Juxt. Holly Parker. D3/50mm. 1/250th, f/2.8, ISO3200.
L U C I M A FASHION-EDITORIAL MASTER CLASS
This workshop is modeled after the Master Class I teach for MFA photography students at the New York Film Academy.
The world is full of ordinary and forgettable images. Images that fail to capture the "human element". Images that are incapable of creating an emotional bond with the viewer.
It's simply not good enough to shoot an image that's "good enough".
So for those photographers that are tired of standard modeling agency images and want to create more emotionally-charged images, I am hosting a new 2-day Fashion-Editorial Master Class with hands-on learning (read: lots of shooting). This workshop builds off some of the basic concepts from previous workshops but really focuses on capturing unforgettable and timeless pictures; the stuff that makes great photographer and model portfolios (and not necessarily great modeling agency portfolios). These are the pictures that inspire models to book me for paid shoots.
And it means we'll be breaking a lot of rules. Rules that bind us to shooting the same sterile boring images over and over again. Really I could have called this class "Unorthodox Photography for Capturing the Human Element" because we're going to shoot unusual angles, with unusual lens choices, at unusual frame rates, with even more unusual camera settings...
Because it's not as simple as model+photography+retouching=good pictures. If that were the case then everyone would be creating amazing images. But it's not. It's an artistic process that starts with market perception and ends with how you present the images that you create. This class builds on the basics of executing a good model test but focuses more on the nuances involved in capturing the human element. Using the typical model test as the structure for shooting, we will specifically cover:
Erica. Couch Potato. D3/50mm. 1/200, f/1.8, ISO2000.
- Market perception / branding. How does the model perceive you as a photographer? Because the models' perception of you as a photographer is pivotal to how he/she responds to you.
- Pre-production correspondence. What are you saying to your model before the shoot? What expectations are you setting prior to the shoot?
- Pre-production planning. How are you preparing for the shoot? What are the elements you need to create unique images?
- First impressions. How do you represent yourself within the first moments of meeting your model? What can you say or do to influence those crucial first impressions?
- Setting up the first set. Being prepared for the first set allows you to sidestep the many pitfalls that exist in a typical model test. There are many elements to consider to ensure a successful first set.
- Shooting the first set. Arguably the most important step of the entire process. This is a critical juncture of the shoot because it sets the stage for the rest of the shoot. We'll spend the most time going over this part of the shoot to examine the interactions between photographer and model for generating images that capture the human element.
- Lighting. This will be a big chunk of the workshop as I will show you the more unique lighting choices I employ for fashion editorial images. This includes everything from a pop-up flash, to ringflash, to "unorthodox sources" of ambient light. I will also show the standard 1-2 light setups that you see in many of my images.
- Image management workflow. I shoot a lot of frames and managing these images effortlessly is critical to image selection. We'll be using Lightroom as a digital asset management (DAM).
- Image selection. Arguably the second most important step of the process. So many photographers shoot incredible images only to pick the worst ones for retouching. And while there are many different perspectives for selecting images, we'll build your ability to evaluate images with a fashion/editorial eye.
- Post-processing. Fashion-editorial images are much more about interpretation and stylistic expression. I'll show you the techniques I employ to enhance images in Photoshop.
- Presentation. How do you showcase the images? Where do these images go? Who sees them? These are all important questions to answer because they affect the shoots you book in the future... especially the paid ones.
-Who is L U C I M A? I'm a fashion-editorial photographer based in Los Angeles (see www.lucima.com). I also teach at the New York Film Academy (Universal Studios campus) to 1-year and 2-year MFA photography students.
-Since good models are paramount to getting "the shot" we'll provide experienced agency-represented models for the workshop. I'll be updating this page shortly with who we're shooting.
-Photographers will be learning/shooting on-the-fly. I'm not a fan of lectures but rather a constant dialogue and sharing of knowledge. That also means, you're not paying to watch me shoot... you'll be doing most of the shooting!
-One of the things I enjoy most is keeping the workshop small for more one-on-one attention. I will cap the attendance at 12.
-One-on-one time with models is critical to the learning process. At the workshop you'll have plenty of time to work with models. There will be 2-3 photographers per model.
Photographers should bring:
-Computer to follow along for post work
-Media cards. LOTS of them. And fast ones. Preferably 60mb/sec+.
-Something to take notes with
-(optional) Pocket Wizards
WORKSHOP IS FULL! Registration is CLOSED.
$849. Register before January 7th for 10% off ($764.10)
212 Kruse Ave.
Monrovia, CA 91016
Saturday and Sunday, January 21-22th, 2012, 9AM-5PM
Click here to see my previous workshops!
Here's a promo video from the L U C I M A | Modeling Agencies Workshop
Will update more as inquiries come in!
Q: Where can I see more of the previous workshop results?[/b]
A: Please see our L U C I M A Workshop Facebook Group!
Q:How does this differ from the Modeling Agencies Workshop?
A:While we'll briefly touch on some common topics, this class is really a departure from the standard modeling agency test because we aren't bound by the requirements of the modeling agency and their agents. Throughout this class we're going to exercise our artistic license.
Q: Do you also teach workshops from Calumet? What's the difference?
A: Yes, I have a non-exclusive partnership with Calumet Photographic that affords me the opportunity to teach my own workshops. So far all my classes at Calumet have been 1-day events at the Hollywood store with no location shooting.
Q: I'll be flying in from [fill in the blank]. Where should I stay that's not too far from your studio?
A: There are several 2-3 miles away from the studio. I'm not affiliated with any of the following suggestions:
a) Doubletree Hotel
924 West Huntington Drive, Monrovia, CA
b) Oak Tree Inn
788 West Huntington Drive, Monrovia, CA
700 W. Huntington Drive, Monrovia, CA
Q: Which models are we shooting?
A: Will update shortly! But chances are that they'll be the ones that you see most recently in my portfolio. See my tumblr blog for recent work!
Q: Are we shooting outdoors?
A: The vast majority of our time will be spent indoors in the studio but we will explore some location lighting.
Q: Will we be shooting nudes?
A: Nope. For that I suggest you go to Drew and Karl's workshops. I hear they're great
Q: At what point will you know whether you will register enough students to confirm the workshop?
A: I never cancel my workshops. If there is even 1 photographer, then the show goes on! Yes, I will teach to 1 photographer if only 1 registers!
Q: Do I really need a light meter?
A: Yes and no. But basically I'll be showing you how to light with AND without light meters. But for a long-winded version of this answer please see my official stance on light meters.
Dec 19 11 08:58 am Link
Shreveport, Louisiana, US
I wish you were not so far away.
Dec 20 11 04:07 pm Link
Afton, Wyoming, US
I love that I might actually be able to attend this time!
Dec 21 11 05:46 pm Link
Anyone considering sharing a hotel room to save $.
Or pick me up from LAX and drop back and make some $?
Considering flying in from Australia, just for this. :S
Dec 23 11 03:42 am Link
Silas, I can get you in touch with the guys already signed up for the class to see if you want to carpool/coordinate/share rooms etc.
Also please check the Workshop Fanpage here for more interaction! http://www.facebook.com/groups/185656974814125/
Dec 23 11 10:56 pm Link
Portland, Oregon, US
Too bad I'm a broke college student! Would love to attend something like this. If you're ever looking for an assistant or to do any kind of mentoring/internship I'd be VERY interested. Thanks
Dec 25 11 11:59 am Link
Here's the premise to the entire workshop. It's part of a multi-part series called "Magic" that I've been blogging about over the past few days. I've copied and pasted just the first part here:
If you're just starting out in photography, then this post isn't for you. If you're still learning how to light, this post isn't for you either. If you're content with what you're creating, this post also isn't for you.
So who is this post for?
It's specifically for photographers that have experienced what I call "Magic". When things seemingly go right for no "apparent" reason. When you're surprised by the results of the images that you're creating. When the flow between you and the model takes a life of its own. When you capture the essence of raw emotion in a still frame.
I call it Magic because that's what it seems to be. It seems arbitrary. It seems inexplicable. It seems like it can't be replicated or made into a process. I often use the "creation of life" analogy where in a cesspool of proteins and water, lightning struck and molecules organized themselves in a way that represented the first single cell organisms (yes, I realize that's a crummy description of that theory but you get the idea).
So if you buy into the idea of Magic; if you've experienced it; if you're seeking to create more Magic, then read on. If you're not interested in creating the types of images described above, then this would be a good point for you to stop reading because in all seriousness, not every photographer has experienced Magic and not every photographer is ready to explore how one creates Magic.
As further disclaimer what I'm about to describe requires significant proficiency with camera equipment, lighting equipment, and models.
Camera equipment requirements - You should be able to operate your camera blindfolded. Or at the very least you should be able to make manual adjustments to aperture, shutter, ISO, without taking your eye off the viewfinder... even if your viewfinder doesn't have this information constantly displayed.
Lighting equipment requirements - For any given situation in the studio (or outdoors) you should be able to dial in a proper exposure within 60 seconds. Preferably within 10 seconds. For what it's worth I'm going to limit the discussion to single light setups so we can focus on the dynamics of creating Magic.
Models requirements - You should have worked with hundreds if not thousands of talents, specifically models. Your experiences with other talents such as but not limited to makeup artists, wardrobe stylists, hair stylists, art directors, etc. will all add value to this aspect of creating Magic. But none more so than real experiences working with models.
The premise of creating Magic is based off of improvisation and shooting dynamically. You're going to be shooting "without a script". What's a script? It's any preconceived notion of what's about to happen. This includes, concept, makeup, hair, wardrobe, lighting, etc. Our theoretical setup for future posts will be based on the traditional model test with 1 model, 1 camera, 1 light, and 1 solid backdrop.
Now that we've set the stage and we're all on the same page for "creating Magic" I'll proceed to write about a few key components for how I create Magic. This is the foundation for the Master Class I'm teaching in January.
Dec 28 11 08:18 am Link
Las Vegas, Nevada, US
Update on models attending please?
Dec 29 11 01:20 pm Link
Now I just need some peoples to keep me entertained and show me LA in between course times to make it a great start to 2012! Ill be there 20th to 24th.
Possible other shoots? Dinner? Tattoo parlour? Tour?
Will return favour if you come to Australia!
Dec 31 11 05:29 pm Link
By the way, 4 spots remaining for the workshop
Jan 01 12 06:45 pm Link
Q: Are we shooting both days?
A: Yes you're shooting both days.
Q: Who are the models?
A: So far I've confirmed Holly and Marley.
Q: How many models?
A: 3 or 4
Jan 02 12 06:47 pm Link
Los Angeles, California, US
You still have open slots? Seriously? What are people thinking? I mean, I'm going! I need my magik. Say no more.
Jan 02 12 07:32 pm Link
3 spots left
Jan 03 12 07:52 am Link
Pomona, California, US
I'm signed up. Come on Jan 21.
Jan 03 12 10:30 am Link
Los Angeles, California, US
Taking the plunge, see you on the 21st
Jan 03 12 04:38 pm Link
See you all very soon... 1 spot left!
Jan 03 12 11:38 pm Link
Los Angeles, California, US
Looking forward to meeting you, Charles, and everyone else.
Jan 03 12 11:39 pm Link
Workshop is FULL!
Please leave me your email if you'd like to be on the email list for the next workshop!
Jan 04 12 05:59 pm Link
New York, New York, US
Hi, I would love to attend the next workshop.
Please add me to your mailing list. email@example.com
Jan 04 12 06:58 pm Link
Will add. Cheers!
Jan 06 12 08:59 am Link
West Hollywood, California, US
I'd like to do the next workshop! Michael.Benatar@gmail.com
Jan 06 12 01:42 pm Link
Any update on model numbers, and models. Ta.
Jan 09 12 06:51 am Link
Doh, a space opened up in the workshop 2 days before the show.
Message me if you're interested!
Jan 19 12 09:09 pm Link
New York, New York, US
please do this one again.
Jan 21 12 08:12 pm Link