Hey everyone, it's Rob from Hypop and welcome
back to another video.
In this one we're taking you along with us
on one of our shoots so we can show you the process
on how we take editorial style shots
with a model and some of our styling props.
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Let's get into it.
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S-Beam. That's what we'll be using to shoot.
And we have fortune cookie paper backdrop, also Spectrum as well.
I really wanted a soft fruity look for this entire shoot
which is why I went for light with a modifier.
I wanted to use the paper roll as a make shift wall,
So I left it curled.
The ground is a really nice dark wood
which contrasts well with the paper roll.
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The curl of the paper roll highlights
the texture of the ground.
Hello everyone. This is Zara, our model today.
And we are shooting with the Spectrum S-beam.
So, we're just changing the lighting setup
just so it's a little bit brighter.
So, plug in this guy.
I got Zara to sit down on the ground
so we could get more of a relaxed pose.
It feels more natural if you prompt your model
rather than referring to exact references.
We added in some flower props here
to get that cool blurred out focused look.
These were definitely my favorite shots from the entire shoot.
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We're using the actual studio space.
So, we've got the two S-beams set up here.
We'll probably have the model posing against the wall here.
The styling is very soft and very neutral.
These S-beams, they come with this softbox diffuser.
So, it's really good for having just a continuous light
which is just soft.
And these are really easy to use
because you don't need a trigger or anything.
So, I would probably really recommend them
if you're new to using lighting.
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The studio has lovely brick walls
which I wanted to feature as well.
I found shooting with this brick wall
as a challenge to be honest as I like my backgrounds
to be a solid colour block.
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I decided to edit it to be black and white and less contrasty.
So, it suited the soft neutral vibe I was going for.
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So, this is moving on to our next set.
Because of the light coming through the window,
creates this really cool like shard here.
So, we just moved the muslin forward to get that.
We're gonna put the S-beam on this side
just so we can actually put some fill light on her,
so it's not completely dark on her face there.
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Heads up.
If you're going to do a fruity scene like this,
definitely cut up all your fruit beforehand
as it is quite time consuming.
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So, it's still very soft
because all the elements in the styling the backdrop
and the fruits it's still soft, but like the light change.
That's how lighting affects kind of the way
the mood is in an editorial.
This setup was perfect for simple skincare shots.
Two S-beam lights pointing towards the model
with an assistant holding a reflector with white bounce.
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I'm using a macro lens
to get those really close up skincare shots.
I really love the way these photos came out.
Hello. So, the model has left now.
So, we are shooting some extra shots
that we can include in our end result.
Having a mixture of model photos,
just a product in the model's hand against a backdrop
and then a few more just product photos
can work together really well.
So, we are going to style this scene.
Why are we using fruit?
So, I think fruit has been pretty trendy
to be using in studio.
So, obviously we really like to try the trends out.
And I think this trend is pretty fun.
You get a lot of texture, a lot of color.
And obviously pairing them with neutral styling props
like this really add to the scene.
Now, we have a flower holder.
So, he's holding the flower there just
so we can get some cool shots of a floating flower.
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So, we have a nice wide shot of the scene.
A bit bored of this.
So, we're going to add different kind of shapes in there.
This one might look quite nice
because I think all the fruits are quite round.
So, adding some round kind of shapes
might make it a bit interesting.
These are the cylindrical ones here.
So, we've got here an acrylic round.
So, this is really cute
because you can put the actual product on it
and you can actually just style that.
I like putting it like against things,
so I like stacking that nicely on the side.
And then we can just put in our product.
Shooting with natural light is really lovely
but obviously sometimes
there's just not enough light in some spaces.
So, we've got two of our Spectrum S-beam lights here.
So, we're going to show you what it looks like
with one light on versus having two lights on.
So, this is just natural lighting.
I'll take a photo like this.
So, in this instance, it's really beautiful,
the natural light, the way it comes through.
But I think it always looks a little bit nicer
when it's actually filled from the front.
We're going to turn on one light first.
So, we're going to pump this to 100.
So, that's at 100.
So, obviously you could stop at this
if this is kind of the vibe you're going for.
So, this has a really nice kind of window
light effect coming through.
Now, I'm gonna turn on the second light
and you're gonna be able to see the shadows on the left side
are gonna get filled in.
And I'm going to move it to a hundred.
So, as you can see, it's a lot flatter,
not as kind of dimensional as just having one light.
But again, it's up to what you want.
Some brands really suit a really nice flat lighting style,
and some really like that nice natural.
I think for skin care and beauty stuff,
I think it's always nice to just have one.
I think that's really pretty. So, yeah.
These lights come in a kit. You can either just get one
if that's all you need, or you can get them in the set.
This is what natural lighting looks like,
and this is obviously what it looks like
with fill light from the front. Very nice, very pretty.
So, it's better to shoot more, so during the edit process,
you have a lot more options to choose from.
So, in this instance,
I'm just going to shoot the fruit as it is
because I think it's really pretty scene.
So, obviously just no product or anything.
Just the fruit themselves.
That way I can actually think about maybe having this shot
with maybe a photo of the model.
But obviously we'll document the editing process.
So, you'll be able to see what decisions we make.
So, keep watching.
I am no graphic designer at all
but mock-ups are always fun to make for portfolio examples.
So, as you can see,
I've just made this mock-up logo.
It's called 'JuSkin'.
And I'm just playing around
with kind of the sizing of this logo
with the images as well.
As I mentioned during the shoot,
it's always better to shoot more than to shoot less.
Then you just feel like you don't have enough options
in the editing process,
it's just better for your sake to just shoot way more
and then obviously not use as much.
As you can see, here we shot a lot during the shoot
but my mock-up here is only using about five images.
So, I'm just mocking up kind of product images,
kind of images with the model as well.
So, just having a nice collation of different types of images
during the shoot.
So, is there a lot of trial and error
involved in the editing process?
Personally, yes.
I think everyone has a lot of trial and error.
The best way to know whether something works
is to just put it together.
And you can see there are some things
that I try during this editing part
that I didn't really end up liking.
So, I just oversimplified it or I just tried something else.
I mentioned before that I got a lot of inspiration
for this shoot from Pinterest and Instagram.
At the end of the day, I think Pinterest is a great resource.
If you are looking at Pinterest inspiration all the time,
it gets really hard to kind of come up with original ideas.
You'll feel like if you're just copying a reference,
it just feels like a blatant copy.
So, I think the best way to do the brainstorming process
when it comes to any creative project
is to use Pinterest as a resource,
but I think at the end of the day
just go back to an original brief.
Just really simplify what you're working with.
So, like Juliet said,
I think Pinterest is a really good reference
but when it comes to shooting,
especially when you're editing in the post shoot process,
I think that creative intuition is really important
and trusting your own creative intuition is really important.
Because if you really need inspiration,
it's good to look back on your own work
and think about how you personally interpret the brief
and how you shoot and what suits yourself stylistically,
because if you're getting too caught up in other references,
it's really hard to make things your own.
And I guess that's really important.
Especially if you've been sourced out by a client,
they want your work and your vision.
So, yes, just really trust yourself.
And it is a lot of trial and error and that's normal
and that's usually how you get the best results as well.
So, we had a little bit of extra time at the end of the shoot.
As you can see, the studio we were using
has these really nice shards of light
that just come through the window.
If you're working in a studio
but you want to work with a specific texture,
I think the safest option is to bring it along.
So, as you can see, we have these flat-lay backdrops.
I also wanted to just use the S-beam
to shoot really flat studio images.
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Thanks for watching.
Special thank you to Daniel from Innkeeper Studios.
If you're based in Sydney, Australia,
we definitely recommend to check out his brand new studio
based here in St. Peters.
For more videos just like this, please feel free to leave down
in the comment section below your thoughts.
If you like this series, please let us know
because it's something that we're changing up a little bit
for you guys to get more of an insight on our process
and how we go through our usual shoots,
photo shoots just like this.
Don't forget to follow us on social media
@Hypop and visit our website www.hypop.com.au.
Thanks for watching.