A/W 2014 Sala Chaussures

When I first started this blog I would write about my thought process when I would edit photos or was out on shoots. Eventually I stopped doing that because I was thinking to myself: Does anybody really care? And what makes your “insights” so special.

More recently, I realized that it was a helpful learning tool, not just for myself but for anyone reading this. So in case you’re interested, I’ll walk you through the AW 2014 shoot I did for Sala Chaussures. And if you can’t be bothered, just look at the photos. ;)

First of, credits:
Styling and Creative Direction: Trifina and Celyn Sala
Model: Leslie Booc
MUA: Liz Cinco

I like to start any shoot nice and easy. Even if I have worked with the model before, I find that there’s always a period or getting used to one another again. So, we find a good location, and just play around. I have her move around the space and see what she’s comfortable with, what her angles are, and how much direction she needs.

Sala Chaussures

When it comes to scouting for locations, I like to find places where the backdrop doesn’t compete with what should be the main focus of the image, which in this case are the shoes.

Here I have Leslie against the white marble that extends into super bright concrete and in her simple outfit your eye goes to the most colorful thing in the image, the shoes.

Sala Chaussures

It’s the same idea in this image as well. Against the black gate the white dress stands out but throughout the image all the colors are very neutral except for the pop of color in the shoes.

Sala Chaussures

In this shot I wanted to frame her with the blurry foreground to add depth to the shot.

Sala Chaussures

Another way of directing the viewers attention is to have the model looking at what you want your audience to look at.

Sala Chaussures

Or to have complementary shapes. I like how the ruffles on her dress mimic and match the wings on the shoes.

Sala Chaussures

Props are always fun, but you have to be careful that they don’t end up taking over your image.

Sala Chaussures

In the end you have to make sure you’re getting the product in the shot. You can have a beautiful image but if your client can’t use it to show what they want to sell then they aren’t going to be very happy with you.

Sala Chaussures

Sometimes less is more. I love this image more than the two that came before it because it’s so simple but it tells the same story as the first two shots.Sala Chaussures

This part largely depends on how much time you have and how open your client is to you experimenting. The great thing about working with the Sala sisters is they aren’t afraid to play. So once we got the romantic, ethereal shot above, with the same shoes we tried a more dark and moody look. Majority of this look was achieved in post processing. The lighting is largely the same but the color and the fog was added later on. The color of the shoes are exactly the same though, that’s important, don’t mess around with the product.

Sala Chaussures

Then it was time to move indoors. If you’ve been following this blog for awhile, you know that I really struggle with studio lighting. For product shots and things like that I’m fine, but for telling a story I’ve always found it hard to use artificial lights. After lots of practice I think I’ve gotten the mix the way I like it. The images below were all shot with one or two lights mixed with whatever ambient light was available in the room.

Sala Chaussures

Sala Chaussures

Sala Chaussures

If you made it all the way to the end and through all my rambling then yayy you! Let me know what you think, what I got wrong and if you have any suggestions or thoughts of your own that you’d like to share.

Till next time!


15 thoughts on “A/W 2014 Sala Chaussures

  1. Like your photos and insight into your process. As a would be studio, wildlife, and landscape photographer I’d like to hear more in-depth analysis of the poses. Do you direct the model or just let them do what they do?

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