Lessons
Day 1
1Class Introduction
29:20 2What is Fashion Photography?
11:56 3The Fashion Photographer's Kit
13:09 4Elements of a Successful Shoot
33:17 5Day 1 Creative Team Q&A
14:30 6Shoot: Vintage (One Light, One Model)
28:23 7Shoot: Vintage (Two Models)
14:42Shoot: Natural Light (Two Models)
26:19 9Shoot: Mod Look (One Model)
33:08 10Shoot: Deck Lifestyle (Two Models)
17:51 11Shoot: Beauty
04:55 12Image Review
09:59 13General Q&A
15:09Day 2
14Testing and Personal Work
13:14 15Developing Your Photographic Style
23:42 16Interview: Haley Maybury, Editor of Papercut Magazine
13:31 17Day 2 Creative Team Q&A
17:00 18Shoot: Natural Window Light, Crown
16:13 19Shoot: Natural Window Light, Leaves
26:39 20Student Shoot: One Light Setup
30:57 21Shoot: Model Interaction, One Light Setup
29:27 22Shoot: Outdoors
11:11 23Image Review
10:52 24General Q&A
15:52Day 3
25Introduction to Retouching
08:12 26The Image Selection Process
18:35 27Beauty Retouching
35:34 28Dodge and Burn Technique
18:19 29Interview: Tim Paton, Owner of Balcony Jump Management
17:29 30Selective Color and Curves
14:16 31Retouching Q&A
09:22 32Black & White Processing
09:06 33Retouching an Outdoor Image
17:34 34Target Markets, Branding, and Marketing
25:34 35Submitting and Pitching; Business Q&A
18:59 36Pricing Your Work
20:09 37Social Media
23:47 38Fashion Portfolios
15:48 39Lara's Final Thoughts
07:47Lesson Info
Shoot: Outdoors
We've come outside to shoot in these conditions because I want to show you guys how to shoot with a few sliding because most often on sheets, especially for when. For example, when I was living in england, most of the light there was defused. I didn't get a lot of great light. Um so in these conditions you just have to shoot you just have to go out there and shoot and fuss photographers that love natural light and just need to shoot this kind of thing there's aways and tricks that you can and you can approach him um for example the way that my camera set up is right now is have a nice so of eight hundred and that's to bring as much light as like hand to fill to free the background have a three point five on the attitude which is still quite wide but it's just enough to give enough detail and I haven't showed a speed of two fifty as well and having it low is gonna want to help bring that lighting we don't have a lot to play with so my vision here is I would love to get a shot of us with...
the new york background so you know really go like cinematic shot I'm looking for landscape shots I'm looking for like poses with the way that the clothes are the symmetry that might come from the clothes the way that she can close her arms so I'm gonna go right in and shoot a few shots and then I'm gonna come back and then discuss may be exactly what I'm doing is well okay, so first I just want you to put your arms back on there just put your arms rested yet and then lean a little bit back but I'm back in your pockets test the light here is gonna take a few shots so you can see exactly what you two relax those because they're up here and just relax him yep head to the side that's great I don't want to get the best effect on this outfit and I think that's working with the shoulders and maybe twisting your body to the side of it but not like this like giving yourself space bringing him back in a little bit that's great I loved the expression right now if you could keep that okay and if you could just lean back onto that like what you see where you just kind of did that you held your sleeve on one side that looked great maybe front onto me as well so maybe I'm trying to get is I'm looking at the back of the camera and trying to figure out what I want from this shot um the best wine comes from when she's got a head just a little bit and the light is pulling down his back a little bit yeah can you look off smooth and I don't mind the background being blown out I'm trying to focus on what's going on with the detail at the front of the picture because I love the print I want not to stand out a lot more okay and let's just change the closing a little bit um maybe going to one side of spleen you are back on that pull that on back in full hands down but saying just leaning shoulder but head back well no I don't think that works from this side because we need the details okay so maybe just confront onto me again and just hold one of the arms and put the other one up yet great and that just add some interests to the shot turned towards me just slightly and stick your head out on one side a little bit more just trying to get a good range of shots for the clothing right now so the lighting conditions of the same nothing's changing but I'm trying to get um best pose for the outfit to kind of figure out what I'm gonna use to lady using season for an editorial or something like that can you put both hands back onto the rail puts it the same way you look at this outfit what are you thinking what is what is your approach teo to the opposing what what's inspiring you're you're posing with it so I think that the main thing is that I want it straight on because of a friend if you turn it to the side it's just a weird shape to use like the print doesn't make sense I like the fact that she can separate her arms from the body so this shape is quite heavy shoulders my glove to kind of somehow figure out how to get something going with that um and again I don't know exactly what I want without fits until a kind of experiment with it and see what happens later could I get you two like we did in the studio just bring your arms forward so you bring in the shoulders used to move you showed us for us yes that's it that's. Great expression there. Just with chin up to slightly on the lips slightly open and chin down just a little bit in this hand here. That's gripped like this. I needed just soft. Smooth. Could you put your hands back on the rail bottom one? Yeah. That's it out a little bit and then lead back. But not too much down a little bit. Put your feet forwards because it's creating like a new angle. Some kind of news. Is something going on the pit to see you sometimes you don't just want a shot. Where? It's? Very straight. You want some kind of art going on here? Because that will add a new dimension to the picture. To just put your chin down to slightly. Yeah, and look towards maybe just crossing the arms again to finish a few clothe that way. I think we got enough out here to do. So have you any questions you might wanna ask? Well, I think we're good. Uh, re ready with the next model. All right, let's. Go on. All right. So let's, try this. I've just put my shutter speed up to four hundred because it was slightly blown out, and I just want to give the option later on as well. I want you to try on dh if you come this way and put you back huh yeah let's chin up because the light's very dull here it's better if you do that that's great right now keep your mouth closed a little bit yeah it's best if you stay that side I'm just gonna try think the best thing here because of the way the light is and it's not so good outside just doing some portrait it's some close ups so again if you could bring your shoulder to hear the other one keep bringing this up and then you yeah so I'm just gonna crop into that and again I'm just looking for something that will connect the girls maybe with the way their faces are with the way that has touching just some kind of connection with wade and then when I am tired of the way the light might be better um could I get you to come here and then you said you told us you need to get more behind employed me kind of lean into each other a little bit yeah I want you to put your chin up for me possible salah I have a question for you yeah, I've noticed that you have a lot of photographs that have two women in them. They were just talking about that trying to make a connection. Yeah. Is it a physical connection and can you just talk more about that because it's so everything is so beautiful, that connection and the connection yes, though why is it that you have a lot of photographs of two women? Yeah, so the reason I do that is because sometimes I just like unique composition, and I think that two girls give that you get two people insert just using different movements. It adds something interesting to the picture. Another thing is that a lot of photographers don't do it. So when clients look at my book and they're like, oh, wow, you can actually shoot with more than one girl, which is a good thing for my style and something that people looking to me to maybe book me a swell on the connection whenever I am doing connection with two girls. It's a maybe with clothes, like the consistency we talked about yesterday with the necklace is they both got necklaces on head similar makeup on the way the light falls on the face or, you know, maybe they mirror poses. Maybe they have complete opposite poses, and it just compliments as well.
Class Materials
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Ratings and Reviews
a Creativelive Student
It was an amazing class. I have seen many fashion photography courses in Creative Live and I find this one was one of the best and very easy to follow. Lara was very clear about the fashion photography industry, explaining the differences between editorial, commercial and advertising fashion photography and when/why you work for free, the process, the importance about experimenting solo or with a creative team. It was very inspiring and loved her!
James
Having dusted off my camera after a 3 year inspiration slump I decided to head toward the fashion/editorial/Fine art/Portrait route. I discovered this course and after researching Lara Jade's work and seeing the course content I decided to buy the course. I'm completely new to the fashion world having mainly shot personal stuff. Anyway, for anyone reading this review who might be thinking 'should I, shouldn't I book this course?' I'm only up to video 6 - the vintage natural light look. I've learned so much already, even if I'd paid the same and got the first 6 videos I'd have been happy. So far it's covered so much about planning shoots, directing models. I like the fact that Jade is a working professional photographer rather than a want-to-be-but-failed or a long time passed has-been. I like that she's British (as am I). I like how she teaches and how down to earth she is and how happy she is to answer questions. I like how humble she is. The content, the teaching style is nothing short of being an assistant on set and learning first hand. Don't think about buying this course, just do it. You will not be sorry, I promise you!
a Creativelive Student
Lara's course was very well put together. She covered so many aspects of her shoots, including letting her creative team have the perfect amount of input; so she demonstrated how important it is to surround yourself with the right people and consistently getting their input. I'd love to be able to work with her hair stylist and wardrobe stylist for future editorial shoots. For being as young as Lara is, she is beyond her years in preparedness, experience, and aptitude to instruct. I thought she handled situations, like some "dead air" during live shoots very well by explaining in detail what was going on. Needless to say, I was super impressed.