Skip to main content

9:45 am - Student Shoot: Agnes, Rooftop Catalog

Lesson 18 from: Working with Models

Matthew Jordan Smith, Yoanna House

9:45 am - Student Shoot: Agnes, Rooftop Catalog

Lesson 18 from: Working with Models

Matthew Jordan Smith, Yoanna House

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

18. 9:45 am - Student Shoot: Agnes, Rooftop Catalog


Class Trailer

Day 1


9:00 am - Introduction


9:15 am - The Model Agent


9:45 am - The Model Go-See


10:00 am - Making a Team


10:45 am - Your First Model Test


11:15 am - Testing Q&A


11:30 am - The Value of Testing


1:00 pm - Expectations of Models and Photographers


1:15 pm - Test Packages


1:30 pm - Casting


1:45 pm - Booking Terms


2:00 pm - Photographer as Team Director


2:45 pm - Conditions on a Shoot


3:00 pm - Student Casting Session: First Student


3:15 pm - Student Casting Session: Second Student


Day 2


9:00 am - Shoot: Rooftop Catalog


9:15 am - Student Shoot: Dave, Rooftop Catalog


9:45 am - Student Shoot: Agnes, Rooftop Catalog


10:30 am - Connecting with Models


10:45 am - Morning Q&A


11:00 am - Reviewing Rooftop Images


11:30 am - Challenges


11:45 am - Assisting


1:00 pm -Shoot: Jewelry with Yoanna


1:30 pm - Student Shoot: Kumi, Jewelry Shoot


2:00 pm - Student Shoot: Todd, Jewelry Shoot


2:30 pm - Shoot: Matthew Working with New Models


3:00 pm - Personal Projects


3:15 pm - Standing Out


Day 3


9:00 am - Working with Multiple Models


10:30 am - Student Shoot: First Two Students, Benetton Ad


11:15 am - Student Shoot: Next Two Students, Benetton Ad


11:45 am - Benetton Shoot Q&A


1:00 pm - Shoot: Karaoke


1:15 pm - Student Shoot: First Two Students, Karaoke


1:45 pm - Student Shoot: Second Two Students, Karaoke


2:00 pm - Discussion of the Shoot and Matthew Shooting


2:15 pm - Student Shoot: Second Round of Karaoke


3:15 pm - Your Life Inspires Your Work


Lesson Info

9:45 am - Student Shoot: Agnes, Rooftop Catalog

So first thing before we start shooting I want you to introduce yourself to both the models for a start for us here hello my name is agnes nice to meet you I care so are you excited they're all right let's do it the same way these lot mattel the concept of being elegant sophisticated right and you want to find out whatever gets hurt in the space also we have a spot in this far thiss black tape that you know where she is in terms of on the side and this is so this lines up this's like her space writes this teacher's shows you where you are to be so make sure you tell her the spot all right so this is your space where the light will be keeping you so like make sure to have your face not directed necessarily but towards this direction so the light can catch your face and your front it's an eloquent elegant type of cute so nothing quirky not too much smile but more curve like try to give a variety of positions about you know being toe not too jumpy but very elegant and like be conscious of...

f your different curves of your body that isn't it is it should not polls is not oppose it all eyes elegant it's sophisticated it's you've arrived and you confident about that arrival you're going out on the town is all the hot day are you happy about it and you're proud of what you're wearing your feeling elegant and it's not that first day this the third day so you like really happy about you're not nervous but you like confident in a natural way does okay let's go to work so you're setting wise when your camera your I saw one hundred gets to fifty four second five six way pocket was to start so as you shoot her, make sure you're always talking to her and give a communication of what you want she falls out but what you want, stop right then and there and going talk to weigh about checking the connection is right or do I just start you doing first test shot make sure is right you want youto low angle so you don't have all the noise in the background visual noise all right, so we're ready to start and if you just could just as we should if we just could keep moving like short after should just keep like the flow going very nice remember the light perfect very nice nice angle stop for a second resolution I suppose for a second and just go with you just heard him you go in just a hair, keep talking her go back to suggest you're tired of it and very good your your curves are very nice let's try one more thing it's your everything was really looking nice let's, try something with legs and hands is play around slightly more. The hand ok, that's, great that's, free there's, no uniformed opposing here, but just keep moving us keep it fluid to stop for second, second shaky from back here because you're, you're okay, can you hear me? Ok, just so what I was saying this keep moving, keep it fluid. Just remember, you remember hands, but not before they just keep moving with your friends. Perfect. Why don't you give me, like a brisk walk just from you can be bit outside of your zone, al katie, when you're in, so just walk and just be aware of the light with the move, just keep moving. Perfect, nice stuff for second. So do you see how hurt he changes a little bit when you're here talking to her when you go and talk to her closer, it's more personal remembers first right doing great. So that this was very good. Let's tribe. Maybe something for movement off, like even here because the dresses like let's, let's, show off the dress. But but, like very natural solar don't make it too girly but like, you know yes so I can see better off movement over. But they still keep it natural, not girly, but very good expression. Good it just try to, like, relax them. It is not to keep them too close to the party, but perfect for a few minutes. Beware of the light of the moon. You go that's good night and look straight to the light. The light to the yeah, there you go. Last night, there's a brand new chemicals came out e e e property. Sorry equipment it's not you. You're doing great. You know, I don't visit with the president. It may be happening, maybe me, but I think what you have is good, so we're gonna go. I just want to get one short like you were doing it really good wins there when it was buffering I couldn't get it right when you moved, you stopped with your eyes down. If you couldn't just do it one more time yeah, fact is cool. We got right in saying thank you from here I go there and really good. You followed all the directions really nicely so your facial expression was excellent and everything you've modified like we were talking about. So it was great. Thank you so much. So how do you feel when she comes and talks to you from here versus from back there? So much more helpful to come up to me? Because it's easier to dialogue with you and he's here to kind of build more chemistry, right? Like, if you give me just stand behind the camera and yell, then I feel a little awkward it's a little bit more time. Have you say that again? Can I bring all the photos students over here for a second? That's good, too great for them to hear that. Yes, yes, this is one thing to be done to see it, but to hear from you is stronger action, huge health, actually big difference. So while we've been shooting, I've been telling these guys to not give you what you want instead of like screen from back there very often, the on fashion you could be a distance away from your model it's better if you go and talk to her versus speaker from way back here, it's more intimate so I'm telling these guys that I want her tell her how she feels, so when you approach me close as opposed to stand behind the lens, we're able to engage in a dialogue together when I feel you behind the lens, then I feel like I'm talking to a wall and I feel like I'm not able to give my energy to who you want, you know, you guys are, and I'm not able to kind of like, buildup chemistry, so coming up to me really helps me bring more human aspect behind the lens, so always engaged the model like you have a situation like this, you have clients everywhere, it's hectic, you want to give yourself this energy between yourself in the model by breaking away from the crowd, coming here and having a dialogue? Then you can go back there and you guys have this special thing going on. You want to keep that? As you shoot, I noticed that after dave came up to me, I was able to give him more I was able, I felt just more connected, which really helped it's a big difference. I know it feels like, oh, I don't feel like getting up and going over here, but that little small thing of going here and leaving everybody back there, your clients, the assistance to be buyback there, and you have in this moment with the model to talk about what you want and create about the same time. We'll give you better shots, make your job easier, even on a brand new model. It always works else you're building barns for us other than building wants it's also give nice break many absolutes that the shooting continuously gives you this memento, like even though it's small break it's. Still, the ideas keep popping in your head differently than you're just looking for that, and by doing that it stays fresh feedback the all time get shooting and then giving her direction from back here moved to do that she's going the direction but it's no break here is the break is fresh all over again, so that was wondered how we doing on time. We have time to shoot one more beautiful, beautiful, beautiful. Hello, I have magnus speech. You come ready, really come let's talk about the concept of questions just so much you were doing the same. Oh yes, so the concept is going be elegant, sophisticated, so nothing too girly. But very like natural, natural flowing, so if you just play but with your hands in your body, since your dress is fitted, just play with your curves nice because it's going to extend accentuate all the you know details of the dress. So you just very natural not posey, so not too high fashion, not with you know too many posey more so. Just try to keep it fluent natural and again here. The light source is right here, so just make sure you know, like be aware of that as you don't look at it necessary, but be aware that this is where the main light is coming and lighting your from right so special you keep her aware of. Her spots are great morning. This face is over here between the between the markets. Good point, that's actually already in a way it is makes it easy for you and her. All right, let me do one short they go, just keep moving that you're looking very good it's a separate piece, actually, so make sure this is going on. Just make sure you're within the space between the stickers. Yeah, all right, let's, do it and try to walk a bit. Looking good. The faces good. Just try to walk a bit. Just make it likes like more dynamic but natural from your connection. Just looking very, very good. Let's. Just right. Toe body looks very good. You're doing great with this let's. Just slightly move instead of this in just two, three steps. So it looks more not true too. But the face is good. Your angles are good. So continue doing that. This literally moved like two steps, so it looks like more natural movement. Right way. Very nice. Very nice as you have your postings appears way good little didn't think it was very, very natural movement. Now let's do maybe like her own little like movements towards me. There you go. Just don't make it to cry for acting so you can see shooting. There are stairs I want so let's, maybe moving forward. It's just that you're getting your face communication of going and talking to her is where you make the connection and giving yourself a distance from your clients whose all around here and buy a monitor looking at the pictures. This is your time to connect with the model and get your shot. I want to shoot. Maybe you're on lee moved to have a private time to talk to the model and build a bond and get the connection when you're testing is just you in a model. We have a lot time to do that on a job. It's never just you and the model it's, twenty people mohr on the set all working to get the image together. It's a lot more pressure, a lot more distractions. You still need that time to make that connection between you and the model. So this is when you put your camera down and connect person to person how to win friends and influence people, person to person, you know, using a shelter field and a long limbs to blow that out of focus, which is why I'm also shooting at fifty s so I could be at a low, uh, shutter speed, I mean, low aperture and blow out of focus, I'm using a one thirty five lens, so all that is good about from she pops out the else is going on in fashion it f sixteen don't want be in this situation. Everything would be in focus I don't want that I want a background but while her to stand out in the background so you have an element of an urban environment but she's the focus she's the hero of the shot agnes I like that whatever you said to her that turn is so nice it's beautiful it's beautiful it's for the equipment is that there's a stony a nine hundred a nine nine over here perfect I have one more idea around just going about and we'll watching her get better and better and better as she's getting it on with her what she's doing now I can't do that from back here yeah that way watched you grow as a target for just very nice very nice you're making your face and your body very nicely guys that's going to get so listen take about hurry thank you so much he really followed direction very well great you look great it's exactly what I watch you grows well today that's fantastic that's exactly what we want guys that connection this is about it's not about the gear on the lights today you guys what you're doing the terms of that this is about building connection if you have the perfect light and the models did you failed it's not making that connection between yourself and the model like she said earlier I think I'm talkto in linz when you're back here in the caymans appearance, speaking through the camera, you put the camera down and walk to the model and talk about what you want to get a strong connection and better images like always, and I couldn't even hear you like just a couple of ways. So you gotta yeah, hi here, you're yelling so you feel different? I mean, yeah, but you also want to come up to you. I'm not talking to you, it's a different energy all together and make your pitches better say, morris, well, because you're not screaming absolutely can actually stand and would use your body to show them, although what you mean and I yeah, I see completely before the difference it makes. So how do you feel? Yeah, uh, I feel like with that, the interaction, as you said, when you make it more intimate or more collaborative in in that conversation, when you're talking with direct one on one that's, better, better images, which means you get more work, make more money, be happier all that by making the connection person to person. So guys now going downstairs when talked the models about how they felt about this and prepare for our second part

Class Materials

bonus material with purchase

MJS creativeLIVE Keynote Slides.pdf

Ratings and Reviews

a Creativelive Student

This was more of a collaborative course with Matthew Jordan Smith and Yoanna House, and it is brilliant. I just finished watching this for a few hours straight. I own several Creative Live courses and this is definitely in my Top 3. Matthew's teaching style is so kind but to the point and informative. That's the kind of photographer I aim to be. He puts forth his knowledge here in a way that totally encouraged everyone involved. I loved Yoanna as well. She was very direct but friendly as well. I loved watching her direct the budding models and her experience showed quite well. This part is for John, the guy who commented on June 2017. I completely disagree with you that there were too many questions and that other people were talking much more than Matthew, and that that was a negative. Matthew's whole point was not just to get straight to shooting but to talk a bit about interacting with people in general. This wasn't just about technical stuff; this was about forming that connection between photographer and model/subject. This was as much psychology as it was about actual shooting, and I absolutely loved that. So I 100% strongly disagree with you as this is one of Creative Live's BEST courses that I've seen thus far. Thanks a ton, Matthew and Yoanna, and thanks so much again, Creative Live (I'm a huge fan of you guys!).

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.

Student Work