Shoot: Edgy Three Light Setup Part 2

 

Commercial Photography: From Start to Finish

 

Lesson Info

Shoot: Edgy Three Light Setup Part 2

Let's do it the headdress now okay, so this is going on what's gonna happen though is her head's gonna be pretty much in the middle of the frame does that makes sense because I'm gonna have so much top and bottom and and this gonna be a challenge right? So let's swing this back a little bit right here and swing this one back just a little bit right about here can we can we get it on you or do we need their makeup way gotta make up girl coming in here okay, so do we fixed it so it's not a little loose it should should be should be tight. Okay? All right let's let's let's let the experts do that. Um but here's what I can tell you when it comes to makeup, hair and wardrobe after the fact which is the hardest to fix hair hair is really challenging. So, um a lot of times what I do is I am really watching the hair you know, um and to make sure that there's not any issues because I'm gonna have a have a so we also want to again thank josette red wolf for this unbelievable look here and she sp...

ent I'm sure a lot of time putting us together so thank you did you did you put some superglue in there, make sure it stays lots of duct tape let's just give a shout out to josette right now yes alright so all of the headdress and everything they're saying with all of the feathers the enormous ornate beautiful things that she is showing us is wearing is from josette red wolf designs dot com so go check her out you can always also give her like on facebook at joseph couture chillier so check her out yeah it looks that looks pretty good now so we'll have to do is probably you're gonna have to bring your head forward just a little bit so we can see the feathers okay and this one feather right here actually like a little bit of that it's not perfect you want it to be perfect no no no no no no no no no no let's do it so it doesn't cross into the eye that's all the thing I would say that one wants to go and do that doesn't it? So you're just okay okay all right so now the hare all right so now just we may have tohave you tilted just a little bit down whatever feels comfortable okay so so here we go let's just let's take a look at this we might be able to shoot sideways too oh my gosh this is wild ready so go back to maybe that stand she had before but your head straight yeah now bring your other hand over a little bit okay ready one to take a look at this and I lost my glasses I don't need my glasses come looking here crazy it's looking good though okay so now I'm gonna look at my lighting I think this light's too far forward my and you know what I would do stuff about four inches forward I think what happens you step back just a fraction that should be about where I want her because it was the wrap arounds too much and also how you angle these a little bit sometimes can change things so you want to make sure that it's going right toward her shoulder all right here we go ready one two three I love it I might have missed that back feather a little bit but let's take a look we were just at the time at the edge of the feathers here so that looks pretty good though, right so in terms of mood dropping her in the background feathers I think all khun b knocked out this has got plenty of contrast I think to save those you're not going to pull a lot of detail out there anywhere do you extraction so it's not gonna be that crazy if you lose a little bit of that if you put up a black it's going to be wielded a minute maybe but the safe so the only thing I would say is I would maybe just pull this back a little bit here so it's not too uh sticking out there and I want to make sure I get that feather so right now he's gonna back this up a little bit so I can get that feather in their ready let me focus on you right here one two, three yes, I had to go kind of offset the frame but that's ok because if we look that okay so now I got a position you make sure um I'm happy with all my I just bumped my settings here sorry seven point one that's another thing you might want to do is lock your f stop because I just booked you my hand hit that wheel just spun it ready here we go again but I'm a little bit encroaching right there so I go up about an inch or so and it should clear me all right, there we go beautiful. So there's my I think the full got her hands in there and we could also now think about this light so what if I just open it up a little bit here here you go a long ways here give you just a little bit more um one, two, three, four, five just see if I can because I'm raising it up so high I'm losing a little bit on your face there okay, that should smooth it out just a little bit there we go now. Much better again. Her eyes aren't really popping because, you know, I'm kind of dark, but we can fix that. So would you ever do in one just with a fill in there? Just so you have eyes. Well, you know what? That john he's smarter than he looks. So you know what he just said? He said basically, if I just take and put a phil card in there so same look right just fire went off. I can always take that later and use that frame. Oh, yes. See he's thinking like this is the digital age we could do anything. We pretty much we have all this flexibility. So anyone that says films the good old days well, it was some good old days, but we have better days now with digital I could do things so that's a good option. Now that again, that might be too much filled in. But you know what? Those eyes were there I could always taken extract him for for later. So let's do this let's. Now I'm going to try to move up a little bit, so we also could bring the fill in, but I'm gonna move up a little bit so that I get just let's see if I can do this, so drop it down let's see, I'm gonna bring us so I'm gonna try to keep this hand in there so bring it up a little bit something we're not gonna worry about that hand down there so whatever feels good there let's just get ready one we focused one too three and I also missed a little bit of the feather on the one side but I've got enough feathers later I can always a fight if I just need a tip of the feather I can pull it off afraid case let's try that again. All right? Okay come on write about there. Yes, yes yes but this is tough now do this just tilt that at the top of that I want to go that way a little bit right there that that's too much come back a little bit right there so I have that kind of centered up there beautiful. Okay that's looking good looking good so now let's move up a little bit higher. I mean in terms of now and take that one hand out still keep the headdress in there but now I've really got it make a choice because I almost have to start going horizontal here but that's that's a great look right here so you kind of got this section um her face looks great look at the eyes really pop in there so I got the highlights are still there um let's try horizontal see what happens and you don't wantto crop I don't think I want to crop his head dress but maybe I might I might try one like this put your right there perfect that's not a bad look right there kind of kills the feathers but still not a bad look um looks great so let's try a horizontal with the headdress all in their ready one two three beautiful okay and I'm getting a little bit of this light in there but that's not a big deal just pull it out a little bit here that'll darken it just a fraction but they focus on the eyeballs right there just trip trimming that one that one headdress or that feather off so now let's try this let's try where you're looking that way a little bit so we see the back of it coming around right they're ready one two, three let's see what that looks like oh oh that's kind of cool all right so now usually when I have a model go from here you got both headlights here we turned to hear this zone three light needs to be knocked down see how she is a little bit over lit there for my taste so let's go up here and I'm gonna go one, two, three, four, five strike five first let's have a stop ready here we go so that's gonna give me a little more mood see what happens let's have a stop let's tryto have stopped one, two, three, four five so this is how I think in my brain I'm constantly adjusting this light mainly a cz my value to give me the mood I want I'm going from you know see how it's a little darker in here that that gives me a little more punch on the on the on the highlight there plenty of detail in your face there this is getting my my vision is an artist so, um look at the glow here that looks good everything was great um what would happen if you brought your right hand up to the big jewels things, whatever those it was called diamonds big ruby's okay, like you're just sitting here like this and here's the waves are crashing behind you and you're the queen of sheba or whatever I got you got you got to laugh in there right there let's see what happens? Yeah, I mean, you know, maybe I don't want the handle too big, right? So I got up maybe turn it a little bit. You could see it over there the lower right they're ready can we focus again, make sure I'm really cause I'm gonna this is gonna be cool I dropped us in the background now do this almost like you're just on your tippy toes like you're really you're chen's going into the into the wind a little bit here we go okay now bring your chin back toward me a little bit I want to still see you both your eyes really strong there we go so you see what I'm saying when I put in the background she's like right now there's no thunderstorms and light and you know and it's kind of like I have to think in my head what would happen if she was standing on a beach um and beautiful lighting beautiful okay, here we go now what I want teo couple more of these okay now just bring her eyes toward me there you go jealousy I'm gonna try to get it let's get her hand same look but now I want to get her hands in there um and so I think I got plenty of room I can do this so let's see what happens here same look look off again okay, so we're there you focus all right. So let me just take a look here. Well, I love that but let's see what this next one looks like so now maybe I have a lot more expanse behind her in terms of a background and then I think we're good so strike couple of these just just against like that feel like you're standing there on the shoreline now you're good you're good now look at me there you go now just slightly turn your head toward me right there yes yes yes it's just okay I love the shoulder up a little bit like that to try that with just you just yes beautiful okay so and we're losing a little bit because the film we can't put that phil too much interface will do one with the film just drop a fill in there real quick we have that so let's also just I don't know if it's big enough but put the black and let's get you with white is wei so we have a cut out just in case because then I'll be like kicking myself I didn't do it so you're gonna have to see that's clear a little bit raise it up just a little bit john right there let me focus so we've got we've got this looks kind of cool with a black you could bring it toward her bring it walk it in walk it in ok right there that's kind of a cool look I'm losing so so let's try one like that with a black says fill it in here you see what happens do you think I have the watch and if you're a female and you know this that this is probably one area you always wanted not you know if it's a little bit now photo shop I usually fix that but I don't want to exaggerate it, right, because I'm a little bit of a wide angle lens here that arm's gonna be bigger than anything else. So I just kind of keep an eye on that, but, um, so let's, what would happen if you switch you? Brant brought the other arm up, see what had happened, just see what that would look like. Beautiful, using about just a little bit right there that looks kind of need that, that, and I'm gonna pull this back just a little bit, get that cheek to show up, and then I do this all the time. I do this all the time. I literally am I I used my own, my own, uh, phil, right here, ready one to do that all the time, beautiful. Look at that that looks great.

Class Description


Commercial photography can be a lucrative and artistically fulfilling way to earn a living as a photographer. Learn what it takes to break into the commercial market and create impressive and imaginative work from industry veteran, Joel Grimes.

If you want to attract commercial clients, your existing body of work must have a sophisticated and distinct voice. Joel will coach you through the experience of establishing your own unique voice and show you how to bring it to life through six photo shoots and their corresponding edits. Joel will demonstrate one-light fashion and concept shoots and take you back to the desk to composite and polish them. You’ll also see Joel shooting product and portrait photos using a more elaborate set-up. This course will also cover the business of bidding for commercial work, effective negotiation tactics and final delivery.

If you are ready to break into commercial photography or up your client game, you won’t want to miss this complete guide to shooting, editing and delivering commercial work.

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