Big Photo Hunt
A photography conversation for aspiring and amateur photographers filled with exclusive tips and real life stories to help us all improve our skills and grow, together. Join host Ken Deckinger as he shares insights from members of our friendly community of photographers encouraging and supporting each other's growth.
Big Photo Hunt
Faye van Hest on the Art of Portrait Photography
Faye Van Hest is a Melbourne-based photographer celebrated for her captivating portrait and automotive photography, as well as her popular YouTube channel where she offers invaluable tips. In this episode, Faye joins me to share her journey into photography, life in Australia, and the art of crafting truly impactful portraits.
We explore the keys to working with subjects and models, harnessing light and mood for storytelling, and—above all—effective communication in every shot. Faye also opens up about her passion for automotive photography, revealing what it takes to capture that perfect car portrait.
Whether you’re eager to enhance your portrait skills or rev up your automotive photography game, this episode delivers both inspiration and practical know-how.
Show Notes:
00:00:00:04 - 00:00:13:06
I was wondering how much is the model, as opposed to just having a friend standing there and directing them? Can you get the same look out of someone that's not that doesn't know what they're doing? Um.
00:00:13:14 - 00:00:45:09
Maybe you could, but it is a fact. It's going to take some time before you reach that point. And I feel like when you are shooting with a professional model, you move so quickly from another location to another. You're just being so much more effective with your time because you're actually shooting faster as well. But I do get it. Some people are not in the position to maybe not afford a professional model, or they can't find one, or they have a beautiful friend already, one to shoot them. So I feel like it all comes down to take your time with working up, working towards a good photo.
00:00:45:19 - 00:00:59:10
Um, and then yeah, I think that's the best way to do it. And then show them what you're actually shooting and then go back to photographing and sort of do it together. Instead of you just having this photo in your mind, how is your model going to know what you've got in mind?
00:01:02:09 - 00:01:23:24
Welcome to the Big Photo Hunt Podcast, a show where we talk with aspiring and professional photographers to help us all grow and improve our photography together. I'm your host, Ken Deckinger. If you're one of our community members and you'd like to be a guest on the show, please visit bigphotohunt.com for more information.
00:01:35:27 - 00:02:17:13
Portrait photography is what we're going to talk about today with my guest, Faye Van Hest. Faye, who is from the Netherlands but now lives in Melbourne, Australia, is a portrait and car photographer. She's here today to talk tips and tricks to help us all improve our portrait photos, including working with our subjects to get the shots that we want. And fake comes from a really cool background that gives her a perspective from all angles, because before she was a portrait photographer, she was on the other side in front of the camera as a model, so she knows what everyone is feeling.
00:02:20:23 - 00:02:31:27
Thank you. I know you've been traveling. You just got back to Melbourne, so thank you for taking this time. It's late and I know that. Just so you know, it's early here. So I've had like three of these.
00:02:32:14 - 00:02:35:21
Oh good. Okay. How early is it?
00:02:35:26 - 00:02:40:04
It's 8 a.m. here. I'm in Boston. Oh, right. Have you been?
00:02:40:25 - 00:02:42:22
No, I would love to. One day.
00:02:42:24 - 00:03:02:14
It's a cool city. It's pretty. I moved here from New York City, and I'm originally from the Miami area, so for me, it's a little less spicy than I might like. It's kind of like a very beautiful city, but very kind of a little more conservative. It's formal? Formal, more formal. Formal is a good word. Formal?
00:03:02:16 - 00:03:16:24
Yeah, yeah. Okay, cool. I would still love to check it out. One day I watched a series called Designated Survivor. I don't know if you've seen that. Yeah. Yeah. So. Oh, ever since I watched that, I'm like, oh, I kind of want to just check it out and everything. That whole area, Boston, Washington, just everything will be so awesome.
00:03:16:26 - 00:03:38:06
It's beautiful. It's a beautiful city. So again, I apologize. The morning was supposed to be totally chill. I don't need coffee. I don't know if you could tell, but I had too much. So if my head explodes, just call 911 or something. But I. I had this perfect chill morning so I could be ready for you. My daughter, she's going to Six Flags. I don't know if you know what that is. It's an amusement park.
00:03:38:21 - 00:03:41:21
Um, yeah. With the really high roller coasters. Yeah, yeah.
00:03:41:23 - 00:04:09:27
That's it. So she's going there on a class trip today. I know she wouldn't, like, eat good food, so I got up. My wife had to run out, so I got up. I made her, like, this beautiful breakfast sandwich. I spent so much time on it. And then I was going to come down here and just have time to chill before our conversation. And our dog ate it, and so I had to rush back upstairs. Yeah. So I had to rush back. Yeah, it was not cool. So I had to rush back upstairs, make another breakfast sandwich for my daughter, and then come back now. So it's good to see you.
00:04:09:29 - 00:04:17:12
Sounds like it sounds like a stupid excuse to be late because most people say, like, my homework got eaten by my dog, or my breakfast got eaten by my dog.
00:04:17:14 - 00:04:17:29
Yeah, I.
00:04:18:01 - 00:04:20:25
Know. I trust you, I trust you by a word.
00:04:20:27 - 00:04:23:03
But I was still on time, though.
00:04:23:16 - 00:04:25:14
Yeah, you were, you were? Yeah. Me too.
00:04:25:16 - 00:04:26:01
Yeah.
00:04:26:03 - 00:04:28:04
I'm just making excuses for having too much coffee.
00:04:30:13 - 00:04:32:14
Nice. Relatable. Yeah. So.
00:04:32:24 - 00:04:50:09
Um, tell me about Fay. Tell me about you. Your photography. I have a lot to say about you because I know your content. I know all of your lessons about portrait photography. I know about your car photography, which is awesome. But in your words, introduce yourself to everybody.
00:04:51:05 - 00:05:23:11
So my name is Faye. At the moment I am in Melbourne in Australia, which I'm originally not from. As you can hear, I'm from the Netherlands. I've always lived there all my life until I met my boyfriend. He's also a photographer and also the reason sort of why I moved here. So I'm in between Melbourne and the Netherlands, which is sort of working out for me for photography because the landscape of Melbourne is just ridiculous. It's like a little playground. I get out on the streets and now it's raining actually, so I might go out later, but it just looks so beautiful and awesome.
00:05:23:13 - 00:05:55:11
And in the Netherlands, I love Netherlands, but I've lived there all my life and I've seen it. I've done it and I'm pretty done with it. So happy to be here. And I would say I am a portrait and automotive photographer, mostly creative portraits. I love using external lighting on my shoots, uh, getting funky on the streets. Just the crazier the better. And the automotive. The same thing. I love putting super expensive car in a very industrial area. And that contrast just yes for me. Chef's kiss. So that's the best way I would describe myself, I think.
00:05:55:13 - 00:06:12:22
And I started a YouTube channel a year and a half ago, which I share all my just behind the scenes on photoshoots, how I make my photos, which gear I use, how I position the lighting, just everything, all the ins and outs and I've been enjoying it. I really love hosting that channel. It's been a journey, a good journey.
00:06:12:26 - 00:06:19:23
The channel is awesome and it's a cool name. At first I saw this. I was like, does she know what she did here? This is so cool. And I'm like, of course she knows what she did.
00:06:20:06 - 00:06:20:28
I don't know.
00:06:21:12 - 00:06:34:23
It just came to me one day. I don't remember the moment when I did, but I had one old lady and she was like, I think it sounds a little bit aggressive. And ever since I'm like, oh, I don't think so. I like it. So whatever.
00:06:34:27 - 00:06:52:15
I think it's awesome. You know, I don't believe in getting opinions. When you create a brand or you create a name because people don't share the same vision and they don't maybe have your creativity. And so if you have an idea and it sounds cool. You should just go for it and you can turn it into anything you want. Exactly.
00:06:52:17 - 00:06:56:24
I guess it's a good thing when someone has an opinion about your work. It means you're on the right track.
00:06:56:26 - 00:06:57:16
Yeah, I think.
00:06:57:18 - 00:07:23:20
People say that to define a really good brand. Like you have to put a stake in the sand or stake in the mud, or put something in, put a line, because that's what you have to do and it's in your face, everybody. So I'll tell everyone at the end, but it's cool. Make sure everyone goes to your your YouTube channel, which is extremely valuable. Okay, so one of my questions was Why Melbourne? You just answered that. Second is what's photography like in Melbourne, Australia? What's Melbourne like? I've never been there.
00:07:23:25 - 00:07:54:08
I would describe it as a very chill New York. I've been to New York as well. That was super hectic. Crazy stuff happening everywhere. And here there's also a grid with sky high sky rise buildings and architecture is really cool. It's very similar to New York, but still there's so much greenery in the city and it's built around nature and I feel like Australia is mostly like that. People respect nature and for photography that is also awesome, especially if you have all the green trees in the city with portraits. I think that's really awesome.
00:07:54:15 - 00:08:27:11
And something I really like is if I would drive two hours from where I am right now, I would be in a rainforest. Or if I go in another direction, I'm on the seaside, the great ocean roads and another two hours. And I mean, I don't know, in the desert, but you can just do whatever direction and you have a different scenery. And I think that makes it feel like a little playground for portraits, but also for cars. And what I do like is that we're quite close to Japan. So you have a lot of JDM cars here, very unique compared to the Netherlands or Europe.
00:08:27:13 - 00:08:35:06
We have a lot of European cars, which is also awesome, but I do love my occasional JDM, so I feel like I'm in a good spot right here, although it's very far away.
00:08:35:27 - 00:08:58:13
I'm just personally curious, do you have to build your client base up again now that you're in Melbourne instead of the Netherlands, where you are from? I mean, how do you start planting a seed there and getting your client base and you're essentially your photography business moving? I'm just curious, because photography, in a lot of ways, I mean, I know you have a large global presence, but it's also very local.
00:08:58:23 - 00:09:34:16
Yeah, 100%. I started off with photography, doing the most random photography jobs. One of my first photography jobs was for an indoor trampoline park photographing kids, but that's sort of how the ball started rolling. And eventually I went into the direction of jobs that I like to do as well. So I do have quite a big client base in the Netherlands, and when I'm in the Netherlands I just go demon mode, I go ham with all the jobs, do as many as I can, and then once I reach Australia, I can edit them. I have all the time in the world because I don't have as many clients here yet, and I'm also sort of a little bit.
00:09:34:22 - 00:10:00:01
How do you say that I'm not allowed to do jobs frustrating clients yet because of my visa, but because I'm doing digital nomad life because of YouTube that is allowed. So it does give me a lot of time to work on my YouTube channel, which I like. So when I'm in Australia, it's like fully focused on my own stuff, which I love in Netherlands is just like going hand with the jobs and pleasing the clients and send them back to Australia.
00:10:00:06 - 00:10:00:21
That makes.
00:10:00:23 - 00:10:01:08
Sense. Yeah.
00:10:01:24 - 00:10:09:24
Yeah. In the future I definitely building up a client base here and it's slowly but steadily coming together. But it takes time finding your feet in two places for sure.
00:10:09:29 - 00:10:15:21
Any tips for anyone that is trying to get their feet on the ground in a new city, or just in general?
00:10:16:02 - 00:10:46:28
What really helped me is going to photography events, like if someone's hosting a photo walk or a workshop, just attend to one of those and you meet so many new creatives and that can lead to maybe a new collab or a new job or something like that. And I just try and keep posting as much as I can. And of course you have your moments that you don't feel like it or yada yada, but I feel like it's important to show your face as much as you can, because then it's also the more people can find you as well. So I've noticed that really helps me. Um.
00:10:47:09 - 00:11:07:15
And reaching out to other photographers like, hey, I saw your page. You see, you're from Melbourne, let's grab a coffee. And that's actually how I met a couple of my friends here as well. Also some fellow duchies that are photographers and they live in Melbourne. So yeah, that's a great way. And then through them I also got new connections and new jobs. So I think my whole story comes down to putting yourself out there.
00:11:07:27 - 00:11:31:01
I think that's the most important thing I think is taking a step and just not only taking a step, but then doubling down. Like you take a step, it gets scary and you're just like, screw it, I'm gonna go take another step. And then you're like, well, I'm in too deep right now and then just keep going forward. I think that's what you do. So you are a model. Before photography, what made you want to switch from like being on that side of the camera to being behind the camera?
00:11:31:21 - 00:12:11:01
Well, I started with modelling when I was 15 and prior to I started photography, I had some, I feel I would say some negative modeling experiences, and it always made me feel like I'm not really in control. And then I was on set, so a photographer with a camera and I was like, shit, I want to be in that position. I want to create. You don't tell me what to do. I want to say how I want it. So I think that's sort of organically how I grew into photography. And I felt like because I was already interested in photography and have the modeling experience, it gives me somewhat of a unique perspective because I know what it's like to be the model, but also the photographer.
00:12:11:03 - 00:12:14:24
So it really helps to get on the same page with the model on a photo shoot.
00:12:15:04 - 00:12:20:13
I would imagine that would help you so much when you're doing portraits. Yeah. Like tremendous.
00:12:20:15 - 00:12:21:13
Definitely. Yeah.
00:12:21:21 - 00:13:01:02
Let's talk about portraits while we're on it. One of the things I love about your YouTube channel and your Instagram is, in addition to being so helpful, I think you offer some very helpful, digestible tips. Your photos are very cool. Like they're punchy, like they're really Good. And there's more to him than just a model standing in a forest or with a background. You do great things with obviously cars, but you do great things with lighting, and a lot of times industrial kind of looks, and you make the models approachable, but in a way also not edgy, but you kind of feel like you're with them.
00:13:01:04 - 00:13:02:01
Does that make sense?
00:13:02:22 - 00:13:04:09
Yeah, it makes sense. Yeah, definitely.
00:13:04:11 - 00:13:04:26
Yeah.
00:13:04:28 - 00:13:06:26
Like I feel like it's a compliment. Yeah, yeah.
00:13:06:28 - 00:13:23:02
I think that's what it is. You're not just taking pictures of someone and it's like, hi. You're actually pulling the people out of themselves in a sense. Or at least it feels that way. Yeah. So what makes a great portrait? That's I know a big question, but overall, in your mind, what makes a great portrait photo?
00:13:23:24 - 00:13:56:21
I feel like it even already starts before you take the photo. So when I'm on a shoot, I get to know the model first and we have a laugh or make a joke or whatever. And then the how do you say that your guard comes down of the model, and I feel like that's when the funky posies come out to play and the expressions and they're feeling comfortable. And you can see that in the photo. I think that's so important for portraits. I feel like that's something that's very overlooked, because if a model is not comfortable and if she's a beginner, for example, you're going to see that in her eyes.
00:13:56:23 - 00:14:25:02
And I feel like the eyes are most speaking in the photo. And what makes for me a good portrait is I think, when a model blends with her surroundings. So let's say the car park, I showed it. I did some portraits at a car park. It is a very industrial terrain. It's not very feminine, it's not very girly. But she wore an edgy outfit and that just tied it all together, blended it all together. I feel like that's what makes it very powerful photo as well. And I try and do that on every single location as well.
00:14:25:16 - 00:14:40:12
That's great. I was going to ask about the models because I was wondering how much is the model, as opposed to just having a friend stand in there and directing them. Can you get the same look out of someone that's not that doesn't know what they're doing?
00:14:41:03 - 00:14:41:23
Um.
00:14:42:01 - 00:15:13:27
Maybe you could, but it is a fact. It's going to take some time before you reach that point. And I feel like when you are shooting with a professional model, you move so quickly from another location to another. You're just being so much more effective with your time because you're actually shooting faster as well. But I do get it. Some people are not in the position to maybe not afford a professional model, or they can't find one, or they have a beautiful friend already. Why not shoot them? So I feel like it all comes down to take your time with working up, working towards a good photo.
00:15:13:29 - 00:15:52:17
Um, and then yeah, I think that's the best way to do it. And then show them what you're actually shooting and then go back to photographing and sort of do it together. Instead of you just having this photo in your mind, how is your model going to know what you've got in mind? So that's what I do with my photo shoots as well. I send them a moodboard in advance, and I do that with beginner models, but also with professional models. I always send a mood board. A really global plan of the photoshoot, and I always tell them the look and feel that I have in mind. So if it's edgy or if it's going to be dreamy, maybe post-apocalyptic, but then they have this feel to the photoshoot already instead of like, okay, I've worn this dress.
00:15:52:19 - 00:16:27:13
Like what? What's the plan? I don't know, so that really helps me. Also, when I was a model, I really enjoyed it when someone did that and then showed a photo studio model as well. Especially when they're not experienced, they're going to want to see how they're looking in the photo, because sometimes I feel like non experienced models, they always feel like I'm not looking good in the photo or feel uncomfortable, but when they actually see the photo, they're like, oh, it's actually not as bad as I thought. And then from there they gain a bit of confidence and they start building again. And I promise, like at the end of the photoshoot, you're going to have a different person compared to the first photo.
00:16:28:00 - 00:16:29:13
Communication is key.
00:16:29:24 - 00:16:44:15
That's a great tip. I know, like if I take photos, I don't think they're they're that good. But then I show them to the people afterwards and they're like, oh my God. And it's just because they don't really have a vision of what you're seeing. And I'm like, oh wow. That's yeah. Yeah. So that's pretty helpful.
00:16:44:17 - 00:16:45:15
Yeah. Exactly.
00:16:45:17 - 00:16:47:11
Yeah, yeah, that really works.
00:16:47:13 - 00:16:53:02
And how much does environment or location come into play with the portrait shoots?
00:16:54:10 - 00:17:26:21
Really depends on the photos. Like for example, I'm currently working on a video that I photograph my sister in a kid's pool, but I put a black drape throughout the pool and from a distance the setup looks super jank. Like it looks terrible. It was super cheap, but that's the fun part about it. And then the photos. I'm very happy with how they turned out, but yeah, so I work close up so it doesn't really matter the location then. But when I'm shooting like full body and everything, yeah, it does really, really matter. Especially if you want to try and create this little story around your portraits.
00:17:26:23 - 00:17:34:05
Then the location really adds to that. Just depends on how you want your photo to be shot. Definitely, but it really helps for sure.
00:17:34:08 - 00:18:04:03
And lighting is also probably a big part in defining the mood because there's there's I've seen some of your shots where you have, you know, you're lighting them from the front and then from the back or the side. There was a video you put out recently. There was a model that you were shooting, and I think she was backlit on a beach and the light was coming in on her. It was so cool. And then you played around with getting her lit from the front, and it felt like stronger from the back. The backlight.
00:18:04:05 - 00:18:05:08
Yeah, yeah I agree.
00:18:05:10 - 00:18:10:07
Can you talk about that a little bit backlight versus like light right on the face and how harsh a light should be.
00:18:10:18 - 00:18:44:22
I feel like but that's also my preference and my style. I feel like when I backlight a model it's more moody. And in the edits I can really like still keep the background exposed, but then bring back the model as well. And then I feel like when I would lit up a model from the front, I don't know, it doesn't really hit the same. It just makes the photo more flat. And I feel like there's more mood and more emotion in the photo if I do it that way. But now I'm just talking about a sunset, uh, shot. Um, but primarily I light up my models either from the side or from the back.
00:18:44:24 - 00:19:14:14
It's just my personal preference, and I do love the harsher shadows in the face. So if I would, uh, light up a model from the front, you lose either shadow on this side of the face or the shadows underneath the eyes, and it just loses its depth. The photo loses its depth. So when I light up a model from the side, it creates more of a dramatic photo. Or even from above, even more dramatic. Yeah, maybe that's the right word. It's more drama to the photo instead of just like putting a light there, which is fine, but it's not really my style.
00:19:14:25 - 00:19:21:23
So are the raw files that you're coming out with. Is the the model basically underexposed?
00:19:22:19 - 00:19:53:04
Yeah, it is definitely a little bit more underexposed. And then primarily when I'm shooting into a sunset, then I expose for the sky, although sometimes I don't do it and I punch myself for it after because it's really hard to bring back, you know, the texture in the clouds and the colors in the sky because I overexposed it. So I always expose for the sky and then I can bring back the model. And yeah, it is a fact. Sometimes it creates a bit of noise in my photos, but then Lightroom has an AI denoise function, which I love, so that one I use then.
00:19:53:21 - 00:20:03:20
Um, but yeah, I do underexposed a little bit just so I know that my highlights and the sky is not going to be blown out, because that's just, I just hate, uh, fix that.
00:20:04:10 - 00:20:37:26
That denoise tool is amazing. I used it the other day. Same thing where it was just like, oh man, this is a cool photo, but there's a little bit too much noise and you hit that button and it's just like, wow, this thing is amazing. I also used this generative fill feature to remove remove something. I was at a beach and it was like this carnival beach. It's not a very nice place, but it was pretty. And I had this shot of the beach with like the dunes. And in that frame, like, this place looks gorgeous. You would never know what was behind me like a Ferris wheel and like roller coasters and stuff.
00:20:38:06 - 00:20:46:17
But there was a garbage can sitting right there, and I was like, this sucks. So I just put this thing on there. I was like, and the garbage came, was gone. And it was gorgeous.
00:20:46:19 - 00:20:48:23
Crazy, right? A little spooky, it's.
00:20:48:25 - 00:20:49:24
A little spooky.
00:20:50:02 - 00:21:03:23
It is. And I also saw that Lightroom has this built in generative fill feature now that they're testing. So you don't have to go into Photoshop to do it, you can still stay in Lightroom Classic. Yeah, I figured that out the other day. So helpful. And it works pretty much the same.
00:21:04:06 - 00:21:07:11
Can you like circle the object and stuff? And it just kind of.
00:21:07:13 - 00:21:35:23
You circle it and then you can either say remove or place something else here and it just works so easily. So when I have people in the background I just like and then they're gone. Yeah. It's so helpful. Yeah. What I do is something I don't do though, is for example, if I'm shooting on a beach, I'm like, oh, I wish there was a mountain on the right, I don't edit, I don't know, that still goes against my principles because I'm like, it wasn't there. So and they didn't shoot it like that. Maybe it's a bit contradicting with what I'm saying.
00:21:35:25 - 00:21:56:26
But I don't think so. I get it, I have the same way when I look at a photo, I take um, so for example, I have this photo here on my wall. It's the only photo I've ever printed. Well, I mean, I have these little photos behind me that you can see, but those are not. Those are just like little photos here and there. That's the beach that's in the summer. This is a lady. I took a photo of that I really liked her T-shirt. It says something like, I need coffee. And so I was like, oh, I like her.
00:21:56:28 - 00:21:57:23
Oh, nice. Yeah.
00:21:57:25 - 00:21:58:21
It's like you're going on my wall.
00:21:58:23 - 00:22:01:17
You like coffee? I like coffee. That's my people. Yeah.
00:22:01:19 - 00:22:32:16
We're friends. And so, um, and then this photo over here, this is actually a photographer friend of mine who travels with me to Cuba. She took that. But anyway, on this side over there, you can't see it. There's a photo that I took in Mexico, and it's like palm trees and flatland as far as the eye can see. And there's this little shack. And the reason I love the photo is because right to the left of the little shack is a cruise port with like a shopping mall, but it looks like there's nothing there for miles.
00:22:32:18 - 00:22:42:05
And you know, when you take that photo, you contemplate, what do you do with I? Should I add something here or there? And I just left it because I don't want to, like, look at it and know that I altered the photo.
00:22:42:08 - 00:22:44:12
Exactly. Yeah. It doesn't hit the same.
00:22:44:14 - 00:22:45:12
No, it's.
00:22:45:14 - 00:23:06:22
Fine by me that will actually know when I sometimes see a really cool portrait on Instagram. And they they sometimes do look real. I'm like, oh, this is such a cool portrait. And then I see the hashtag made with I am like, ah. And sometimes I do like it. Like I take my like away. It's just, I don't know, it's still art. Like people put time into it, but it doesn't hit the same.
00:23:07:00 - 00:23:13:22
No, I don't think it does. What's spooky is though, that a lot of it, you can't tell. It's really good. Yeah, that's the hard part.
00:23:13:25 - 00:23:14:17
Ridiculous.
00:23:14:19 - 00:23:15:10
Yeah. With a lot.
00:23:15:12 - 00:23:17:20
Of car stuff as well. It's pretty impressive.
00:23:17:22 - 00:23:19:02
What are they doing with cars now? I.
00:23:23:28 - 00:23:55:24
Hey, it's Ken, I hope you're enjoying this episode of the Big Foto Hunt podcast with our guest, Faye van Hest. And I wanted to let you know that if you want to meet Faye or if you have questions for her, she'll be our featured photographer on this month's Big Photo Hunt Online Town Hall. That's a monthly live event we host on zoom with the community. For more information and to RSVP, visit Big Photo hunt.com and click on the events link.
00:23:55:26 - 00:24:05:14
At the top, you'll be able to ask Faye questions and learn more about portrait photography. Hope to see you there. Now back to the show.
00:24:09:28 - 00:24:25:12
They make big renders of abortion standing in the craziest location and it looks like an actual photo. And then you're like, whoa, this guy got lucky. This is the shot. And then you see made with AI and it's like, boy, it looks real. I wouldn't have known that it was AI. And that's just crazy to me.
00:24:25:14 - 00:24:51:21
For our listeners, Fay makes these photos of cars that are absolutely amazing. Most of them are like sports cars, right? Like high end sports cars. And a lot of times these cars are like in industrial locations or in the forest. How do you go to Porsche or whoever you're going to and say, hey, can I have a car to take to the forest today? I'm going to take some photos because I this is a valuable lesson for me. I'd like to understand this.
00:24:52:21 - 00:25:26:15
I think it all comes down to a very good proposal. And if you're confident about your own idea, that works. And it does help if you have some shoots, previous shoots, you can show what you've done. Because for some people it's like, what are you going to do in a forest? Like, is it not just going to be maybe a boring shot or whatever, but if you have previous work that you can show, people can visualize it. It's the same with when you send a moodboard to a model, they're most likely to say yes. So I do the same. and it does help when you reach out to a car owner. So not necessarily your dealership, but to a car owner because they always love to have cool photos of your of their cars.
00:25:26:17 - 00:25:43:27
I would have loved the same about a car. I would have loved to get it photographed every day because you're proud of it. So reach out to car owners, which I sometimes do at events or on Instagram. Some people have their their Instagram name on their car, so it makes it very easy for you. So yeah, that that's the way I find my cars most of the time.
00:25:43:29 - 00:25:48:24
That makes total sense because the car is like a family member for people that really like are into those kind of cars.
00:25:48:29 - 00:25:58:05
Yeah, yeah, it's something they work up to and they're proud of and they want to show it off. So yeah, win win. Because I want to take cool photos of a car and yeah, and they get cool photos in return.
00:25:58:09 - 00:26:08:04
That's pretty cool. And are there any special tricks that go into car photography? I mean, I know you're looking at like lighting and stuff like that, but what else what makes a good car photo versus like a bad?
00:26:08:06 - 00:26:42:27
I think most importantly most importantly, when it comes to gear, I always use a polarizing filter, a simple filter to get rid of those reflections in the windscreen, or in the paint or the wrap or whatever. It really makes it look very professional. Instead of being like a complete mirror, which is also a look, but it's not really my style. And I feel like, yeah, putting the car in a contrasting location is really cool because it makes the car stand out very much. Yeah, and I always want to shoot a car. I make sure I make a 360 around it. So like, okay, I should be front, I should the back or should the side are there's also a wheel.
00:26:42:29 - 00:27:08:25
But what if I go through the car. There's also a steering wheel and maybe the speedometer. So I make sure I make a 360 around the car. And you have every single angle. And especially if you post a set on Instagram, it's just a complete and good set and it's like a little gift. People go through it and it's like, oh, another one, oh another angle. Oh, whoa, this car has this feature. So yeah, that's something I keep in mind. So I feel like a good car photo is definitely a couple photos that complement each other for sure.
00:27:08:27 - 00:27:13:27
So you're creating like a story out of it with, like, different angles and different Yeah. Position to.
00:27:13:29 - 00:27:16:00
Stuff. Yeah, yeah. That's cool. Yeah, yeah.
00:27:16:02 - 00:27:16:20
I would say so.
00:27:16:22 - 00:27:17:25
Awesome. It's like a portrait photo.
00:27:17:27 - 00:27:19:25
Kind of in a way, pretty much. Yeah, it's.
00:27:19:27 - 00:27:22:20
The same concept, but cars don't complain.
00:27:22:22 - 00:27:24:12
Yeah. You sit there, right?
00:27:25:02 - 00:27:29:19
And they look and they look good in any light. Basically you can in snow and. Yeah, pretty much anything.
00:27:29:21 - 00:27:30:06
Yeah.
00:27:30:08 - 00:27:30:25
Pretty much.
00:27:31:09 - 00:27:36:13
Okay. So back to portraits. Do you have a favorite lens that you like to use for your portrait photos?
00:27:36:29 - 00:28:07:14
Oh um, I got to say 50, 50mm. I've got my hands on a 50 mil since the past year, and I've pretty much been using it on every single photo shoot, just because I feel like it looks as how we see as human beings, I think, is how we see as like 75 millimeter or something. So it's close enough to 50. Yeah, I love that look. And then before I had the 50, I always use the 35 just because it gives that cinematic look and feel to the photos, because most movies are also shooting 35 mil. So I think a mixture of that.
00:28:07:16 - 00:28:21:04
I love just mixing both. And to be honest, I never shoot on a photo shoot with just one lens. Unless it's like a little challenge that I want to do against myself. But most of the time I switch between 3550 and.
00:28:21:06 - 00:28:23:18
8585 less often. It sounds like.
00:28:24:08 - 00:28:24:23
Less.
00:28:24:25 - 00:28:47:26
Often, just because when I'm shooting a set, I love to shoot the surroundings as well. But sometimes when, let's say you're in a fuel station and you have the pricing numbers on the sign, I want to shoot the reflection of the numbers in her eyes, which I've done in a previous shoot. Then I grab my 85 just to get a nice and compressed photo, and it's more detailed. So that's when that one comes out of the plane, and most of the time just the 50 and the 35.
00:28:48:12 - 00:28:56:12
Very cool. That's super helpful to know, because I know a lot of people like to shoot with that 85 because it gets a lot of like separation and compression. And some people really like that.
00:28:56:20 - 00:29:04:28
I get that it's beautiful because you have the nice reset, a blurry background, but yeah, I just love integrating the the surroundings in my photos as well.
00:29:05:17 - 00:29:21:14
You recently did a workshop in the Netherlands. It seemed like it was a mixture of portrait and auto photography in a warehouse or something looked really cool. Do you do those frequently? And if someone wanted to learn from Fe, how could they do that?
00:29:23:28 - 00:30:01:14
Um, I have done one workshop prior to that. It was just a portrait workshop here in Melbourne, and then this was my second one. So I was super nervous because it was something very personal. Because I love cars and portraits, why not merge them together? And people loved it because I feel like it's a combination that not a lot of people shoot, because it does take a lot of effort. You have to get a car and a model at the same day. Hope they not cancel. So it was a happy day for everybody. Um, yeah, it was a lot of fun and I think if people want to learn from me, I think it's best to go to my YouTube channel, because if you can watch that wherever, whenever you want.
00:30:01:22 - 00:30:09:09
And that's when I share all my tips and tricks about my photoshoots, which gear, lighting, just all the ins and outs in a very approachable way.
00:30:09:11 - 00:30:40:27
I'd say Faye's YouTube channel is in your phase. It's in y o u r f a y s and that is also your Instagram in your phase. Yeah, and I definitely recommend checking both of those out. Any final tips or anything? If I were to say. What advice would you give to someone who really wants to get into portrait photography to take that first step? What advice would you offer?
00:30:41:27 - 00:31:12:22
I would say start with gathering a bunch of ideas, and I can imagine sometimes quite intimidating, because you're like, I want to do this idea, but I cannot find a model. How am I going to do this? And you're just going to sit there and you get frustrated and that mountain of like, oh, should I do it? It's going to get bigger and bigger and bigger, and it's going to get harder to even put yourself out there. So just once you have an idea, just execute it. Just do it immediately. And then how I find my models, which you probably need during portrait photography, is sometimes when I'm in a city, let's say, yeah, Melbourne.
00:31:12:24 - 00:31:44:27
This time I do hashtag Melbourne model on Instagram and you come on this page on Instagram with all the people that use that hashtag. And it does take a lot of digging sometimes before you find the right person. But that really helped me out. And I go on Instagram pages of other photographers. So I write down Melbourne photographer and then a bunch of pages will pop up. I go on their page, ooh, I like this model. And then I send them a message, or I reach out to a modeling agency with a good proposal. Make sure you say it's a TFP shoot.
00:31:44:29 - 00:32:15:09
So that means test for print or a test for photo. I think either one of those, which means that you're not going to pay the model. The model gets the photos you're making is just in both of your interests, so you both get something out of it. And then, yeah, make a nice little proposal with a moodboard and just reach out to them and start shooting. I can imagine sometimes intimidating because you don't know the model, but before you know it, you're shooting. You're in it, and before you know it, the shoot is done. Don't get too worked up about it in your head and just do it.
00:32:15:18 - 00:32:18:14
How long does the average shoot usually last?
00:32:19:21 - 00:32:38:26
Uh, with my portrait shoots, I would say two hours max three. But I feel like that's the sweet spot because I'm not tired yet, and the model is not tired yet, and you're sort of on your how you say that momentum the whole time. Um, and yeah, when I'm walking through the streets, I would say two hours is a good amount of time.
00:32:38:28 - 00:32:41:21
Yeah, I would think that by that point everyone is like, oh.
00:32:41:23 - 00:32:42:16
I gotta go home.
00:32:42:18 - 00:32:44:06
Where's my snack? Oh, that's.
00:32:44:08 - 00:32:50:13
Actually a good trick as well. I make sure I have snacks or a bowl of water because you don't want to get them too hungry.
00:32:50:24 - 00:32:57:16
Great idea. I do see the value in bringing models into these. If you.
00:32:57:18 - 00:32:58:03
Oh, yeah?
00:32:58:05 - 00:33:15:01
Yeah, if you don't do that, are there any tips you have for directing a friend or someone, my kids or my wife. I'll direct them. I'd like to stand there and then they're just like, and it doesn't work. So anything you have tips like that, maybe to start just practicing on people that you know.
00:33:15:25 - 00:33:48:18
Well, it all comes down to communicating. So you have an idea in mind. And like I said before, just show the photos you're taking on your camera, even though they're not edited yet. Don't feel shit about that. Just show what it's looking like, what they're looking like in the photo, because then they have an idea and what I sometimes do as well. If I know that someone's not very experienced, I go on Pinterest and search of poses, and then I have this little board and I'm like, okay, which pose should we do next? And I click on it and I kind of want to try this one. And then they know which pose it is. And then from there I'm saying like, okay, that's your starting point.
00:33:48:20 - 00:34:20:04
Maybe just start flowing. Just make keep moving. Don't listen to my shutter, but just keep moving. And then from there you probably get to another pose that I might even like better. Um, yeah, I think that's the best way. and just communicating honestly. And even if something is not working out, you're like, well, kind of not liking this, don't stay quiet because the model's going to notice on you. You're like, you're moody about it. So just say, okay, this is not really working at the moment. I'm just going to think about the next thing we can do, or maybe we can have a look together on Pinterest.
00:34:20:06 - 00:34:28:00
Just make it a team effort because you're creating something together, and that's when you have more fun as well. 100%, because it's yeah, a team effort.
00:34:28:06 - 00:34:40:29
Awesome. That sounds fantastic. That's a great tip. I'm going to do it. I'll send you pictures. I'm going to make my daughters. I'm going to like because I'm always photographing. I'm gonna be like, okay, normally I'm like to stand still, but now I'm gonna be very cool and chill and I'll bring sushi or something.
00:34:41:04 - 00:35:17:11
Oh, that would make everybody happy. It actually brings me to the next one, because sometimes you're like, can you please smile in the photo? And they're like, oh, I have to force my smile now, and this is going to be very cringe, what I'm about to do. But sometimes I do like the haha, like you make a noise and because you're making a noise, you're already smiling and the photographer is probably going to smile as well, and you're both smiling, and that's when you get the genuine laugh and smile. So that's a little trick I did for modeling. But I also tell my models also I think as well, like be vocal if you're lacking something like oh yeah, it's nice on, it's beautiful like and then they get excited like, oh I'm looking good in this photo.
00:35:17:13 - 00:35:22:08
And then yeah, you can see that in their eyes their confidence and they're getting excited. So that's also a little trick.
00:35:22:16 - 00:35:41:14
It sounds like from our conversation that obviously lighting, composition, everything location all comes into play, but that the biggest thing is just being a partner with the model or the subject and working with them and communicating. And if you can get them working with you and you've got everything else correct, it all kind of comes together. Is that.
00:35:41:16 - 00:35:42:01
Right?
00:35:42:20 - 00:35:44:14
Yeah, I would say so, definitely.
00:35:45:01 - 00:36:02:21
So I always ask three questions of all my guests. I also always say that I know the answer to the first question, and I think I know the answer to your second question, but I'm going to ask you anyways because the audience doesn't know. My first question is what is your favorite genre to shoot and why?
00:36:03:23 - 00:36:04:08
Cool.
00:36:04:19 - 00:36:09:15
It's a hard question. If you said you already know the answer before me.
00:36:10:00 - 00:36:18:06
I guess I'm wrong. By your by your reaction. I am apparently completely wrong on this one.
00:36:19:22 - 00:36:26:03
Genre. As in like, oh, do I have to choose between portraits and cars or fe?
00:36:26:05 - 00:36:32:23
Look, this is your interview. You can you can do whatever you want. I just I'm just asking the questions.
00:36:33:18 - 00:37:05:02
Okay. I'm gonna I'm gonna divide them. So for portraits, I would say jumping on the streets and creating moody photos using the surroundings, lighting, surroundings. Maybe that's a bit of a complicated answer, but that just makes me the happiest. I think it's so much fun to jump on the streets, freestyle, not even with a plan, and just use the lights that are there. Uh, I think that's really fun. And for cars, it's just love shooting cars. It's just if it's a cool car in a cool location, you will never see me more excited than that.
00:37:05:04 - 00:37:12:21
It's just, ah, it's just love it. And especially if it's raining or snowing, then I'm the happiest girl. Definitely.
00:37:13:05 - 00:37:18:17
And are you hanging out the back of a, like, a lead vehicle or something when you're taking some of these car shots?
00:37:19:14 - 00:37:20:00
Yeah.
00:37:20:02 - 00:37:21:20
For the rolling shots. Yeah.
00:37:22:07 - 00:37:23:00
Yeah. If someone.
00:37:23:02 - 00:37:25:13
Holding you or you like tied in or you just.
00:37:25:27 - 00:37:26:14
Know.
00:37:27:05 - 00:37:31:20
Risking it, just saying, like, please don't go faster than 60km an hour.
00:37:31:22 - 00:37:32:07
Because.
00:37:33:00 - 00:37:42:07
If I fold that now. But yeah, it's not very responsible. But you get really good shots and I'm not responsible for if you're doing it after this video.
00:37:43:19 - 00:37:46:13
I'm not responsible. I'm not taking any responsibility here.
00:37:46:25 - 00:37:48:12
Just saying. Yeah.
00:37:49:24 - 00:37:55:01
All right. Number two what camera system do you use? Dun dun duh.
00:37:55:12 - 00:38:12:25
I used the canon R six. I've been using it since the past. For the past, I would say three years. It hasn't let me down at any moment. I also film most of my YouTube videos on it if I don't use a second camera. Yeah, it's been great. I love that camera. I would get another one for sure, without a doubt.
00:38:13:21 - 00:38:24:15
And my final question is, on a scale of 1 to 10, one being the least, ten being the most, how often do you get that burning itch to just get out there and shoot photos?
00:38:25:25 - 00:38:26:10
Oh.
00:38:27:10 - 00:38:28:08
I would say.
00:38:30:18 - 00:38:54:22
Yeah, 9 to 10 would sound too extreme, but definitely nine because like some people ask me, like, do you have any hobbies? I'm like, do I have any hobbies? Yeah, photography. But it's also my job. And I feel like when I'm shooting for a client that I'm not really enjoying, then after that shoot, I'm going out to shoot something for myself because that's when you keep the fun in it. And I just still find it super exciting.
00:38:55:16 - 00:39:14:05
I find that I find that like one of the things I like to do again, I don't really I don't shoot for my job. But either way, sometimes, you know, you can feel oversaturated with photography. I've got this little Ricoh GR three that I love, and I'll just go walk around the street and put in people's faces and it's like, and I have a blast doing that. I really like it.
00:39:14:15 - 00:39:15:04
So and even.
00:39:15:06 - 00:39:22:18
Sometimes if you don't get to editing the photos as well, just the whole process of taking them, even if they don't even see the light of day, it's still fun.
00:39:23:04 - 00:39:34:17
I think so, and you learn and you push your limits. You realize again, it's come down to this idea of, you know, you just take that step and next thing you know, you're a little bit further forward and you can take another step. And next thing you know, your photos are just getting better.
00:39:34:19 - 00:39:37:00
Yeah, definitely. That's that's.
00:39:37:02 - 00:39:39:18
My wisdom. I don't have much, but that's what I offer you.
00:39:39:20 - 00:39:40:05
Fe.
00:39:40:12 - 00:39:55:21
Thank you. In Manila, as we saw there. Say I put that thing on a tile, because sometimes when you're sitting on a toilet in the Netherlands, you look in front of you and there's this tile, like, built in the wall with, like, the most cringiest saying like, yes, smile or something like that. Yeah, that's.
00:39:55:23 - 00:39:56:12
I gotta do.
00:39:56:14 - 00:39:57:04
To your comments.
00:39:57:06 - 00:40:22:14
I'm gonna put that in a tile. I love the Netherlands. I've been I'm a big fan of the Netherlands, all right. And we know where people can find you on all the socials in your faze. That's I n y o u r f a y e s. You can find fe on Instagram YouTube inyourfayes.Com is her website Faye. Thank you so much for being here.
00:40:22:20 - 00:40:24:07
Thanks for the info. That was a lot of fun.
00:40:25:07 - 00:40:39:28
Thank you so much for joining me for today's episode. Our next show will feature more valuable stories from our community members. If you'd like to audition to be a guest, please visit bigphotohunt.com for more information. Thanks again for listening today.