All language subtitles for 04-18-Gunpowder Gin-The Game.mp4

So now that we've finished the basics,
we've learned how to do the really

critical, but important, basic parts of
Beveridge photography, we want to move

into doing really creative stuff,

stuff that is going to involve theme
and tone and context and a lot more

thought processes.

So

how do we get there when we don't have
an art director, when we don't have a

creative director, when we don't have a
brand directive on what we're supposed

to do?

Well, the team and I were thinking
about this and talking about this, and

I wanted to show you guys something
that I absolutely love.

This is a game

that I was taught a long time ago
about, how to think differently about

your portfolio, how to come up with
storyline, with character, with plot,

with place, with context.

Because when you have all that stuff
put together,

the way you approach an image is
completely different.

The image you come out with is
exponentially better.

So here's how this works.

You're saying to yourself, Rob grim,
what are those three shiny boxes in

front of you?

While i'll tell you, each one of these
boxes represents something.

This represents a person or a
character, this represents a cocktail,

and this represents a place.

So in each one of these, we have
written a whole bunch of cards.

We've just brainstormed this idea like

characters, think of whoever you want.

It can be anybody from a music idol to
a king, or a queen, to your neighbor

down the street.

The cocktails are a million of them.

So we just went through

like a bunch of the really good basics

and then places.

We tried to get as random as we could.

Because when you start to combine these
ideas by pulling a person,

a cocktail and a place, and then you
have to make that image, you think

completely differently.

It's a way to also think of things you
would never do before.

It's hard to come up with ideas
sometimes.

So you have to have a kick in your
pants.

So you have to have something that is
the catalyst.

But I am telling you

as clear as day, you need to know that
your images have to have character,

they have to have mood, they have to
have tone, they have to have place.

Without them, they're not going to be
creatively driven and they're not going

to resonate with your audience.

And that's what you want to do.

You want to grab them, and you want to
bring them into your images.

What I really like about this game is
it gets the ideas going.

So if you pull a character and a
cocktail in a place,

the image that you wind up with might
not be this dead representation of

that.

So that when people look at it and
they're like, oh my god, that's so and

so drinking on

bloody Mary in a hotel.

It doesn't have to be so literal.

What this does is it gets you thinking,
it gets you moving in a direction.

It gives you a reason to pick
glassware.

It gives you a reason to pick
garnishes.

It gives you reasons for all the props,
the surfaces, the background.

It gives you reason

because it's character driven, it's
giving you a tone, and that's what you want.

So

let's get started.

Let's just pull one, and we'll see who
we get.

So,

ah, I like this one.

So the character is blondi,

Debra Harry, great.

Rocker.

So think about Debra.

Harry she's awesome.

She's going to be drinking

a margarita,

all right, and she's going to be
drinking it.

Well, this is so good in the back seat
of a 75 catalock.

That's perfect.

All right.

So think about that.

You've got blondi, an iconic

70s and 80s rocker, well known
individual who is full of character.

She's drinking a margarita in the back
of a catalogue.

Oh my god, I totally.

I want to make this image.

I'm going to make this image.

That's for me.

This gives you so much to think about.

Like, where is this going to go?

Well, now you've got a character,
you've got somebody to really build on.

She has to drink something specific in
a very specific place.

All of that gives you tone and mood and
qualities that you just wouldn't get if

you're sitting there going, ok, I got
to make drink of a margarita.

This is a great way to go.

Let's do another

margo Robbie

drinking an Irish coffee,

man

while camping in Patagonia.

Ok,

that's bizarre.

So,

Margot Robbie drinking an Irish coffee.

Well, camping in Patagonia

so clearly with margo Robbie, I think.

Beautiful.

elegant.

I already have a contradiction with the
Irish coffee.

And how do I get that into a camping
trip in Patagonia?

Well, maybe I forgo the camping trip.

Maybe it is somewhere in Patagonia
maybe it's that kind of

exotic land to go with

this exotic beauty.

And then you're pulling in the Irish
coffee from there.

See, all these things give me pause to
ponder.

And what I would actually do next is
really start to sit down and do some

research and start jotting down notes.

What is a Patagonia camping trip?

What does that look like?

What would people do?

Go out on the internet, do some
research, take a look at it.

Get look at images.

Irish coffees.

How many different ways our Irish
coffee is served?

And almost exclusively, they're served
in that same tall mug with the whip

cream and the handle.

So, is there another way to present
that?

Can I turn that around so you recognize
it as an Irish coffee, but it's not in

the typical vessel.

That's something that I would
absolutely do.

Here, I want to give this a twist.

I want to give it something different.

Because the nice thing about

pulling these different things
together, you're getting the unexpected.

And even once you've got something like
an Irish coffee drink mapped out for

you, give it some twists.

Give it something that's unexpected.

Present that Irish coffee in a totally
nontraditional way, but in a way where

the viewer knows what it is.

That's one of the tricks.

I like you

one more.

Cool.

Hand Luke,

cool.

Hand.

Luke

she's kind of drink red wine.

Are you getting me?

And he's going to do it in Gotham,

seriously,

this is my true being very funny.

Ok,

Bob Vila he's drinking a long island
ice tea on an evening rooftopadia.

All right.

Katherine say to jones, a can of beer.

I like that.

Oh, yeah.

And a vegas wedding chapel.

That one chick for minority report.

The bald one

she's going to be drinking a Manhattan.

I like that.

At studio 54 p.

We Hermann

he's going to drink a negroni.

That's a strong dream for that guy.

On a cruise ship,

live a flee.

Oh, yeah, he's going to be drinking a
my tie,

coolhand Luke, drinking in red wine.

And Gotham

it's not going to happen.

That image is just not going to work.

Cool.

And Luke is never going to drink red
wine, and he's not going to be and got them,

no way.

So sometimes this isn't going to work.

But overall

this idea, this notion of

character building, of story building,

this will absolutely transform the way
you do your portfolio work.

And I can tell you that, because it
transformed mine,

it was one of the best tricks that I had

to really change my book from just being

good images that were pretty well
executed, to being images that really

had something that was driving them.

And that's one of the things we want to
do as a photographer.

We have to progress in our career,
which means we can't stay still.

We have to think differently.

We have to push ourselves harder.

We have to make newspaper