Shoot: Pose Teenager for Multiple Looks
Lesson 18 from: Capturing Story in Portrait PhotographyKelly Brown
Shoot: Pose Teenager for Multiple Looks
Lesson 18 from: Capturing Story in Portrait PhotographyKelly Brown
Lesson Info
18. Shoot: Pose Teenager for Multiple Looks
Lessons
Class Introduction
14:28 2The Power of Portrait Photography
06:52 3Introduction to Newborn Portrait
08:30 4Find Inspiration for Newborn Portrait
11:09 5Create The Scene for Newborn Portrait
05:58 6Prepare & Pose Newborn for Portrait
18:03 7Shoot: Techniques for Photographing Newborn
08:58 8Newborn Image Review
08:57Introduction & Find Inspiration For Child Portrait
13:03 10Create The Scene for Child Portrait
05:17 11Prepare Set for Child Portrait
05:48 12Shoot: Capture Child Portrait
11:40 13Image Review for Child Portrait
11:45 14Introduction & Inspiration For Teenager Portrait
09:05 15Create The Scene for Teenager Portrait
06:15 16Building Set for Teenager Portrait
14:01 17Shoot: Portrait with Teenager
10:43 18Shoot: Pose Teenager for Multiple Looks
14:23 19Image Review for Teenage Portrait
08:11 20Introduction & Inspiration For Adult Portrait
11:31 21Creating The Scene for Adult Portrait
06:25 22Lighting for Adult Portrait
04:51 23Tell Your Subject's Story
04:38 24Shoot: Lighting for Double Exposure
16:22 25Introduction to Senior Portrait
08:39 26Create Storyboard & The Scene For Senior Portrait
10:26 27Connect With Client to Create Portrait
16:06 28Shoot: Lighting for Senior Portrait
08:10 29Shoot: Be Creative on Set
15:09 30Image Review for Senior Portrait
14:23 31Portrait Shoots Recap
04:08 32Global Adjustments in Camera Raw®
05:37 33Editing In Photoshop® CC: New Born Portrait
24:41 34Editing In Photoshop® CC: Child Portrait
15:35 35Editing In Photoshop® CC: Adult Portrait
11:32 36Editing In Photoshop® CC: Teenager Portrait
11:28 37Editing In Photoshop® CC: Senior Portrait
13:46 38Introduction to Entering Print Competitions
02:14 39Process of Print Competitions
06:17 40What to Consider For Print Competitions
17:00 41What Judges Look For Overview
07:14 42Image Impact
03:42 43Creativity, Style & Composition in Images
14:04 44Entering Photography Competitions Q&A
22:50 45Image Lighting
05:43 46Image Color Balance
03:56 47Technical Excellence in Images
07:56 48Photographic Technique
10:15 49Storytelling & Subject Matter
09:28Lesson Info
Shoot: Pose Teenager for Multiple Looks
So in terms of what we're gonna do next, there's so many different sort of things you can do, like we could have Maya stand and we'll take this chair out, so just stand carefully for me. And 17, she's a young adult, but I'm really careful when I'm posing younger girls and trying not to make them look too much older than what they actually are. When we talked earlier about photographs being age-appropriate, I think that's really important. I don't want Maya to look like she's 25, but I don't want her to look like a small child, either, but I do want her to embrace, you know, the space that she's in and really hold that space because I think that's important. So the energy that you bring to these sessions is equally as important to be able to get what you want to get, because if you're not, you know, bringing that right energy to the space, it's gonna make or break a shoot. So I could turn Maya away from this light, so if you just turn away towards Garrett, I just want you to have a look...
at the lighting. Now turn your face back towards me. So now, that light's gonna hit her face, and then we're gonna light this beautiful, sort of dark sort of shape here, but you've got this light over here that's gonna come and fill her hair over here, as well. So I'm gonna try this first, because I think this is really quite powerful. And what I want you to do with your hands is just kind of have them in front of you like that just resting beautifully. So I'm not giving her curves, I'm not doing anything. I'm just getting her to stand really tall and proud which I think is really important for this type of shot that I wanted to create. Just making sure we can't see any white there. Perfect, now I'm not gonna be photographing. Just turn this way just a bit. I'm not gonna be photographing full length here. I could, but I'm just gonna start by getting a shot from kind of like, thigh up. And I'm gonna go portrait for this. And that's it, I just want you to look over here and just kind of like, chin down just a little bit. That's it, beautiful. So I'm just moving that focus point. I keep looking at the back of my camera, but it's not gonna come up. (chuckles) Oh, beautiful. So what I might do is just get this light pulled back further just a little bit. Yeah, that is lovely. Hair is the one thing I hate retouching in Photoshop. I'm always quite fanatical about getting it right in camera and what I can see here is just a few little hairs on her eyelashes, so I'm just gonna try and get those off. Just close your eyes for me. There it is. Perfect, open. Is that better? You've still got one there, close. There it is. Happens every day. (laughing) So because I'm trying to get this beautiful catch light in the eye, you know, and that focus, really nice and sharp, but there's a hair going right across the middle of her eyeball. Yeah, beautiful. That's it, nice and strong. Yeah, that's much better. Turning that, bringing that light back just a bit so it's a bit darker, big moodier. We've still got light coming in over here in the background, filling those shadows. We can bring it up just a tad. It's a bit dark on this screen. Okay, you ready? Good job, nice and strong, that's it. Yeah, much better. So what I did was I just brought that down to F 4.5. I was on 5.6, so that I've got a little bit more light in there. Now I love this really simple pose. I think it's just, it's elegant, it's not all, you know, not about changing her body shape or anything like that. I want you to turn this way now, towards me. Keep turning, keep turning. Okay, now turn around this way a bit more. That's it, back. And then I want you to come, oh, you've lost a bit. We lost a clamp. We're not gonna see it, so I'll just clamp it here. Okay. So turn your body this way for me and now bring your face back towards that light, and what we're gonna do is light this side here. So with this kind of thing, what I'm gonna look for is the different poses, the different directions towards the light, and then when I get them all side by side on my computer, I can then choose which one's going to be the most powerful, striking pose. And I might give her a few different ones. Actually, what I'm gonna do is bring this down, and we'll show a little bit of shoulder here. There we go, and just bring your arm across your body. Perfect. We'll do the same on this side. There we go. Yeah, and I think just holding your hands there like that really simply. Yeah, that's beautiful. So what I might do for this one is just take the crown off. And you can already start to see that light coming across here. Beautiful. Yeah, turn your face towards me a little more. Actually, go back this way. I really like that, and then looking straight towards Garrett, maybe. Actually, back towards the light. Yeah, this way. And the light, I was looking at where her eye was falling. So when she looked at Garrett, if you see that, look at Garrett. See how now it's all white in the eye? Look back this way. Now I can start to see eye. So where you get them to look is also quite important in terms of getting that connection, 'cause even though they're not looking at the camera, you still want to get some form of connection. So I'm gonna keep my settings the same and have a look at this light. Yeah, that's a bit bright, so what I might do is turn that down a bit. Ooh, that's a bit darker there. Okay. Now I want you to put your chin down slightly for me. Like chin out and down, that's it, and just relax. So looking down towards your hands. Just relax a little bit, look down, chin down, chin down, chin down, chin down. Beautiful. I'm looking for that hair to fall off her face. And just bring this hand over the top here or yeah, nice and soft, that's it. One thing I think we all forget to do is move when we're photographing, don't we? We get stuck in our places and our poses. Just turn, bring your chin around towards me and looking down towards your hands, chin down, chin down, relax, that's it. Yeah, it's really kind of dark and moody, that one. So it's a completely different look than what I was going for before, but I love that because sometimes, you start out with a plan and then you're like, ooh, let me see this. And she's got this gorgeous hair that's framing her face. All right. Let's go with one more shot, and you're going to be front on to the camera, standing like this. So the only downside to this fabric with using it for something like this is the white seams on the edge, but that's okay. Hey, going all right? You're being very patient for me. All right, so your hands across there. And now this, I want you to be very strong, and you're gonna look directly at the camera there. And I just want to bring that hair off her face, because if I don't, it's gonna create some shadows. Gorgeous. Okay. You're gonna be dead onto me, and you're gonna own it, and you're gonna be nice and powerful and strong. Just chin forward towards me a little more like this. That's it, beautiful. Okay. So we're looking at our light, I've not changed it. We've got it pointing in this direction. I'm gonna want it going here and I'm gonna want it higher. And if possible, can I get it over here in this space? Right here, yeah. Oh, it's plugged into the wall. (chuckles) That's all right. That'll do, and a little higher. Yeah. That's what we want. Beautiful. That's it. Just perfect. Yeah, that's much better, that light. Absolutely beautiful. Well, I'm not gonna make her suffer underneath those three blankets any longer, 'cause she's gonna get overheated, but thank you so much. You looked absolutely beautiful, and it's so fun just to play with fabric and drape it and just those posing and the lighting can turn something from a pair of jeans and a singlet top into something really quite striking and powerful, but you know, the ultimate goal here was to make Maya feel strong and own that space and she looked it in the photographs, which was really cool, and you did look like a queen. Thank you. All right? And it's important that kids see and she's not a kid, she's a young adult. It's important that they see how, you know, how amazing they are. Like to show you that, and that's what the power of photography does. It shows people who they are. It shows you all of those things whether, you know, you like them or not. So thank you. Yeah, didn't she do well? (audience claps)
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Ratings and Reviews
user-2c88c4
Among a sea of wonderful teachers here at CL, Kelly is the cream of the crop. All of her classes are outstanding and this one is no exception. Amazing teacher. Amazing class. Amazing education. If you are hoping to stretch yourself to create deeper more meaningful stories in your images, or are feeling the pull of print competition but need some direction, this is definitely the class for you. Thank you Kelly!
Melissa Soto
Kelly Brown is a true inspiration. She has been my idol in this industry since I began. This class was amazing. I love how honest, authentic and genuine she was. But most importantly I loved her wise direction and teaching style. Kelly brown thank you for this gem. You helped light a fire in me. I’m so excited to start telling amazing stories with the skills I have learned from this class.
Marjorie Stevenson
Just loving this class! Kelly is one of my favorite instructors. She is very good at articulating her ideas and carrying them to an absolutely wonderful end product. Her images are always stunning. I love that she always puts safety first with her models. Thank you Kelly for sharing your creative visions with us.
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