Fashion photography with Frederico Martins 1/3 | Phase One LIVE
I've been surfing for the last 20 years. I started when I was 13. It was through the surf that I discovered
photography and I started to be more passionate about it since I picked up my father's
camera and went to the beach and photographed my colleagues surfing. I started to work with some
surf magazines in Portugal. And now, 20 years later, I'm shooting
fashion which I didn't plan. In this shoot I'm bringing a little bit
of the beach into the studio and do this surreal thing of filling up the studio with sand,
making it look like the beach just invaded my studio. It's going to be awesome. We're going to use some natural
light from the windows and then we are going to set up
the flash lights inside. I'm not sure if we're using
some soft light or hard light. We're shooting a 8-12 pages
editorial in ELLE magazine. Higher there and then higher again next
to the window so that it's like flowing.
Today we have 1.5 tons of sands in the studio
so we can do this surreal environment where the sand came into the studio. We're going to have a small
boat, an optimist with a sail. And we'll also have two Irish wolfhounds
which are very big dogs to accentuate that surreal environment. – So that's our set.
– Nice! We're going to have a very beautiful model
and I think its going to be a really nice shoot. Today we're working with Paul who is
one of the best fashion stylists in Portugal. He works with ELLE and other magazines. On make-up we're going to have Antonia who
is one of the best make-up artists in Portugal. Let's see the hair. I was thinking a
kind of Romy Schneider in Saint Tropez.
The hair stylist is our number one in Portugal. He works with everybody from
Vogue to ELLE to Massima. We'll have a top of the line team here today. She's like standing at the corner of the boat,
more relaxed and then we do something here. It's really important that you
and the stylist get in tune, really focused on the same goals,
so the entire team gets that positive energy from both of you. It's really important that you work
with the best available equipment. The right gear that gives you the
results that the client is expecting. Especially with magazines because
when you see a picture printed it's really important that you have
a really good camera to produce the best possible result. I'm going to use my IQ140 which is
perfect for this kind of shooting. On a fashion shoot we need a speedy camera,
highest quality and the right format. The last weeks we have had a few
meetings about what's going to happen. We have to shoot swimming suits for this story. This has been a close teamwork
between me and Paul in preparing everything and setting up all the details
and all the ideas that we had for this shoot.
I saw this picture. The sand
and the house can be like this. I think it's cool when the
light comes from one side. Usually, he just tells me his
ideas. He can show me one picture that sets the mood for
the shoot but that's it. I am free to create my own idea around
his idea for the mood of the shooting. I want to shoot this girl and she's never
available but this time maybe its possible. – She has a lot of experience.
– She is nice. In a model what I value the most is expression.
It's her being able to express the kind of feeling that we want to transmit through the pictures..
