Working with Talent
Lesson 10 from: Fine Art Conceptual Photography from Shoot through Post-ProcessingBella Kotak, Pratik Naik
Working with Talent
Lesson 10 from: Fine Art Conceptual Photography from Shoot through Post-ProcessingBella Kotak, Pratik Naik
Lessons
Class Introduction
04:47 2Artistic Vision and Inspiration
17:06 3Personal Projects
18:59 4Creative Motivation and Defining Your Story
15:15 5Organizing Your Inspiration
16:26 6Building A Character
03:19 7Creating Wardrobe and Props
33:59 8Location Scouting
12:55Resourcing a Team
17:52 10Working with Talent
06:39 11Building Community
05:06 12Scouting Location Pros and Cons
11:29 13Camera Gear and Modifiers
10:03 14Shoot Set Up and Styling
11:34 15Test Shots With Model
06:04 16Location Shoot: Model in Red Azaleas
26:04 17Location Shoot: Composite Pieces
16:35 18Plates Extending the Scene
07:11 19Set Concept and Design Overview
08:31 20Demo: Equipment Overview
04:39 21Shoot Set Up
08:12 22Shoot: Test Shots
15:08 23Shoot: Standing Against Flower Wall
06:47 24Composite Pieces: Hair
05:31 25Shoot: Overhead on Flower Wall
22:22 26Adjusting Images With Composite Shots
07:25 27Color Theory
11:40 28Capture One: Image Selection and Color Toning
19:42 29Moving from Capture One to Photoshop
17:01 30Compositing Hair
15:52 31Healing Brush Tool
06:42 32Dodge and Burn Tool
08:14 33Liquify Tool
12:01 34Adjustment Layers of Color Toning
35:05 35Blending Modes
10:44 36Channels and Channel Mixer
05:16 37Selects for In Studio Image
08:57 38Compositing Background
13:58 39Compositing Additional Elements
09:49 40Gradient Maps
15:51 41Color Toning with Controlled Light
21:32 42Adjust Skin Tones
17:27 43Retouching Skin
17:12 44Spot Healing Brush
06:11 45Clone Brush
03:47 46Dodge and Burn
18:49 47Sharpening
10:42 48Critique
15:40Lesson Info
Working with Talent
Working with talent and communicating with talent before the shoot. So I kind of briefly did go over that, where I did say, be very honest and forthcoming about what exactly you're going to deliver and what you're not going to deliver and that will save you and them a lot of trouble because then, you both know where you're standing. I always allow my model to be creative. Yeah, you get input from your whole team, which is great. I do. I always have a vision that I want to capture, but then I very, very much encourage people to share any particular angles they see, I can't see. I think several pairs of eyes are sharper than just one. Sometimes you've seen a picture. Right. And I'm like, oh my god, thank you for telling me. I got mad at you once didn't I? What was it, what was it? One of the first things we shot together, he filmed it, but he didn't tell me that framing from this particular angle wasn't so stunning. Oh, she's really mean, I'm telling you. When you're on set...
with her. Why didn't you tell me? I was really like, next time just tell me. Yeah. Yeah Yeah. I did have a question that had come in from Jeremy who said, "Can you talk a little bit more "about what you look for again, "when you are selecting models to work with." What are some of the things that you do look for? If I'm selecting a model, specifically for a shoot, so most often than not I'm not working with actual models, I'm working with friends, people that I have approached. But if I had to select a model, then it just depends on the type of character I want to capture. For me, I know that I like to go for delicate built girls. It's funny, skin color is not a problem for me. I actually love diversity, but it just so happens in Oxford, I don't have that much options. I don't know any like, that's why I send these of myself and my pictures, because you know, you get some diversity in them. But I don't know, but if I could, I would happily look for diversity as well, because I think all colors are beautiful. Delicate features are something I always look for because they photograph really pretty and I'm going for that pretty soft look. So you know like little, not little, but nice lines on the nose, a nice line in the eyes. Even if it's not perfect, that's okay because we have Photoshop. So, you know, what else? And using painting as reference like big eyes. Yeah, yeah and I don't worry too much about the height because I'm shooting a fine art piece. However, if I was shooting a fashion shoot, then yes I would have a taller girl because the longer lines, lead for the clothes to sit a little bit more properly just because a lot of clothes are designed for taller girls, you know. So for fine art stuff height isn't a factor for me. But it's really just the features that I'm looking at. If I could be more specific, if they have a history in dance that's great as well because people who've done ballet before can do ballet soft hands. That's been trained since they were little and they're hands are naturally very soft and gentle and I don't have to guide them too much into those poses. So, that's pretty much what I look for. Thank you. Just one quick question, with that last photo of Scarlett, as well as the one you recently posted, she had pearls on her skin Yeah I was curious how you attached those as well as the flowers on the strips of fabric that you used. Yes, so whenever I stick things on faces I use eyelash glue, so if it's safe enough to use around your eyes it's safe enough to use on the face. And it's pretty strong, so you just apply a bit of glue, wait for a little while 'til it gets tacky and then stick things on. So I stick like flowers on, I stick pearls now, and at one point I was taking, you saw some gold leaf on the eyebrows, I would just put eyelash glue there and then just stick the gold leaf. So, super handy thing to have in your bag. Another thing about the strips of fabric, I was using the strips and then sticking the flowers on there using a glue gun. Then I would just pin it, it was really as simple as just safety pinning the strips of fabric onto the dress and it made the dress all flowery. And if something falls off that's what I'm there for. Yeah yeah if something falls off Pratik just pins it back on. No we make sure of that before we get into post pressing because you don't wanna deal with that. Yes, so be respectful of the models time and comfort. And then share the success with your talent. So whenever I share a picture I always credit. Because I think everybody on the team should be credited. Yep And I credit you as well. And we all appreciate it especially the retouchers we like it, I like it. Yes, I always credit just anybody even if somebody's assisted me, but they haven't contributed to the actual final picture, like there's nothing of theirs in there, I would still credit them, because they're assistance on the day lead to that photograph. Good point. Yeah. So, this hasn't come up very sharp unfortunately and I think that's probably because it's a PDF so so sorry about that, but we'll sort that out. This is a model release. I make sure that I get a model release for every shoot and I would highly recommend all of you do the same too. And the reason for that is even if you think right now you don't need it because you're shooting a friend, it's all great, it's all lovely, you don't know where you're going to be in five years time. You don't even know where you're gonna be in two. People grow so quickly in this industry and it literally takes a project to propel them. So I honestly think, get a model release, make sure you are covered as a photographer. And just have it safe on the outset, again, communicate with them right before the photo shoot. Just be like, hey just so that you know, I normally get a model release from all my models, would this be something you're comfortable with? If they're not comfortable it they'll let you know. And that's fine, you go with another girl. Cuz you know, it's okay. So I think that's really something that's quite important. Right, or negotiate because then Yeah, negotiate You get an agency model, but you really like their looks, you can negotiate through usage. Yes. Negotiate the usage. Because a model release is essentially just a contract between you and the model. Scarlett, she's under age so the contract is actually with her parents. But Scarlett's read it and I've gone over it with her as well and she's like, "Yeah, I don't really care". Most of the times they don't, they don't mind. And actually a lot of the people I work with actually are happy if their pictures do well. Because it's supporting and I wanna support them back.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Kathleen
Great class and great instructors. Genuine and informative. Practical tips to create stunning images. Seeing them work through the process from shoot to finished image was great and I loved that they shared the thought processes behind the creative decisions. Definitely recommended!
RoxSpiegel
Truly a remarkable duo. Bella is so down-to-earth and humble for a photographer with such a strong beautiful and ethereal voice. Her explanations of her process really inspired me--I was sketching concepts throughout the class. Pratik's process really opened my eyes to "smart" retouching--understanding what can be done in fewer brush strokes and slimmer PS files. All in all a really unique and inspiring class that makes me excited to realize my next conceptual shoot. They're also adorable together!
Mai Her
I've gained sooooo much from this I can't even contain my appreciation and excitement! So much inspiration and so much generous advice and tips to help me! Thank you so much Bella and Pratik and Creative Live!
Student Work
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Fine Art