she's into character and he's the character if I just put them both in this area and say, oh, guys, just play chess and take pictures and think about the lights and the cameras making sure all that's together. I've done myself this service because the focus is really in getting a great shot out of them. The focus is getting a great shot out of my subjects and making sure I put them into character so they can produce what I want. So I have a grandfather who's experienced commercial model slash actor, and then I have a brand new young model doing her first job, so god coax her into really figuring out that this is her grandfather don't pretend this is really your grandfather, your playing chess with him in the park and he's beating you and he's teaching how to play so I want that and I want to feel that there's a connection between both of you and she was very, very good I looked on the first job of her career and he helped her along as well but by their expressions you can tell they're having a great time playing chess oh and by the way the the guy with the thing over his head is my digital technician so as I'm shooting in studio we have a big monitor and you can see what's going on on location I also have a monitor but outside it's very hard to see so he has a cover over his heads we can see everything that's happening as I shoot so here we are again from the other angle looking from the models point of view and I think it's very important when you are shooting any situation with any models, be it fashion, beauty or commercial to sit where they are and understand what they're seeing so you notice like to be in their shoes so I put this slide in here just gets can see what they see all the craziness behind the city, the clients, the lights and could be very intimidating first for them to be the focus so think about what feels like to be here and it will help you become a better photographer as well and here I am just so looking over the images as well, with my head under the cover, why did you take my assistance in the back sitting up? We're blocking the light and they were feeling the light what we did yesterday morning, actually on the roof, but it's a lot more people here it's a lot more production and we're shooting and we have a schedule and it's pretty intense fashion leaves to so much more. So going back into commercial work, I never pursued the commercial work, but after doing my fashion and beauty work, other clients came to me the clients like like wells fargo caney, based off of my my fashion beauty work and that led to so much more doing fashion beauty led to me shooting multiple celebrities together because you learned how to use shoot models together, they hired to do other thing, so here I'm doing shit with multiple celebrities, and I'm showing them the visuals and they're into it I love involving them in some way, so here I'm showing them a polaroid, which already shoot that much anymore. But I still like having a small printer on big shoots that can have a print out and walk over to show them something that here and I'm like, oh, yeah, giving my points to my client and they feel left out, so I'm always walking up to my clients and showing them or the subjects and showing them what's going on said they get involved and they can hold it, and with polaroids, I'm nose in my career, people always if you go to show somebody something this's your polaroid, when I walked over to the with the polaroid and I'm showing them they always want to hold it, they always want to touch it, and when they touch it is part of them, they're connected to it. So I've always loved having a polaroid onto say, give that back, mr I've always loved having polaroids on the set. We're having images on the set when I shoot and letting them touch it, hold it, it makes a big difference and it's easier for them to feel connected to the shoot and then doing fashion. Did you lead two doing other type of advertising, which is the cream of the crop when it comes to the shooting, fashion and beauty doing the ads when you open this month's vogue magazine, the first half of the magazine is all advertising, which pays for the magazine the ads paid for the magazine, and then in the last third of the book, you're having all the editorial that first part of the book that first half to three course the book is all advertising and all the big september issues even to go online and have the the ipad version is all advertising but shot by fashion targets and start the career doing tests being their book then starting to get more than one model she model models together even today if you go home and know that this is over, look those magazines and see how many shots done with more than one model it's a lot to do with more put personalities and get to work together and were shooting advertising you're doing more concepts more conceptual work so here I have to make it feel like it's sunlight into the vein but we're in studio so now it's time for you guys to get ready to shoot but before that I want to talk to you guys and find out how you feel about yesterday how you felt about doing this shoot was it like for you and how do you feel now with the idea of shooting multiple models? I'll start with you david thank you uh at the beginning the shoot you have some nervous excitement as there was some that element of uncertainty and the unknown but definitely what I appreciated as you coached each of us give you gave us with tools of the the theme or the setting and just help helping us too to connect to communicate established the report with the models and then throughout the shoot I think way were able to the model and then the photographers kind of settled in and so that was awesome. So now that knowing that you're going to shoot more than one girl at a time how you feeling I actually feel better I and especially throughout the day being able to interact with all for the models yeah, I feel much more comfortable fantastic agnes yeah I'm sorry I feel more ready after yesterday. I mean yesterday during that should definitely there are some anxiety but more from the perspective off everyone being there on the on the roof where I was shooting at least so it's like it's bigger thing not necessary bigger production because we had one or two model this end the lighting wasn't that elaborate but does the peoples from that perspective but as far as model photographer interaction I feel more ready after yesterday sounds good sounds good. I want to give us more time to shoot six we had more models you guys complete focus in on making the connection and I'm going to focus on you as well on all of you guys and your connection with the models and how you get something out of them because now you know their personalities so remember their personalities and for whatever special about each of them out when we're shooting coming I'm excited to shoot multiple model because I never done it before so this gonna be a great lesson and it was really difficult to connect with a short time and I I would like to know how I would do it with the multiple model with connecting a same time and with the same energy level on dh yeah sounds good, todd well yesterday was new for me uh shooting that close so I don't know if we'll be that close with the models today or not but um it was it was interesting new different um I learned a lot so yeah, I'm more prepared I think for for doing it today but sounds good. Sounds good and how do you feel having your first meal by having indian food also last night feel pretty good today was great food that was amazing food last night, so I'm excited to have you guys doing this first shoot with multiple models and this is like the woman for this afternoon again like I said, you'd be using shooting without any visuals first so it's going to call you use more communication to give him the idea of what you want and I'll tell you together after get off sits on the break I'll tell you what I want you to do and that you work to pull out the energy of each model today is really focused on pulling out energy and connecting with your models that's what's all about don't worry about your cameras, the settings, the lights all that stuff you can learn they've drawn or you go back to the first video and learn more about the lighting that part's easy the hard part is making that connection the hard part is making the connection and remember everybody has a camera today your clients your best friend your grandmother able has by the same camera that you have now and they could do great pictures out of the box and take a great picture but it's more than just the camera it's that connection that you make with your subject so I wanna make sure you guys focused on that all day long with multiple models in the room and when it was shooting without having a lot of people around focus on this shoot, we don't have the music and actually we have all things together it makes it harder sometimes you got to refocus on staying with the models and staying in tune with what you're doing and not be distracted by anything going around and today is gonna be a lot going around at the same time, so I'll make sure I remind you guys to stay focused on what the task at hand is that questions about this I'm sure people are curious were absolutely absolutely so we'll ask him questions about going backto that's what we talked about if you don't mind let's see there was a question about from eduardo loria I would like to know who prepares the visualization drawings what did wells fargo draw that picture of the grandfather and the radio? They didn't think the art director drew the sketches for that and with advertising him but art department that usually will give you visuals and doing that kind of work has helped me and making my visuals and I want to go back even further than that because I think this is important and nobody tells you this you have to learn the hard way and I learned it the hard way so you are shooting your your tests and beginning of your career and then you finally get hired to shut shooting models for editorial so now you're shooting for client shooting editorials and they're hiring all the time and people seeing your name in the magazine and then advertising world starts calling you so you start going in and doing those means for advertising so my first my first meetings to shoot advertising like that wells fargo campaign I go in and you're in a board room and you have these multiple meetings because it's a lot more money on the lines a lot more stress involved and they all want to know how you feel about their concept and the concept can be a stick figure it could be barely that or it could be very elaborate drawing like you saw with the wells fargo one but they didn't give you anything and you tell the entire room how you won't translate it. So learning how to communicate in that way is very important. They want to know how you wanna bring this piece of paper to life. So then you there you are in a board room telling everybody around the clients the contractors are bias could be twenty people. You could explain how you gonna bring this piece of paper to life. So the more you learn how to communicate with the models as you shoot the better you could tell this boardroom how you gonna bring that sheet of paper? Toe life. They want to know how you're not light it, how you bring to life, how you gonna make the father work with the granddaughter and all your different ideas. So it's, good to learn to work with visuals. You can walk to those meetings and make it work. And with advertising it's a very competitive industry, being in photography with advertising when you're up for the job using up against to the photographers it's always a a three way being so many times it comes down to a phone call. The agency has three photographers who all have great books and all capable of doing the job, and it comes down to a phone call if each photographer where you've got describe describe what you're going to do and how you going to do it and on that phone call you can get the job or lose the job and that's very important and something that people never tell you but that phone call is extremely important when you have the pre pro call it might be you'll probably be showing this perhaps but something green ball we don't see as good a time yes it sinks in mccall penn photo and russia in india who's in kolkata is asking yesterday we saw you speak to the models one by one the four before the shoot how do you speak to multiple model's simultaneously or one by one and then again mccarley pin photo says how do you talk with a group of models and get all in the same feeling of the shoot style I do it one by one same cross this one by one and then I don't want my one when they're offset before they get on set and then together as a group or from one is not getting anyone making the energy from one I get it from another girl I'll pull one off and talk to her we'll talk to him to get it together but it's still communication and community going and having the visuals really helps you don't really want to like no pulling girl off and here I feel like I'm missing wrong so I'll say oh, I want you guys so I make it still like the collective versus one person even though I'm playing her off to the side a little bit I'm saying I want all of you guys to do this just makes perfect and you be practicing today question from the free miner who's from l a can you talk about that? Any differences between working with commercial models and fashion models? Uh, yes, there's a big difference with commercial malls versus fashion models um, they're used to working in their own fields and a lot of commercial models have acting experience because they're doing they're very they're used to going up for commercial editions and playing a role, so in some ways it's, sometimes easier shooting commercial models didn't fashion models because they never posing it's never like a polls that was being a character and that helps in getting the engine you want for shot. So is very different, but the casting process all that's the same it's just how you work with them on the shoot when you say they go up for commercials, I mean, they tried to be in commercials, right? Always there speaking, they're going, they're going for an ad for adult tv, commercial or ivory or kmart or j c penney's it's a little different and sometimes they run together sometimes you have commercial models and fashion models all casting for the same jobs for j c penney's could be commercial models and you know, fashion models all competing for the same jobs sometimes they emerge interesting question from a soothing is how do you deal with communication issues when the model doesn't speak english oh the same languages I like that question so much because very often especially in fashion if you could talk for new york you're working with people crews from all over the world and very often they're not you know, english speaking or american they could be all brazilian or french or italian or anything anything and I loved that about new york it's really a melting pot um but communication is not just verbal communication is not just verbal we speak with all body language with our visuals in multiple ways I went to india this morning I went to india years ago have their four month and one day that stands out in my mind the entire trip was amazing but one day it sends out my mind is I got really early because I heard that the fishermen were out of time and then go up and bingo uh I go and on the beach and it's before sunrise is dark and I can hear that there are people somewhere by can't see them some walking with my camera now we're kind of thinking where these guys are the light comes up that's not saying that it's not a fisherman, but it's a group of kids like twenty kids and the plane with the fishermen's nets and they can't speak, you know, english by walk over and we start taking pictures that first a very apprehensive about me, but then we form this communication, and by the end of it, I'm taking pictures that always zipping around me to see the pictures, and it was like a great morning for me we couldn't speak to each other at all, but we were communicating the entire time and the fashion issues the same thing I think I showed a picture, yes, they have a girl that cast and she was italian, she can speak english that well, it's a little bit, but I can speak italian at all, you know, by being that took the bait and that's about it, but we're communicating and we're getting what we want. So, do you have any any sort of practical tips on that? Do you have an interpreter? Do you? I have another person there how much I've never used one to shoot performed, I think about shoots, we've had girls who I don't know guys don't speak english, um, it's happened quite a bit, or is there just that sense, it's just that since I mean you feel certain things if you can't talk to them about how to move, you can show them how to move like, oh no, bring ahead here and they just get it call it happens is that shot? The first shot of those three girls together, one with african american was german. When was japanese? So it happens a lot. You learn how to communicate in different ways. I love traveling anyway, I love traveling and I often go to places where I can't speak the language my first time going to japan for, like, ten years ago, I go, then I get off the plane, I'm like, oh my god, no, I can't read inside, you can't figure out how to get to the hotel and, uh, you just learn how to communicate and you get around same thing I went to india went to india and by myself I want interpol by myself, I can't speak the language, but you learn how to make things work. It happens, I remember going tio, scotland were they speak english but can understand what you're saying. I have a question from sean walder, and there was other people that had asked this about stitching individual shots together uh, can many shots like the one that you showed what the three girls can you do that instead? Absolutely it is a matter of fact that happens a lot that happens a lot as a matter fact that shot was done that way we shot it we shot two ways we shot it first of them uh together and we had a different girl in one point when we shot them all separately and was easier doing it separately and getting the energy put them together and that's very very common that's interesting it's very, very common because the ability to match the same mood the move and the lighting because you can't do that you could be hired on this before where to shoot apartment job in new york important chicago and putting together so get make sure you're consistent with your lighting and everything so it all matches shadows the whole nine yards that's hard but it can be done so you always shoot them individually now there's always not always but several times where I shot them separately but together and you make that decision you want to stitch them for the clients sometimes even even with groups if you're shooting a cover of a magazine, this is extremely common where you'll shoot a group together and the client will pull out a different shot of one person in print with the other from a different shoot by they like might like I'll shoot off where you guys together for a big shot kind will love three of you guys in one shot but hate him on the end and use its vin shot of him and put him in that shot. That happens all the time. It comes to mind covers of magazines where there's like ten movie stars all posing together. So what are the chances that that shot was actually all of them in that moment? Part they probably probably not probably not probably not especially ten people like that happens a lot. Okay. Happens more often than not. It happens like that. Cool. So this is a definitely an interesting topic that a few people are asking. And one is edward deloria. How do you manage the egos of the models on then? Fashion tv goes further. What are the telltale signs that a model is out outshining the others? How do you address it? How do you get that same model to be part of the collective energy rather than stealing great questions? Because that is that's very common. Also you always managing, and this is never a chute where everybody is the same. It doesn't happen, except maybe the shoot with iman and tyra. But besides that, um, there's always a difference that's going to outshine the other and you've got to put more work into the person who is not as experienced or is the energy is lower, it takes, uh, communication and learning how to have people one by one and you get better at it as you shoot more in terms of working with the big eagle's I do with that a lot daly is a matter of fact um and there's a way to deal with that that's right another class altogether because that's a whole other ball of wax I do if eagles all the time um you just learn how to deal with people um here's a story stories a great so I was hired to shoot a woman who is known to be really hard actually I've had a couple of jobs like that it's hard to shoot a woman who's known to be very aggressive and not give time to anybody so we're going to a location and my crew gets there and when we get to this location another crew is leaving actually like cnn who's leaving they just interview this woman so they're leaving we're coming in to photograph for so my crew gets out we're sitting up and was shooting at one of her houses and we get to the house and there's a sign of door take your shoes off my crew takes issues off they bring in all the gear and I had said something to the house before we arrived my crew didn't know this, but I have since into the house for her before we arrived so we get inside and my whole crew knew about her reputation and they were a little apprehensive about being there so they're walking in setting up and she walks out and she screams at my assistance who is matthew jordan smith and uh all like he's right over there so she comes over me he says you're matthew she's got shocked to see me she walks over and using this big hug and she does nobody's ever sent me flowers before before shoot so assures his passion say her name but it was a wonderful shoot she want the flowers in the shot and we were driving to a location inspired two hours from new york so much how he drove back to new york she had personally called my agent and hired me to do three more jobs and one of those jobs was shooting her with michael jordan is the first time I met michael jordan through her and that led to another series of shoots with for michael so life is funny you learn how to manage personalities or you have your tricks that work I've seen the same woman out and about in new york city and she always stops and comes to me and says hello that's the power photography making people feel good and I love that process this I love it it's not always easy and you don't always win you don't always win if you win ninety percent of time is great and also working as an assistant you learn all this stuff because you see it all the time when you're the assistant washington talk for learn how to deal with egos and personalities it's amazing it's a great thing and you do make people feel good and I'm I'm thinking that part of your success is probably that you leave your ego at the door I do and now does that help get your honest wait a minute wait for the most part you are pretty you are you do are pretty eagle this yeah that's how I love what I do I know I'm blessed to make a living doing what I love I'm blessed here to make a living doing what I love and it's a great career I mean, I've seen the entire world based off of photography inspired people in spite, others been inspired based off of photography and I love it and I know I'm blessed to get to do what I do I don't take it for granted you could be going like that, matthew, we have about ten minutes we're going to take a break a little bit early today do you want to just go ahead with q and a for the next ten minutes is good on cool okay let's do that I have a question from fashion tv from singapore I love these guys they give us for five days and our old singapore has been with us we love you guys yeah they're amazing so um the question is I really like this question matthew in a commercial or fashion set how do you determine who is the hero especially when there's a group of subjects or are you looking for heroes that's a great question that's a great question thank you fashion tv they're always on point yes at that point there are mostly heroes but at that point the theme is the hero that the people per se but the theme becomes the hero and today on our last shoot us see that theme become the hero sometimes it's not so obvious that it's the person who's a theme or the hero of the shot sometimes is the theme that abel is working together to make come to life that becomes the hero so I'll ask you today the theme is the hero of the shot that's not such a great question thank you guys so much keep them coming like that we love that all right so I have a question from the free minder in l a since we've been talking about commercial models this morning a little bit when shooting portfolio for commercial models is the principal still keeping the face clean so similar I guess perhaps testing labs and even more so of commercial models even more so because they may have their images in their book longer so having images that are really timeless are important um things that date images you would be careful about that um things like clothing makeup can date an image commercial model may have the pictures in a book longer than a fashion model so be careful about those images that you shoot make sure you get images that fit into what they're going up for the type of jobs that they're going for that helps you also become a better photographer by learning how to shoot both cups of models that you had a shoot to the types of clients and what their needs are that's a good question thank you very much l a mcalpin photo asked how do you work with a model that looks uncomfortable with the type of shoot or the concept? How do you make a perfect her feel better about that's very good because that's very common also uh is macau in macau it's spelled m a c a l pin photo focus I'm not sure so if you're macau I'm dying to get there one day so um I do believe that when you had the situation that happens often where the model is not having what they must wear you've got no remind them that this is a job clients paying you and this is the concept but very often you want have a brand new girl girls with newer into the mauling they will hate they make up what they have on but they're being hired to bring to life you got to remind them of that so sometimes you have to be a director even when you have like you know a temperamental actor oh actor you've got remind them that you are the director and same in the point with with models that's when you're not being so nice but you have to put your foot down to get the shotgun remind everybody what the job is a hand so interesting question from bfm photo is do you do tests with multiple models I have I have done test model models but they're not test like you do in the very beginning of your career uh it's very different it is he's only like test that way um you couldn't do it once you have a name but you still have to shoot each girl uh for the agency at the same time if you're doing a test like that more is better when a suspect story because most of what I do tests with mortal models question from dj when shooting in location away from home do you ever hire a fixer to help with cultural differences or do you just research what might be particular to that place culturally to avoid problems? Oh that's a very good question because normal changes in every country so it's good to know it's different good to know cultures everything because and americans are bad this at times of going to a place it's like a body else to be like we are in america and that's that's not a good thing so it's definite advantage to have somebody who's a local there to help you. And when on location, even going to the caribbean will hire a local person if I go to canada ira local person to help it's always a benefit, so don't get yourself in a bad situation doesn't go anywhere in the world and things change. So an interesting question from dmitry five year three dimitri, how important is it to have a photo assistant that matches your personality? Or do you go for somebody that's different? Fasten the good question that's a very, very, very good question when you get to the point where you're hiring assistance, who you surround yourself with, it is a reflection of you and I learned that early on when I was an assistant because everybody in the crew is a reflection on the photographer because you hired that person so personalities are extremely important more than anything else. Sometimes when comes the assistant I could teach anybody to be a good assistant personality is really important, I don't want somebody who's going toe clash of my personality that I can't travel with five days, I can't wait to get away from this person they've got to be on a mission with the team so that's a big part yes, absolutely I would not hire assistant what clashed with me or my crew I mean we're not even clashing but is there like reason takes to get somebody who complements you that might be deal with people in a different way that's complementary not wait by has their own personality and especially being artists and I consider photographers artists were the creative industry so they can be different than me. I don't mind that at all um as long as a respectful of me and the hierarchy on a shoe that's more important for me and know how to act, one said, which is why that assisting workshop is so important as well knowing how to be one sit very important we'll just ask a couple questions that school right? Mike morris asked you ever encounter a situation where multiple models who are capable of successfully performing a shoot individually simply cannot sink up as a team and how do you move forward if this occurred? Yeah, you have I mean, the more you shoot, you'll run to every situation out there you might have a chute where you have girls who don't get along together want to shoot behalf too be together so it just depends it just depends when you have situations you must manage the set once you know you have a situation you're careful about how you place people together but that happens I'm thinking about situations where it's happened before and you just have to like roll with the punches you you come over you come across all types of problems as you shoot and it's usually people related when I set something always goes wrong it could be a light going down, huh? Like blowing lin's night working right what could be the people anything can happen but you learn that you have different personalities in this korean the more you shoot you learn how to do with anything and everything comes to you and it will happen something will always happen I guarantee that is for sure it's always something always something that's called the beauty of that those creative industry and you're you know you're running and gunning and I have a shoot in stressful environments and it's you just make it happen you make it happen all right here's another question from deed linda rhee on a commercial shoot how much input do you have into the story of that the art creative director has developed or do you just create the images around the storyboard they've created? You're shooting their story at that point they're hiring you to shoot their concept for advertising it's not your story at all but you bring it to life so you have input on how you break toe life but not the story per se there are ads I've done where I'll shoot the concept the way it is in the storyboard and then give a slight variation so I should it two different ways and that's fairly common as well but you're putting your finger print over the work they're hiring you sometimes for your style to interpret their image with your style of shooting I mean look they've lost a pale and his work has been like changed around for different clients that's very common so have a question from the s and photo I would like to know about the woman that you gave flowers to wanted to know if you gave flowers to hurt each and every time he shot her after that actually yes I do did you know I should celebrities always and flowers are shot vanessa williams maybe twenty times in my career and I always send her flowers and she waved leaves with the flowers I shoot her or location or if I should her at her house or a shooter in new york l a I was in flowers and how many other photographers in the industry are like you how many other photographers do that there are a couple because I should have my friends and I know one of my other friends who does that now also um it's coming I learned it from a photographer when I was a sitting assistant so it happens that's how I learned it

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.