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Photoshoot: Closeup With Michelle

Lesson 35 from: Anatomy of a Photoshoot

Mark Wallace

Photoshoot: Closeup With Michelle

Lesson 35 from: Anatomy of a Photoshoot

Mark Wallace

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Lesson Info

35. Photoshoot: Closeup With Michelle

Lesson Info

Photoshoot: Closeup With Michelle

We're going to do now is we're going to get this really really tight shot um yeah it's just gonna be face maybe not even chin and so what we're gonna do is we're using a really hard light source and we have a grid on this and someone a meter this uh we might have to even lower this but we're using a really hard light because we wanna have the speculum har light highlights just sort of dazzling and so, um I'm going to meet her right to the light and that's it seven I want that to be a little punch your kelsey if you could this I wanted to be about uh about eleven to sixteen, so we need to even more okay, what is it that now it's at nine? Okay, this might be too much that's thirteen so we're good to start there now what I want to do is this is going to be converted to a super super high contrast black and white image and so we want to make this to be a high contrast image. Right now we have this light and it's very, very directional and so what I want to do is we can move that area and i...

t is to be a little bit more side lit right now I'm working totally blind because we can't see our modeling light in the studio lights here but um yeah see if I could move that it's a little bit more okay when you meet that one more time again, we can't really see anything right here so that's thirteen we're going to see if this works out but maybe we'll meet sort of fun working sort of like with your eyes closed here now the other thing I'm gonna do here is move closer I'm gonna be cropping this and very tight about two hundred I'm gonna make sure I format my card so I get rid of all those old images there we're going to raise this up or as we say in the south raise it up that's right? They used to live in alabama anybody from alabama? What is it? Roll tide something like that go auburn lose too all right? And this lens doesn't allow me to get close enough, which I anticipated that's okay, because we have this twenty four to seventy right on the table if I could grab that get really close we'll just check our light from right here. Look right at me. There you go. We were at what kelsey way were at thirteen thirteen ok, this might work sorry, guys, this might work okay, so it's a little bit too high contrast I'm gonna try to roll this over a little bit more we lower this down just a little bit this won't break your face don't worry might melt it alright lowering the front close your eyes for a second okay, now go here to the white yep sixteen sixteen very punchy at sixteen whammo alright, way we need a little bit a little bit more, right? They're going this way and so hold off on that for a second and look straight at me straight at me okay, so we just lost that so don't worry about that stuff, so forget about it. Forget about it. All right? Can we meet her this twenty to twenty two that's? Too much juice? Too much juice? Try that. Ten uh ten to sixteen depends on where it's falling okay, so it's sixteen, sixteen close recover knows good good. Take that. Yeah, now we're getting there now we're where we want to be now this is it's pretty good. I like how that looks I think I have too much fall off on her cheeks right here. A little bit too much fall off it's hard to tell with this monitor but I'm gonna go with my gut feeling it was too much fallout gonna move this back just a little bit, but that's going to do is it's going to allow this light to spread out a little bit more again this is sort of difficult in this environment you can't see what we're doing you want to kill the ambiance no let's just keep going all right so we can go ahead and meet that one more time it's over here okay I think it's falling on her to make sure it's right on her face that kelsey is being a little bit scared of her face keep going there you go area put that right on there twenty twenty all right twenty were really cranking up the power now all right very very tight shot I'm going back that down just a little bit so don't look over there look straight at me good and we're getting where we wanna be I'm going to need a couple more really tight shots just look straight into the camera good for one perfect couple more here excellent. Excellent okay yes we're going to get one more a little bit higher this time I want you to look right into that light there you go good so quiet in here it's weird who's a lots of music's going stuff's happening alright well you throw that in there kelsey is going to set us up for the other tools table so kelsey go ahead, get one of the tables out sure set that up with the d one heads just like we did yesterday would you like to just strike the metal backgrounds? Yep. Okay students and do it quietly, please. So we can actually answer questions. I don't do that. Yep. All the models are done. Give him a big round of applause virtually. Okay, we'll go in here and we'll do these conversions here. This is gonna look really cool. It's gonna pop in this is excellent. So this is always difficult to do this, uh, kind of a shoot, but I think this is the shot that I really like. Yeah, that's it so I'm gonna go into the develop module. I want this to be a high, high contrast. Black and white image. Somebody has one of these presets to start with. I don't like that. It's too much, too many darks there we go, that's good. And then what we'll do is going to really, really crop and see how beautiful that is when we really get in there just some really cool stuff. So I'm gonna go over here to my crop tool. I'm gonna break the aspect ratio a little bit. We'll just get this in really tight. You see that we've got all kinds of things that we can do here to make this look really, really neat. Now, this is just sort of a bonus picture so we can play with what I'm gonna do is I'm gonna remove that crop so that michael has all the ability to do anything he wants with it. So, michel, come on over. I'm gonna give you, uh, this last shot to play with if you need it. Perfect. Thank you. Plug this in here. All right, export this with the previous we're good. Ok. That's going? Teo uh, I did the wrong thing. File export with previous preset that's going to pop that on that thumb drive. That's done. They have one last thing to use. And the last thing we need to give you is the picture of the actual tether tool stable. Yes. There you go. That's going next. All right, great. So let's have questions? And then I think it's time for a little short break, and then we're going to wrap up those shoot for the day and we'll show you the final result will look so cool. We have a question from the audience and there's a microphone over there. Mr javier, what is your question? Did you shoot the models first? Because they're on hourly. And you're thinking, in those terms air just logistically for other reasons. Um, well, the spirit, creative life we're trying to teach, and so we don't want to sacrifice the uh teaching for the shoot it's totally backwards from where I would normally work you know, normally this is a commercial client I would have said okay uh sorry stopped bothering me I need to focus on this and I'll everything in and shoot but we're here to teach and so I chose to shoot models so that we could make sure people had the opportunity to see the process of doing that because in the in the spectrum of the workshop I think the table is the least important thing that we're shooting and so we have the assets to create a proof of concept advertisement we have a bunch of stuff for um you know that we've shot we've talked about the workflow and so I'm just making sure people can see the process enough that they can learn and so if we didn't get the table that's okay, we didn't want to sacrifice to shoot for the good teaching so it was a teaching decision. All right, so susan in canada yes, xaviere would like to know if you're using hard light because you would like to see the metal shine yes, absolutely in fact, if we can cut back over here to the the light room shot, I'll show you really quickly exactly why so I've zoomed in on this really really tight and you can see that we have on these beads and stuff you can see that the spectator highlights are really starting to glow we have all kinds of different things popping and so that's really why we did that we wanted really hard light so that we could see things just sort of sparkling so absolutely because to me this is more about the texture and less about the face and I'll probably have michael chop most of her face out question from rod mirror what makes mark decide for the angle of light central or lateral for this shoot? The angle of light comes from the contrast that I want so light that's frontline is really soft light like that's hard is very high contrast and so I'm looking at how do I create contrast either horizontally or vertically and that's that's how he decides so for this we wanted some contrast not on extreme amount but a pretty good amount so that those black and white images would punch we had really strong shape we learned that shape is the enemy of color, so we put all that stuff together and we got this question from ikea thirteen um can you talk about the changes you're making when you're taking multiple shots like you just did in between each shot? Yeah, so let me see if I can't show you instead of just talking about it, so we'll go back here to the light room and I'll show you shot two shot what's happening so first shot her chin is you know the composition is okay but we have the light coming from the side I'm not getting as much as I wanted from thie contrast so I needed to move the lights so we move the light now we've got that her head is tilted a little bit to the left and I'm getting an asymmetrical asymmetrical grid right here so I want to sort of fix that by tilting my camera probably a bit to the right right here we're still trying to dial in the meeting so let's see where we get it where it's nice and you can see that it might wear her chins ling I'm trying to decide if I want to leave it in or get it out and so for this next shot I sort of trying to get this top to be cropped and her chin to be cropped it looked a little tight to me so then I drop that top and put in her chin I didn't like this right here this little you know a bit of dress didn't look good to me I still was saying that this was off balance in my mind this is off balance so I had a few got away tio tio tilt that right toe left and I'm still getting this in this shot I didn't like that so what I did was I had her race or chin and so raising her chan allows me to shoot up just a little bit and I also got rid of that collar and the bottom left and we also fix this and I think that was the last thing so I'm just trying to get it to that point I probably would have taken a lot more pictures had we had some time because I liked how that where that was going on for me photography is sort of a journey where I'm discover a look that's great and then I try to go along that journey as long as I can until I find the best place and then once I find it I'll go a little bit farther it's not as good then I stop but you know that was that was sort of play lots of fun and I think we found something good great a question from sasha mullen normally what kind of editing is done in light room versus what is done in photo shop and you said that you normally copper and photoshopped yeah so I do my normally my tonal changes so color white balance those types of things in foot in a light room any pixel level editing I do in photo shopped for example if I wanted to go into this photo here and uh work a little bit on her skin right here well that's a pixel level editing and light room doesn't do that well and so I need to change this pixel. So that kind of stuff I would do in in photo shop. Or if I wanted to maybe use some kind of tools to bend this mesh a little bit. I'd have to do that in photo shop. So, like him, doesn't lie. Tio change the pixels. There are some healing brushes and some filters and stuff, but it doesn't have the really the power that you need to do some heavy duty stuff.

Class Materials

bonus material with purchase

Snapfactory Color Theory
Snapfactory Lightroom Workflow
Snapfactory Workflow Example - creativeLIVE
Snapfactory Model Release
Snapfactory Commercial Shoot Workflow

bonus material with enrollment

snapfactory creativeLIVE overview
Snapfactory Purpose Worksheet
creativeLIVE plan

Ratings and Reviews

Brian Geoghegan

Mark Wallace, Brilliant at what he does, so clear to understand, he is amazing, well done Mark great workshop, I learned so much. Thank you, kind Regards, Brian from Ireland


Mark really knows his stuff. He was very well prepared and Mark did a great job teaching this course. Mark went through all the steps from beginning to end in great detail. He also answered questions from the audience an online viewers which helped fill in any blanks. Great course.

a Creativelive Student

I loved this workshop! Many things I struggled to understand about exposure and many other things became so clear! Just wow!

Student Work