Lessons
Day 1
1Intro to Beauty and Fashion
38:31 2Point of View
31:09 3Bonus: creativeLIVE Magazine Concept
05:46 4Beauty and Fashion Q&A
26:25 5Bonus: Fashion Style (11/11/11 11:11)
03:24 6Inspiration at Work
34:54 7Creativity Tips
32:56Storyboards
22:27 9Storyboards Q&A
39:01 10Cast and Crew
09:47 11Cast and Crew Q&A
13:25 12Lighting Setup
27:47 13Pre-Production
37:48 14Bonus: Homework Challenge
02:38Day 2
15Setting Up Lighting
38:31 16Shooting with a Beauty Dish
20:40 17Adding Modifiers
13:53 18Wardrobe & Makeup
08:05 19First Beauty Look
32:32 20First Beauty Look Q&A
25:27 21Prep for Second Beauty Look
54:52 22Second Beauty Look
47:34 23Special Guest: Chase Jarvis
22:02 24Third Beauty Look
25:53Day 3
25Setting Up Fashion Lighting
52:28 26Making Adjustments - Audience Q&A
16:58 27First Fashion Look (Variation)
15:53 28First Fashion Look
11:10 29Q&A with Stylist
09:33 30Second Fashion Look
17:34 31Audience Q&A
12:05 32Third Fashion Look
05:39 33Fourth Fashion Look
07:45 34Audience Q&A
39:16 35Student Shoot (Tyler)
07:55 36Student Shoot (Ben)
08:20 37Student Shoot (Kristi)
04:20 38Student Shoot (Carlos)
09:07 39Bonus: Working with the Team
05:26 40Fifth Fashion Look
18:36 41Audience Q&A
05:47 42Final Q&A
17:19 43Sixth Fashion Look
11:16 44Final Shoot of the Workshop
14:52 45Everything has a Beginning and an Ending
04:48Lesson Info
Adding Modifiers
So now we finally have a grid on eleven six so you getting eleven six with the reflector eleven five eleven six seven six seven five so really as nothing cause that light is so concentrated now so before before the grid the light's falling here now with the with the grid on the light's falling here it's very concentrated so it's really matter at all I will keep it and I'm going back to that again for the other shots so let's do our shop I would get back to f sixteen so can you go up two clicks on that pak channel b one and then two yet she did she did to you to locate some I'm gonna and one more sixteen five season five sixteen five go down one clicks team four sixteen to that's cool zero sixteen one so you know it's when john did the meter reading and we went up and then went back down again he did to pops that first pop was a dump of the power because that's not a real true reading the second pop was the real reading an experienced assistant knows that so as he changed the power he's...
gotta shoot one to dump the power and the second one's the true reading thank you man so now we'll shoot at f sixteen with our grid looking good man now this light you look much better on john then the first shot was concentrated came close aren't you so we can see this mountain better is doing it's seen the monster image they get a direct feed yeah, perfect perfect so we could see it better in the audience is closed that just a little bit yeah, the sides close individually so in effect the makeup that's good just don't block the hair and makeup that should be good. That should be good. So now we have two shots all with our beauty dish one light with the grid without the grid very different look, same light all we did was put the grid on it concentrated punchy without the grid clean and nice but I like that more woman than a guy it's. Not bad for a portion of a guy, but I like a little more texture on a guy's portrait now is and one small thing at a sock to the shot perfect. So now enter sock. I want test light first make sure nothing's moved five six point three five six point one five six point zero so it knocks it down four steps three stops three sixteen to eleven to eight to five six wow, three stops difference by adding with the sock on one eighth the power so I'm gonna go up on the power to get back to f sixteen the butterfly project the background this more lead where you're closer to the background or did you have more ambient light? I she was in the same distance as in a different space and that space it's white ceilings and lower ceilings so the ceilings and the space affects the shot as well. So before russia, the butterfly story on a very similar space because lower ceilings and its white ceilings and white walls as well it's just closer in and that's the difference but the space is about the same. Everything around you affects the image you're sealing at home your silly in a studio with walls are they brick? Are they white with a black all that affects the shot? It's not just the light in the background is everything in the space there? You know what it's fine, I don't are you eleven eleven eleven point one seven point zero eleven point zero get one one third I'm there. Is it possible we could need to can we combine and be on that? You know what? State eleven and I'll go down to eight and two thirds that down for a second. So what? Max power but our life has changed because this is lower than it was before, so he brings up for me like one inch, so why shoot and you make it just like this this is exactly what happens as you change something be off still higher still cause you still pull it back there right there that's coming right on my nose eight point eight eight point seven eight point seven a small change try that eight point eight point seven point six we'll try that so what? Eight point six eight point seven eight and two thirds I am still wasn't my saying formula and open up one third so from f ate I'm going too f nine eight point six you're getting a point six point six someone shoot at eight point three which is f nine on a digital camera confusing that is that is so all we've done is add a sock to the grid which is softening the grid shot just a little bit and here it comes so now we have a soft inversion and that clicker one more time matthew I've request for american the chatter would like to know if you can show us the difference between the light with him without the small reflector oh yes, absolutely ok thank you we'll do that one last so we now have three shots we have the grid with a sock the grid without a sock and a soft beauty dish was nothing so now our fourth shot will be just the shot with the sock on lino grid and then lastly would do it with a dish with the reflector also why you doing that western note way are using a sock and they come in different increments the soft that you buy from pro photo is thinner than this this sock is made by speed a tron and it's actually prefer this sock over the pro photo sock it's softer uh I feel it's more beautiful that's again my personal opinion you might like the pro photo version but I like this song on the show for a life so I have to go back again with more power down quite a bit so as my crew's changing light and ending uh socks and grids they're changing the light as well so hitting it is going up or down little by little so the photographers be aware of the image and the light actually drop down and get a little bit so we're down to twenty two now keep coming one more f twenty two yeah that's bottom okay sixteen five go down one what? There were more clicks going the master go down that one they're sixteen five more cleary sixteen two beautiful way up in my pocket for the moment so here we are beautician with the grid miss are with the sock that looks nice job bring it down a tad right there right there I didn't just my life yeah so it means what again sixteen perfect, so back to sixteen ride there that's nice perfect perfect perfect can hold this for a second for me so now we have all our shots be careful with that that can compare and find out what I think looks best for this shot we have the beautician with the sock we have go back we have the beautician with the sock and the grid we have just the grid and we have just the naked beautician what do I like for this shot through my testing where I like best is that shot the brutish with no grid and the sock so today we're shooting our cover this way now way to question a moment ago about the reflector so let's show before with with the reflector and without let's take that away for a second you spit it out like that's perfect and we'll shoot this well that hold there give me another reading against make sure where we are eleven nine eleven eight so we lost a third of all third so give me a slick up again when that sixteen two beautiful sixteen zero six teams here perfect here we go sixteen zero here you said to two in the middle confirm one one sixteen one give me one click just to see that up up sixteen four by back up a little bit here sixteen too okay I like that beautiful nice nice I'm shooting an f sixteen that's without that's about to come up wait for a second there we are so here we have, without and with without the reflector underneath, and with now on john, it looks good problems better without on a man or a model that's going amazing. So shoot this way. We're using our white be dish with the full sock and a reflector now already to shoot. I'll give this back to you, this body back. So now I had the sit down, so doing hair and makeup, my sisters, and only here, tweaking the light and getting it just right there, I'm looking at an image and making sure that's exactly what I want. It is off making small tweaks, but doing this process. It's, normally, just my assistance doing this. I'm told to my clients and talking to here and make up checking on them, looking at the clothing, making sure we find the right piece of wardrobe.
Class Materials
bonus material
Ratings and Reviews
a Creativelive Student
Thanks Matthew for the super informative courses. I'm from Thailand and I'm very impress with the way you speak. It is super clear and very easy to understand. Your answers to each questions are extremely inspirational. I think you are the best teacher on photographing so far on Creative Live. Each of your answers and information are very motivational and very thoughtful. Thanks again for this great Live broadcast. You are a great teacher and a very nice warm person as well.
a Creativelive Student
Thanks Matthew this two days have been amazing, and I am looking forward for the last day,,in which you will be talking aobut the photography i would like to do, since is my dream to be a fashion photographer i have learn a lot from you, and this expirience has been amazing, if i only lived in L.A. and not mexico city, i would definitely write you a letter and try to be your assistant to learn as much as possible from such and amazing photogrpher and person; once angain thanks for everything. Thamks creativelive for bringing this amazing photographers, and letting us learn more and more about the amazing world of photogrphy.
a Creativelive Student
This course has been an awesome experience. I have learned so much about the process of beauty and fashion photography. Matthew takes the viewer through the preliminary thought process. He not only covers the technical aspects but also the importance of the photographic team itself--the stylist, makeup artist, model and photo assistants. The photographer plus the team equals magic. I do not use the term amazing lightly. This man is AMAZING and INSPIRING! Thanks to Matthew, I feel confident that I will find my own vision.
Student Work
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