Triple Reflector V-Flat
Let's kind of scoots up against the wall or something out of the way and I'll let you help me because you haven't done active project work it we're going to cut this sucker and cut the tape off of this so we could have two separate pieces. So where we going to start sliced? That in half is your said than done right? Somebody in a cave and grab the other side of the issue with he did sign the knife waiver, right? Hey, that's not a real knight or this would mean at this. We asked for a butter knife so nobody would hurt themselves. Okay, cool. Who was close now? We're going to take one of these and we're going to mark it off and cut it into thirds. This way going boom boom on! We don't actually have to use the whole third let's. Just do this. Where's my sharpie. We'll do this quick on the fly tape measure their straight edge from the street edge we had the other day. I want to make this into a triple um, triple phil light just kinda nice so you don't need to use the full eight feet length...
so I want to use each section to be about two feet, okay for my triple fill some of the markoff on here two feet four feet six feet and if you would do the same on the other side we can connect the dots markoff two four six okay baby well where's my razor or a pseudo razor told that there I'll do the cutting so I'm fully responsible for whatever happens here no need to draw just hold that hold the board and watch your finger sorry about your floors okay now have a six thank you this one here we're not goingto but all the way through that's going to draw the line we'll cut it any good all right so we're making a triple and we're going to put the scene back on here with their white duct tapes of caitlin you can get that ready to take this up and let's take these back together same way we did the other one's got some pencils seems we're so good at this now we can do this in our sleep there's your side over um it's leia where's the black thank you more pencil down wait all right so they were making is a triple reflector that we can use to fill um underneath the eyes for doing really kind of sparkly head shots you can cover this with a silver like that silver fabric that I had my bag if you want we'll just use it white works really nice white it's really great outside sometimes I'm going outside and want to do a portrait like ahead just a head shot and you have people laying on the ground and I show you the clamshell lighting. We're actually about this, but this is a great thing. Just lay on the ground in front of them. Okay, so well, it could be used a lot different ways. You could be used for reflector. Obviously, for a sitting on the ground shot that can wrap around you can replicate in that way, but they're sitting where's the danieli. We're gonna actually have you just to make this quick let's just lay pretender in the grass and it's nice and soft lay down face going that way on your elbows turn over on the other boat, okay? And this would be our phil it's going to come up. So you going to put your elbows right on that? And what I want to do is to be able to prop this so you can put something on the side something on the side so let's, find something we could just a wedge under there could be a camera bag. Dear bag apple create rock your outside. Nothing fancy, so we're going we're going toe light from above boom balance under here and that's going to throw some light back, so when we just use this this this and this is great for this kind of a thing, this is r r noona grip with a disk so where did was create a clamshell light mean it's going to come from the front? I'm gonna lay on the ground there with her shoot straight forward and this is going to be a clamshell meeting that think the clam goes warrant she's the pearl that's in a way sure, though is the oyster like she's the pearl and we want to again start kind of from her ear coming to hear so same concept member here to here where it starts better ear and the basically the disco point straight towards camera but I'm lying down so my other lovely assistant is going to hold this and she's going toe I'll tell her angle the front down well it up, whatever ok, you get ready to shoot channel a t t l that I want to turn that one off just for now so I don't get confused and channel a summit one eighth power right now and the zoom setting on this is at twenty four millimeters, which is pretty fine for a starter. Um sometimes you may want to put something in the front of the reflector to kind of lift it up, so I don't think we'll need to just yet we'll start here all right, so now it looks beautiful, I don't know what our settings were pretty close you know, good upside down, daniel. Well, golly, we don't need to really adjust much, but look at the beautiful light now we have great light on her face. Nice down kind of butterfly lighting and butterfly lighting is typical it's a classic hollywood sell light where you have a little shadow under the nose, you know? So we have that going on there, thie eyes have a nice little catch light brings out the color in her eyes because of the phil from this year there's enough soft wrapping light and then this also creates a little bit of a hair light going on to coming on from that so it's a pretty, pretty beautiful like just the way it is, I'm gonna open up the background just a little bit. So you remember from our mark talk earlier I wanna just because backgrounds being lit by the studio lights if I want mohr of the background but what I do my camera, you know the answer it's burning a hole in your mouth you want to say it, but you're too nervous just talk because you're live and we were gonna laugh at you if you're wrong, but they won't change our shutter speed right? Because we're using some of the ambien lights or should be right now is a two fiftieth of a second I'm getting very little of the existing light in the background so I can open it up now I'm also going to get a little bit of extra phil everywhere because the studio is creating my fill lights. I'm going to just kind of brighton everything up a little bit the film light in the background by changing my shutter speed so go one stop mohr open toe one twenty five just to see how that compares and we could even go to sixty because we could shoot they were speed. We need tio that sultry crack a little bit of a smile there, sassou see the difference now in the background, we open that up just a little bit and I'll go to, uh sixtieth, which is another stop up and open up everything just a little more overall. A sixteenth of a second, so have a little bit more sway, seymour, the background little more overall, phil, but allies going just they're going to come a little closer, get into the eyes nice like that. We lift your chin just ever slightly beautiful and kind of looking up a little like you just did right there, but yeah, the chin up looking me beautiful right there, correct a wry little smile and but cute okay, love the city fill zoom in at this and look at the eyes are here, but you'll see that thiss feel light makes this beautiful catch light in the eyes, and again, it so it's a one light set up. This guy justice works great with this clamshell.
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Kevin will walk you through every step of building your own light modifiers and photo gear and show you exactly how to use them, with live models, for beautiful effects. You’ll learn how to:
- Work with speedlights and mix natural light with flash
- Shoot portraits in the studio or on location with DIY gear
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