Original subtitles

(Transcris de TurboScribe.ai. Upgrade la Nelimitat pentru a elimina acest mesaj.) Alright, welcome to a jewellery shoot that I

did in Melbourne, Australia.

You would somewhat call this a boudoir slash

jewellery shoot.

The purpose for the shoot was actually a

commercial shoot for a jewellery company.

She makes incredible, this lady makes incredible jewellery

and she wanted a bit of a sexy

sort of feel to it, obviously having neutral

tones, so having basically mainly just skin with

the jewellery makes the jewellery pop.

And here you would have seen me in

the original video just give her a little

bit of a lesson as to exactly how

I pose and what I'm doing and pretty

much all the shots that you're seeing right

now are almost exclusively done with the ice

light.

See, I just asked her if she had

any kind of training because she quickly, I

quickly saw that she had a lot of

grace and I asked if she was a

dancer and she said she had danced before,

so she quickly got into the actual poses

very, very quickly.

So what we've done is we've wrapped her

in a fur coat and then I want

to shoot in a sort of a bird's

eye view and I'm thinking of using the

ambient light, that lamp light as you can

see there, along with the ice light in

the back.

So I haven't taken my test shots yet,

so I'm just stylizing her a little bit,

having a little bit of accent light.

You can sort of see how the ice

light with the barn doors is just adding

a little bit of hint of highlight on

her hair and a little hint of her

face there as well.

So shooting from a bird's eye view here

and of course we have the makeup artist

right in front of our camera on the

left-hand side.

It's always good to slow down there and

really work out what you want.

A lot of people would have actually started

photographing quicker than me right now, but if

I don't like something I will stop, I'll

slow down and then we'll move it up

a little bit.

So I'm actually, I was thinking of using

the actual lamp there, but I thought look

I've got the ice light, it gives us

a beautiful quality of light, why wouldn't we

just use it sort of straight away.

So of course the light on the right

-hand side, the ice light too, is a

little bit brighter than the one behind her.

So you can sort of see how the

hands are placed very, very delicately, they they

lead up into a point where the index

finger is and obviously the rings, sometimes I've

basically focused on the rings and then the

face goes out of focus, but sometimes I've

got the eyes and the rings in the

same plane of focus, so they're all, they're

all in focus and sometimes I'll just focus

on her eyes and the rings are more

of a suggestion.

So every so often you'll ask, you'll hear

me say I want a little hint of

a squint and that little part in the

lips makes the lips look fuller without actually

pouting.

So I basically asked her that I want

a little bit more warmth in the face,

you can sort of see how her face

has changed, so it's not really a smile

per se, but there's a little bit of

a smile on the eyes, I think Tyra

Banks calls it a smize, but a good

model will know how to do that straight

away and sometimes you may have to make

the person laugh and then basically at the

end of the laugh, at the end of

the smile it works, so here I'm actually

going to give her some confidence, so you

can sort of see how happy she is

and how beautiful she looks and feels there

and life is good.

So you see how I've got a suggestion

of her now and then of course the

rings are there as well.

So the brief was to make this shoot

sexy without, you know, without being distracting or

anything like that, but think of it as

a beautiful woman of the house just looking

glamorous and happens to be photographed by a

photographer making her look great with light and

all that kind of stuff, so here I'm

actually thinking of poses as you can see

that gives her an excuse to bring her

hands up to her face and cover up

different parts of her body and things like

that.

So I just want a little bit more

highlight there on her hair.

So the good thing about any continuous light

and especially the ice light of course is

that it's continuous which means you can see

what you're doing.

So there I just wanted to elevate the

fur coat and just we wedge something in

between and we just want little slivers of

her body without actually showing anything naughty.

So I'm just asking her look, you know,

just every so often I'm going to breathe

in to make her chest look fuller or

breathe in or breathe out and then tummy

tight and all that kind of thing, it

just sort of depends.

So you can sort of see how important

hands are in a photograph, let alone when

you're photographing jewelry, even more so.

You can see what the chest did as

she breathed in, the chest looked fuller and

tighter and then we've got the hands looking

really good there as well.

And if you would have heard the original

commentary or the original audio actually, you would

have heard me a bit softer, it's a

little bit of a softer and more sensual

mood so my voice is reflecting that.

It's really important that when you're doing these

kinds of shots that you only look at

her eyes, you only look at her body

if you have to.

I'll always get someone to usually sort of

move the coat around or anything like that

because she's in a somewhat vulnerable position, it's

important that you stay professional.

Don't have any jokes, no innuendos, anything like

that, just keep it professional and anytime I'm

photographing a shoot like this I've always got

someone with me, usually it's Melissa.

From memory I don't think Melissa actually attended

this shoot so I've got the makeup artist

and the actual jeweler who was there who

created all these shots as well.

So I wanted that black fur as a

bit of a background and sort of nothing

else even though it was quite dark anyway

but in case you could see any detail

I made sure that that black sort of

provided that background to her head and her

face.

So here I'm sort of getting her warmed

up, you can see how many shots I'm

actually getting and simply just by some subtly

different poses and you know looking at different

places and things like that.

You can picture these on a website can't

you, these jewelry shots.

So the warmth of those rings looked absolutely

amazing so all was good.

So I thought I wanted to have a

different vantage point here so I'm just thinking

of getting her to sort of to lie

down and then basically getting that background there.

So I'm just getting her to cover different

parts of her body just making sure she's

covered.

So again that light, don't waste it, once

you've got that shot you can easily cover

up beneath anywhere else, it's not a problem.

So now we're changing different rings there as

well.

So I covered up her right side or

our camera left, asking her to arch her

back there a little bit, covering up her

body because it was a little bit too,

too obvious.

Like too much body so we don't want

to distract the attention away from the jewelry.

Beautiful girl certainly and we're just going to

make sure that we just soften everything there

for me.

Whenever you get a girl to hold her

bust you try not to get her to

hold it too obviously like she's very obviously

trying to hide her bust, it sort of

just needs to be resting there.

Otherwise it's almost like it's taboo, we better

hide her bust and all that kind of

thing you know.

So we're just adjusting everything like that, just

adjusting the light for where it's coming from.

So like I said the really cool thing

about continuous lighting is you can see what

you're doing now.

Certainly I could have done this with flash

but so much easier to do it with

continuous light because you can just see what's

going on.

So it's important you can sort of see

the stepping stones to the shot and how

we built it because I could have easily

just you know placed her down, taken a

shot straight away but everything that I'm doing

is actually making the shot better and better

and better.

Now she actually looked, you can see how

she's really really skinny and so I deliberately

asked her to breathe out to actually make

her look a little bit wider than she

actually is.

So she's got great curves but the rib

cage is popping out but you know what

I've cropped in sort of quite nice and

tight because the color of the rings are

so obviously, they're colorful compared to all the

neutral tones of the skin, the fur coat,

the hair and all that kind of thing

it actually makes it look a lot better.

So just in that little hand there, just

really really soft, very very clean and again

you can see the quality of light.

What I'm doing is I'm turning turning the

light to a point where the eye socket

that furthest away from the light it just

turns so it gets in the eye socket

is completely lit if you can if you

can understand that.

So you can sort of see how we're

turning those wrists around there a little bit.

So even though that you can't see me

with what I'm doing then you know that

I'm getting her to mirror me exactly.

These rings are all handmade they're incredible using

not so precious stones per se, they're still

very expensive but not like in your diamond

range of course because the size of them

and all that kind of thing.

So you can sort of see how I've

softened her rib cage in case we thought

that was a bit too prominent.

So you sort of see how that different

crop hours I've got now one ring in

focus one out and even her face is

a little bit out of focus there as

well.

So now we just want something a little

bit different there so I quite like the

idea of having that table in the shot

just as a little bit of an accent

light.

So if you've heard me teach before you

would have heard me say lights, location, pose,

technique, expression.

Obviously when the location attracts you first which

is number two in my list of getting

a great shot then I've either got to

find or create the good light and go

back to it.

So in this case then that little accent

behind her that table is providing me a

cute little background but then the ice lights

there are giving me that beautiful direction of

light that I'm wanting.

Usually the light from the front of course

is always going to be brighter than the

back.

I love that ring look how beautiful that

is it's really really big.

So again what she's doing now she's mirroring

me with her shoulder in terms of how

it works.

You can see how well she takes direction

it's just really really clean love those lines

of her neck there it's just beautiful.

So often I've told you often that the

location will give you an idea for a

photograph.

In this case simply by just putting that

elbow on top there it's given me a

whole sort of set of new poses I

guess to show off the jewelry and that

makes any sense.

You can see how that light in the

back is a little bit bright so I'm

just going to dim it down a little

bit to make get that main quality of

light in the front.

Let me show you something so when we

we talk about the ice light being flicker

free so what we're doing is we're filming

her of course and that lamp at the

back there that tungsten light that is flickering

because that's not meant to be professional it's

just meant to be good with your own

two eyes but the ice light of course

you can shoot at 50 frames uh 50th

of a second and there's no problem whatsoever.

Sorry about my makeup artist head being right

in the way sometimes to give you a

glimpse into my commercial shoots my fashion shoots

my wedding shoots you know I sometimes don't

have another cameraman or I can't because it's

too obtrusive it's too distracting or it interferes

with the actual wedding day and that's why

sometimes you'll see my shoots done with one

camera angle because if I did have I

get a whole crew then I just wouldn't

be able to do it it'd be impossible.

So you can see how the ice light

there on the back is giving us a

beautiful hint of highlight in the back and

it's not even touching the table and that's

the barn doors doing that of course.

So you can sort of see how the

hands are never flat and the wrists are

never straight like the wrist is always bent

and I'm usually always seeing the thinnest part

of the wrist and you can see what

a huge difference just a simple angle can

make.

So simple tight crops here can warrant a

totally different shot and of course bring attention

to the jewelry and all is good.

So we're now a changed position again and

here we've got this sort of beautiful we've

just got this lamp actually giving giving us

the the light source so I thought I'll

probably use that and then shooting from a

bird's eye view.

Now obviously if you want to be more

predictable in terms of color temperature and predictability

and quality ice light is an easy way

to go but really what I'm showing you

here is that any any light source will

do.

Certainly the color temperature and everything like that

won't be as nice but it gives you

sort of an idea what I'm talking about.

You can see how the makeup artist is

really adjusting all the fine points there so

that like I said I don't get too

close to her.

Certainly we've built trust at this stage but

and the model feels very comfortable but really

important that we keep professional keep it slick

and everyone's happy and all that kind of

good.

All right so now we're outside we're shooting

with the sunlight and as you can see

now she's got raccoon eyes she needs to

bring her eyes really really high and you

could see that that she was squinting so

what I basically said to her is look

look look at where I'm take a look

at where I want you to look and

then in a minute I'm going to close

your eyes and then count to three and

you can open and that's where we get

them.

So this is Georgia this is basically the

the jeweler this is the girl that actually

created all the pieces.

You can see how I'm getting her chin

up to a point where the shadow of

the nose does not cross the lip if

I can help it.

So now we're waiting because the sun is

coming a bit in and out of the

shade you can see that shadow so you

can see how I got the shot that

I wanted.

Now I don't get any obvious catch lights

in the eyes but this is a bit

more subtle and obviously if I do want

the catch lights in the eyes I can

just get it to look look up to

the sun.

So obviously I cropped in a bit tighter

and the sun was a little bit more

prominent and that's how I got that shot.

You can see that tilting away from the

light source and then turning the face back

in helps up a little bit there and

again I'm trying to get that shadow of

the nose off the lip or at the

very least minimize it with that tilt.

I quite like the way her eyes are

closed it's very delicate very soft keeps your

attention on the jewelry of course and in

this case we just got her to look

in the camera as well.

So I'm doing a couple of tighter crops

in case I want to go closer it

just sort of depends on which way I

want to go with things now.

So she's basically copying me exactly what I'm

doing so she can see what I'm doing

and she mirrors the pose exactly.

I quite like the way all that foliage

there is framing her and of course the

shadow as well so I decided to go

vertical and I always look at a couple

of options because I'm not too sure where

these shots will appear.

Are they going to be on a website

they need a lot of horizontal space do

they need to be could be on a

billboard it could be anywhere so always give

it give your clients a couple of options

vertical horizontal square you name it all that

kind of thing.

So here I'm just trying to work out

what do we do do we really utilize

these little skims of light do we get

that jewelry you can see how I'm trying

to put that little back jewelry piece there

in a position where I'm just getting that

sliver of light tickling that jewelry piece so

you can sort of see how we're almost

there.

So what I needed is is basically a

clean silhouette of her skin but underneath her

butt and then getting a little bit of

skin there so getting her curves and they

get that hint that little hint of highlight

there on that jewelry piece so now you

can see I can expose for that got

that little eyelash coming out of a silhouette

in her face there.

So now what we're doing is we're on

the beach so basically this girl lives directly

opposite the beach and we have this netting

as a potential for a photograph like a

bit of a prop so whether we shoot

through it whether we cast shadows or a

bit of both as we can see here

so it's incredibly windy and we've got some

people actually around us so we're trying to

sort of take shots in between all that

so love the way the shadows actually mirror

her body as well which I think is

really fun then of course we've gone from

sun we've gone to shade then we've gone

back to sun it's quite crazy so like

I said we're doing the best we can

here I apologize for the really bad sound

in the original video guys because it wasn't

that great but that's just the nature of

the wind blowing right in into the microphone

that I am speaking into so here I'm

just taking my time just working out some

different cropping and I quite like it because

it looks like a sketch almost you know

now so the jeweler this is actually in

her front yard she actually purchased these statues

from a very prominent Melbourne building at auction

and she's got these in her front yard

they're so heavy so it's going to be

almost impossible to steal but I would kill

for these pieces it's just so beautiful check

that out so you can sort of see

how she's struggling to see us in the

sunlight now the problem is I can't move

these statues which means I'm forced to basically

shoot them the way they are so I

have to at least get the beautiful light

on her and then of course if it's

not perfect on him then it's okay you

can sort of see how those trees way

up above us are causing a shadow on

the top of the statue's hair on the

face is quite good but on the top

of the hair is not not that great

so just I'll just have to live with

it so you can see how I'm trying

to eliminate that shadow of the nose to

be at least above the lip or as

much as possible and I quite like the

way we've got the statue sort of like

almost seducing the the model which I think

is really cool now of course we have

overcast so we're

just trying to play with the light there

as you can see that right hand looked

a little bit distracting so I'm thinking what

do I do here I'm constantly tweaking these

kinds of shots that it's just important rather

than take hundreds or thousands and then hope

for the one then just take your time

and get the one so here I've just

sort of changed my angle there a little

bit love the editorial feel but now of

course the sun's come out again so again

we're switching between sun we're switching between overcast

and we're just doing the best we can

with what we've got here as you can

see love the fact that the jewelry is

in focus and that she's slightly out of

focus there now we

could have got a diffuser in there every

once in a while but I sort of

wanted to work with what we had and

try to take advantage of the differences so

even though it was quite challenging when I

was doing it I'm thinking I could just

put a diffuser in there and just soften

everything but I quite like the contrast so

I'm just using with what's around me there

as you can see so then the wind

was being very very painful so I just

took a photograph even while the the makeup

artist was actually just shooing the hair away

so just adjusting here guys again basically I'm

thinking of reasons why she can bring her

hands up to her face so I can

photograph the beautiful jewelry as you can see

so now you can see that actually using

the statue in a very different way than

before obviously quite uncomfortable but we're doing the

best we can to bring her close enough

to the statue's face without being too far

away and then every so often as you

can see here I'm cropping right in so

I've asked for a bit of warmth in

the eyes and you can sort of see

how now you can see that smile that

warmth once you educate your models as to

what you want and they get it quickly

then you set a precedent really for the

rest of the shoot so it becomes a

lot easier and if

you heard that little beep or that thing

that was Melissa's email coming in so we've

got lots of hero shots already which has

been fantastic we've changed the look about three

four times and we're getting really a lot

of incredible shots really quickly so you sort

of see how just getting her to relax

that hand there a little bit and then

just cropping in nice and tight really important

guys that like I said that you want

to always if you can based upon your

angle and what you're featuring is to basically

photograph the thinnest part of the wrist and

then if sometimes you're forced to photograph on

a certain angle at least you break the

monotony of that straight line with a little

bit of bend of the wrist or a

bend of the fingers so adjusting the hands

are a little bit just working my way

into it so

the light's quite challenging as you can see

it's gone from really sunny to hazy to

shady and I'm just wanting to adjust her

fingers there a little bit changing my cropping

there a little bit too and that's what

I wanted I basically wanted the rings in

focus and her face out of focus in

these shots but so like the fact now

we've got that one eye in shadow and

then the one eye in light and then

we've cropped nice and tight there as well

you see how we're just turning those hands

there around a little bit so we again

we're exposing the thinnest part of the wrist

and this kind of posing is exactly what

I would do with a modeling shoot whether

if I do that on a wedding day

and obviously even more important when you're photographing

jewelry and again these type crops are really

just to to give the jeweler some options

when she's doing her website whether she's promoting

in print and things like that so again

you can see what a slightly different angle

can make but I love the long shadows

of her eyelashes there on her face which

look really really cool and now of course

now we've got the sun come out out

again and now we're shooting in the shade

so I'm constantly changing my exposure here and

constantly just tweaking and changing so I

love that I actually quite like it that

everything's neutral so you can't see anything there

or it's just nice and subtle very very

clean there's no bra straps it's just her

skin and again now the sun came out

as you can see and of course we

have those the long shadows of her eyelashes

on her cheek which I thought was really

cute now as you can appreciate she's actually

mirroring exactly what I want because I'm showing

her exactly what I want to do guys

it's the easiest way you can actually get

someone to pose with you so you can

sort of see how beautiful those hands are

they're framing her face showing off the jewelry

pieces there as well hey

guys hope you enjoyed that something a little

bit different for this time around I usually

show you my weddings portraits and fashion shoots

but my fashion shoots are usually clothing that

I normally are specifically jewelry but