Ice Light Demo
I actually photographed these two shots with one single ice light in our studio as well just the way you hold him the way you can spread the light which we're going to start doing now I say we start by going backwards and have a model come up who wants to be our first model with the ice lights it's gonna be really straightforward just michelle how we model you yeah perfect wait talk about self consciousness earlier today and we have an audience pan why ask again like literally all right do we have my guest? You do have my camera all right, so the goal here thank you. The goal here of course is how do we keep this? A simple is possible that is every single directive I'm going to be working under every lighting setup I show you so we're going to dio and she come out here and joining introduce yourself everybody again hi, I'm john acosta acosta from san diego san diego perfect. All right let's bring this in all right and let's try a one or two and obviously worked with glasses you always ...
have to consider when you're adding light what we're going to be dealing with for the glasses so let's try one and then go ahead and grab me the other one we're going to try both of them just for the fun of it but you can try all right, so you just look straight out of the audience. I won't make you do anything table yet? Um, so straight straight out that way there you go. I got a wonderful in my left hand, all right? And then so as you can see, like, this is the same sort of thing this is a portable constantly. I believe they're the tagline is portable window light? Uh, but that's what? This is and then so the idea that you can actually move the window around in your client khun b stay solid. So I'm looking at you and from this perspective, I'm seeing a hint of glass player. But as you move that back towards the curtain and I move this in, it goes, um so I need one more person to hold this. Thank you you're gonna have to say, you know what, john will jon lill all right, so and then because I'm shooting down here what I've been saying all day when someone's shooting a different angle lower angle what do you wanna ask mom? Yeah, for just a hint. Okay, so you just moved out of light, john bringing in and it's, what you see is what you get kind of thing and this is also this comes with a dimmer switch so I can actually dimmitt if I want to and then go brighter if I want to so you know, we don't need all that I would bring it down to about a five because and that way you can keep it close a mandolin and then think about it even as you're moving it you can look across her face and see it shifting so we're going to go like right here so we don't have shadows with the glasses and then I think the same thing we're going to come right here and then did it down just a hair yeah and then chin over this way right there okay? And then when I and then do me a favor lift that up and open facing down okay my sole focus right here is managing the way it's hitting your glasses because look in the eyes to see this so there we want to be up here see it are you able to see from that angle on and then same thing you guys were able to do that perfect that's really helpful right? Chin up ok and now I'm gonna have you powerful lights now that you're off the spot we were at what are you seeing? Everything we talked about? What do I do with my face? They're um your face looks beautiful you're important nobody can take anything from you it's true, though ok, good you are not going to hear about your face right now because we're just doing lighting and then shouldn't down a hair and then uh okay come with me this way all right? I'm the reason I'm doing this real quick is because we're pointing light at glasses and one of the biggest things that people ask about managing glass claire is is what you have to do to get to lower them. Um I always say that if you adjust your angle and the lights stay constant, you adjust where the glass ther is going so before we're adjusting light here we're adjusting myself all right? You look great we're due one click and then we do a little shift good, your face looks beautiful uh good and then I'm going to switch this to put um I'm just gonna have to buy the way warm up this light a little bit good. Yes, we've got a little blue but it's fun. Ok, so let's look at this let's examine it. We have a little more cash light and one eye than the other you're saying here and then we're going to brighton that at yet uh oh, here we go good stay right there beautiful you look lovely telling how great she looks and how she shouldn't feel self conscious. I treated the hair I love it beautiful so now we've controlled the light and the glasses and you seem happier and we've got catch like they're gonna let you seem cough it is but that's the big thing I'm looking for a one catch light I don't want blast clear I don't want the shadows we'll be able to work that thank you you're probably come up again here do you want one too all right why you switch it you you monitor okay all right how do we use this? The simplest possible ready say bro you just hold it down for a second it's on yeah, most of you know this was telling you that people are like it's not working like that you actually have to pull it up hold it person okay, good. So the same sort of thing we're going to go up and how would we model it differently for a guy we took I'm going into a long lighting segment we do a little bit more in terms of like controlling shattering yeah that's nice you feel good? I feel great. I look great. You know you're lied for love it just because I'm shooting at this lower angle and then you see the light pocket that showed up underneath his eye a little bit ha ha not a bit on down yeah and you're correct me just auto corrected for didn't you that is brilliant again we're looking at lighting here right from a lighting perspective we've got well that we got catches you think those I'm gonna do the exact same shot without that and then like a dio bringing the love no change with or without the ice lights in terms of this exact shot you can hold those next to each other but I have no catch light I've got no definition I've got no modeling I'm able to not have shadowing I'm gonna work tio adjust the make sure get the color balance I want to get the police I want all our stuff but right now we're just talking about how the light hits the face yes can you kind of scenario work with just one ice lighting a reflector yes yes and we have in fact the shot I just showed you the two side by side that was my has been if we're on the reflector this wass exactly that uh oh it's like the two side by side shots yet that's exactly that this is or I like here reflector here but a little patch of shadow that's a little more obviously this monitor that it is in the other one the darker but that was exactly what that was just one isolated one reflector all right does that make sense about how you could use those and then obviously you could bring them everywhere they're battery powered you charge him up museum you're done. They're really nice, easy addition out in full sun. If the reflector is not doing it, and you want to get closer and really pop the lights up, you can use them for that as well. We're gonna be showing that tomorrow.
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Tamara is a celebrated family and lifestyle photographer. In this class, she’ll teach you how to beautifully light, naturally pose, and creatively photograph children and their families. You’ll learn about:
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