I'm filming my first photography info/ tips and tricks video and will be detailing some things I tell all my first time, experienced, shy models/clients/cosplayers as well as how I shoot particular things.
Is there anything you would like to hear some insight on in regards to modeling, photography, or cosplay, approaching strangers, con etiquette, etc.?
I'll be elaborating on more niche areas after the first video, but I see photography threads on here frequently, so I thought some of you may have some questions.
Thanks! Looking forward to making this, should be fun!
Cosplayer roping her boyfriend into cameraman here. How can you make a photoshoots with a single person interesting? I always liked the dea of narrative photoshoots like Annie Leibowitzs' Killers Kill, Dead Men Die, but I cannot fathom how to do something like that with just one person.
I've got the costume, I've got some pretty cool settings (a nice gardenesque getaway and a desert) but I'm still worried that with just one person in the same costume, it will be boring to look at, you know?
I've been looking at like Pre Raphaelite paintings for posing ideas, but I'm worried it will turn out like those wedding dress adverts that are just... Boring. Person in pretty outfit staring at camera.
The photo example you posted is a gorgeous example of how to make a single person shoot interesting! Absolutely gorgeous! How can you do something that cool and interesting for multiple shots? Do you have any tips?
>>9412777
Those are some solid questions. What kind of photos do you typically enjoy taking? You said your gf roped you into cameraman. Does that mean you are only taking photos for that reason?
I'm happy you like the photo example I shared. That was one of the last shots we did at the end of our shoot as it began raining.
>>9412777
Different photog here, but I've always liked using Japanese fashion magazines as inspo. The poses tend to be a bit more "dynamic" and the general look goes over very well within the cosplay community.
My shots might be what you'd call boring, though. My rule has always been that making the cosplayer and costume look good is my top priority and overrides every other concern, and it's difficult to do that AND take interesting photos at the same time unless you have a shitload of lighting and a team of assistants. (It's a different story if you're shooting costumes that aren't supposed to look cute/pretty, but the people I work with mostly do cutesy anime girl stuff.)
>>9412733
I haven't done a photoshoot with a cosplayer yet but I'd like to know if I'm on the right track in terms of planning. How much work goes into a shoot ahead of time? My expectation is I would look up a few images of key art, promotional illustrations, or screenshots to get a reference for poses, character personality, and general mood. Maybe have them printed or on a tablet. Scout out a location if something specific is fitting and weather is not a problem. Couple of lights or flashes and softboxes. Sketch out 5-10 minutes per scene to pose and move lights. Target 10-20 final pictures for an hour of posing.
Do you give specific directions to set up a scene take a few shots carefully just so or do you give general instructions and walk around snapping and pick out whatever looks good after?
>>9412928
I'm noting your questions as topics to consider for content because those are some good questions, so thank you for asking. :)
However, it generally depends on the timeframe, the situation and the foresight in which you can plan ahead. Obviously the more preparation and participation towards the shoot will result in more grandiose results. But when photographing an unfamiliar cosplay/character/series, you are limited to what information you are able to obtain in the amount of time you have allotted for the shoot.
In a con setting, with a busy schedule, you can get some info when booking the shoot to research yourself, but often times you can get some solid info while meeting up and finding the appropriate location to shoot.
I believe that I yield far more usable results than the average photographer does, but I can go over that in the videos as well.
I pride myself on creating dynamic shots with solid direction. Even to novice participants.
Now, I don't ALWAYS get the results I desire, but sometimes you can be proud of a single shot while the person(s) may be happy with the entirety.
>>9412851
Thus the problem: I'm the cosplayer, I just happen to have the world's most understanding boyfriend who doesn't mind being roped into my craziness. He isn't really into photography, and I freeze around expensive cameras- I love cinematography but I was always terrified to even touch a camera for fear of breaking it. Still, he's excited to try it, plus we get to explore crazy cool areas in SoCal! Nothing like going from a green Japanese garden in full bloom to a full on dune filled desert in about 3 hours. For Star Wars costumes nothing beats having actual sand dunes.
While I'm proud of my costume, I want to do a shoot that's fun for the viewer, you know? Not just 'full body, profile, back.' I love photoshoots that are fun to look at. Like with your shots, they have a certain living quality to them, looking more like a painting than a generic shot. There's a sense of story or character. How do you achieve that?
Not just is the Oroichimaru shot gorgeous in terms of symmetry, but the colours and mist make it look like something out of a movie. It looks active, like something is actively happening, like a narrative. That is something so cool, and so rare. How do you do that? Where do you find inspiration? What are some of the challenges with on location shots? Do your cosplayers get dressed on location? If so, how? Or if they drive there in costume, how do they keep it from wrinkling? Overall, what percentage of the shots you take are actually usable? How do you choose which ones are keepers and which ones didn't work out do well?
And thank you to the above poster for the suggestion of Japanese fashion magazines! I can understand what you're saying- larme is a lot more fun to look at than a lot of the more generic vogue shoots.
>>9412939
Speaking of dynamism, how much dutch angle do you find yourself using? I can appreciate it in actiony shots but sometimes I see it used too much in basic poses to fill the frame where it only creates vertigo.
>>9413392
dutch angles are gross
>>9412940
Thank you for all the kind words, I'm glad you enjoy my work.
>There's a sense of story or character. How do you achieve that?
I've learned that the most enthralling photos are images that tell a story. Doing tons of event photography for years has helped me try and tell a story with a single/few images. Sometimes it's subtle, other times it's very apparent. I got really bored of just photographing "pretty people" with no context, so I now always try and show more.
>Not just is the Oroichimaru shot gorgeous in terms of symmetry, but the colors and mist make it look like something out of a movie. It looks active, like something is actively happening, like a narrative. That is something so cool, and so rare. How do you do that?
It really depends on the situation and the context of the shoot, but it can be as simple as focusing on a single aspect of the character or individual and what makes it unique. For the Orochimaru shoot we went to the Ape Caves in Washington and did a shoot inside the pitch black caves. It was fun, but I was unprepared for certain elements. I still like the photos, but have come a long way since then. The photo I shared above was what I thought would be titillating while embraces the natural beauty of the Pacific NorthWest. We both nearly stripped to get the shot as it was starting to pour rain.
>Where do you find inspiration?
Film, comics, anime, art, people, challenging myself. I get inspiration from everything really. As a photographer I always try and look closer.
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>>9417813
>>9412940
>What are some of the challenges with on location shots?
There are always challenges. Such as the Ape Caves for Orochimaru, I did not anticipate the cold weather and humidity in the caves. Every lens fogged up so fast and would stay that way. Even breathing inside the caves, seeing as there was little ventilation, would make the foggy breath linger an obscene amount of time. I had to hold my breath for a long while between shots. It's always better to over prep and have an assistant if possible.
>dressed on location? If so, how? Or if they drive there in costume?
It really depends on the costume, but sometimes they get ready on the scene. Usually that's the case as driving and riding around in cosplay does not really work. Models and cosplayers are troopers and sometimes change in public, in as much privacy as they can. Dedication to achieve "the shot" is a great attribute to have for creativity.
>what percentage of the shots you take are actually usable? How do you choose which ones are keepers and which ones didn't work out do well?
How I shoot and edit is different than most photographers, I feel. When people work with me they tend to get many, many more photos than the average photographer. When I deliver my images they person usually is able to spam photos for a long while because nearly all the photos are usable. The ones that aren't are usually due to the person's on discomfort on how they look in the photo. We are our own worst critics when it comes to that.
A lot of the usability of the photos is due to when I was first starting out in photography, I would just blast photos and get tons of the same exact shots. I got so tired of figuring out which one of 7 photos that looked nearly identical looked best. Now I am much more selective with my shots and am able to judge the moment better while shooting, instead of machine-gunning the shoot.
Hopefully I provided some helpful answers for you. Feel free to ask further questions.