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Shoot: Blown Out Beauty Shot

Lesson 31 from: Commercial Photography: From Start to Finish

Joel Grimes

Shoot: Blown Out Beauty Shot

Lesson 31 from: Commercial Photography: From Start to Finish

Joel Grimes

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Lesson Info

31. Shoot: Blown Out Beauty Shot


Class Trailer

Day 1


Ten Things That Spell Disaster for a Photographer Part 1


Ten Things That Spell Disaster for a Photographer Part 2


Ten Things You Need to Know about Branding


Shoot: One Side Light Beauty Shot Part 1


Shoot: One Side Light Beauty Shot Part 2


Shoot: One Overhead Light Headshot


Shoot: Edgy Three Light Setup Part 1


Lesson Info

Shoot: Blown Out Beauty Shot

So what we'll do now is we're going to very quickly we're going to get rid of this table where you get the two umbrellas up and the five footer here so we're gonna move fast and we're going to try to do a all blown outlook and jessica who was one of the first models ever did this with so hopefully um this will be something we can pull off here real quick we're going to use the white um the white background so let's just take this so it doesn't fall by foot okay no no no no no no five foot and the big we've got the umbrellas seven footers okay, okay I'm gonna put this out the way so we don't know what's not things over all right? So the first thing I want to do is grab my umbrellas and this is the best modifier on the market for the money right here these these umbrellas you could do so much with and we're going to make him into big like octo boxes the big seven foot cocteau's so these are the white with a black I've used all white translucent ones and I've used silver ones I would say ...

for what I'm doing I liked the all white in the middle with the black on the back and these are about a hundred bucks that fusion is about thirty bucks something like that on no exact prices but basically we're going to make this into that remember the eight foot no seven foot doctor I used other day zach something if you want to grab this help me here we just put this together you can do this one man but it goes faster with an extra person basically this is just bungee corded uh you know on there so we're gonna pick this up and watch out cliff I'm gonna come right over here we're going to slide it in the umbrella slot and we're going to spin it until it comes to right the center part and then I just pull it a little bit and what my goal is to have no hood on here so that I'm able to blast the light is white as I can you can put a wide angle reflector on there but you want sorry you want the light to go is why it is possible the lights going in blasting out I want to fill this whole thing up of light the more I fill it up with light the softer is going to be and so you can do this if you want you can spin this a little bit and push it so that gives gives me a little more depth and tighten us down here so that's one to the other world quick and I'm looking at the clock and I'm sweating my makeup's starting toe drip so like I said this is dollar for dollar you cannot go wrong with this modified it is just and if you look at my portfolio I have a bunch of really soft portrait remember I did this with a white behind the model that was gorgeous we did that the other day so that this is a good modified for that so I'm gonna bring it around here we're going to swing it drop it in here and we're gonna slide it in here way wow there we go okay so then like I said you spin it until the that hole is pretty much dead center here pull it tight turned on we're gonna probably go have power here go right there to have power and then we'll turn this one on half power take this out I need my little triggers my trigger bag grab this what's that's what I get for run right all right, here we go get this in their way need one more and we're good to go out the way okay there's a quick change normally in the studio I have all these set up so that I don't have to fiddle so we're gonna put both these touching the background way want to actually touch the white sweet here so I'm gonna go back like this and still touch it right there and then I'll touch the other one here and we're going to sam which her in the middle of all this get into the same height and we're going to if you want to sit on an apple box you do that I think you're about right there yes it right about there and then I'm gonna put a bounce card um and on this one I'm gonna probably used the bigger bounce card and I think it's right up here and grab it because I want his much bounces I could get in the lope around you so let me put it I'm gonna get one more apple box how you doing john so let's go right about like this and we're gonna slide this right up in here okay go a little higher right about there so what am I doing I'm taking my biggest modifiers I could actually put a seven footer I've never I've never done that seven foot octo here but I could do that but I think this is big enough and getting a cz much light on her as I can I will do my three light approach but what I want to do is remember I said I wanted a value change between zone three or with skull this mid zone moment range here and the edge like that still wanna change value but it's gonna be really soft in my hand okay let's test them all this was on on okay you're watching me sweat this is the life of a photographer I should have put that in my power point to be a photographer you have to sweat a lot all right? This is gonna be good because jessica's perfect for this one okay, I'm still a seven point one you know what? I just in a simple guy, right? Um I don't know what all my cities they're going to be here but let's just say let me go on about sixteenth power here and half half power in the background okay lower that down right here because I want this soft and here we go. Okay, ready? Let's just test my light one two, three oh, my goodness jule you're good not bad for first out of the pop right? Ok, so my overhead light this one is too dark that his transition is too dark for me but not bad I'm about probably stop off maybe so let's go have stopped first. One, two, three, four, five I want to push my skin tones as far as I can before they start to blow so let's just see what path stop looks like put your arms out like you did before member were excited see the shoulders and everything right there. Yeah. Okay, now I'm gonna lose apparently you're going to say joel you're losing detail? No, I'm not because I have a saying in photo shop called recovery highlight recovery and I can pull the detail out of there believe me when I do workshops everyone thinks we've gone too far we haven't I still gotta go here more let's do one, two, three, four, five again ready? One, two three right there are still I think we'll have to go even more we'll see what happens way need more one, two, three, four, five to go we're pushing it we're pushing it we're pushing it here we go it's good, good, good good it's getting there it's getting there a little more one, two, three, four, five see what happens so I want that skin to be just like angelique there were getting it see the transitions from here to here still there but it's very subtle that's the key to this whole thing if you get equal than what purpose is that sidelight you want the sidelights to show enough and it's just really, really soft I still think angle amore let's see what happens one, two, three, four, five okay and let's see how far you take this there we go. That is it that is killer. Your hair looks amazing. Here we go. Beautiful! So you know that shot? I've got jessica with the roots tree root in the background this is it, folks, this is it this is how simple it is again get news for this is that if she's up and down is not gonna change that much because I got so much balance but I would even say oh, I like that one oh my gosh that's killer oh, I love what I do hold on I like that holding on the whole I'm gonna lower my camera just a little bit because I want to get your arms below right there now I'm gonna take a look at this and I'm losing a lot of mega pixels so let me flip it over you flip it I still like that same shot and if I was not on a tripod I could do this lot faster, right? But because I'm old school and I want I want sharpness let me go right here. Where a one two three dollars raise your head up again, right? They're beautiful. Close your eyes. I really thought your head back right there. Okay? Jessica happens to have a really good nose so she throws your head back. You're not looking up the nostrils and but yeah look good look good. Okay, looks blown out, right? You think now I can tell you right now just because we have a monitor there it's a little bit more blown out my screen looks really good on here, it's perfect for what I want in terms of value, okay right there gorge just wow let's try to get your arms I do something that's a little bit wider so I'm gonna horizontal again gorgeous go both arms out again like you did there you go okay let's take a look at that one day we got going here now I am in photo shop while that looks really blown out there let's take a look here if in fact I feel like it's too blown out I could knock the whole thing down just a little bit but I am going to also increase the value of her scan in photoshopped to that black and white technique so I can smooth it out even more um if that seems to be a little too blown out what I could do very quickly is going from seven point one two f ate so let's try another one like that arms up and this is see if maybe I hold a little more detail I've got detail in here on the monitors a little bit um like I said the white stepper typically monitors like this blow out the whites um so I'm not really seen the detail on that but it isn't here but let's go let's go take it down to f nine to see what happens see that pulls it out a little bit more okay there's who there there's the all the details there but her face is definitely more uh lit up I mean, it's darker it's not it's, not lit up like I would like, but let's, go back to f ate. Try a couple. Now I can see my I can see my boxes back there. Okay, but I clean that up in photo shop, so I'll smooth out the boxes back there. Look at that. I love it. I love it. Ok, now do this. We're gonna flip this and do some where your hands go way above your head. All right, well, hold on a second. Here. Hold on. Oh, yeah, yeah, yeah, yeah. Okay. That's a little high. Just been that one arm a little bit right there, see if I can get it if I can get it in. So I just put my camera, uh, gorgeous. Holy cow. Look at that. Look at that. Jessica, would you beautiful. Let me make sure my focus is good because nothing's worse, remember, but sorry. A little early. Do that one hand up again. I want to get that one hand up and then, like it was before, it was just a little curve to it. Oh, I just when it all went there. Thirty three, thirty three beautiful, and I'm a little high mimi, focus again. I'm going to zoom in just a tight. Keep everything right there. Beautiful. Close your eyes. Try with chin up. Chin up, chin up tonight. Right there. Now look at me again. Look at me. Open your eyes. Really open them. Beautiful. So how how far do we know if we're not pushing the bone outlook that we're losing highlights? What do you look at when you can sit on your camera? Highlight alert, which I've done on occasion, but drives me blank, blank, blank. I start to feel like I'm gonna throw up after awhile. Here's what? I would tell you this if you see some bling keys so we're about it if the whole thing's blinky got problem, but don't worry about a little blinky zai. Some people like, oh there's a blinking it's like this little thing right on the on the elbow. I said, don't worry about that on the face. You probably don't want blink ese right here. If it's a little t one on the top of the nose wouldn't worry about it. So the blink he's telling you you getting close to push in where you cannot pull detail back, right, but with highlight recovery you can do a lot right and remember this bit death falls in the highlights it's really low there's no bit depth in the shadows so you have a lot more recovering the highlights and you do the shadows another sounds crazy but that's the way that depth works so in this scenario I know that I can pull off my recovery in those areas takes a little bit of work but I could do it globally with masking and all that stuff and I do it wrong usually maybe we do a little experimenting you know how a lot of people have been asking about where the sidelights are angled on a model right and we talked about that yesterday but jared is wondering if you can show us what it looks like with just the sidelights so they know exactly where the light is hitting well okay we turn it off and but I'm gonna tell you something right now this is bouncy light back into the scene and I gotta tell you I've done this like is that I'm looking for where I forgot to turn it on and but watch what happens we're going to it we're gonna take it out but let's just do one with it ready okay so that's without it which is it's it's obviously made a difference and and then this will do another one this will be even darker should be darker yeah so just as a fill caused a lot of bounce back so that's interesting in terms of how much light you would think that was they were doing mohr, but it is doing his job, right? But it's it's uh um you're still you're still aiming for a braided cheekbone. For the most part, I'm doing my same three light approach, folks. Here's let me tell you how I did this, and I believe it was jessica first kidney reviewer or lauren, one of the two. Lauren had blonde hair too, but one of the two walked in the studio one time and I went okay, I got three lights, the bigger the source's, softer light. So it's just once you understand lighting, then you could start thinking what would happen if I did this and this and bring this then there's no limit. If you learn lining from a textbook, I'm telling you, ratios, schematics, all that you're going to be only doing with the established lighting techniques are out there, right? Whatever the textbooks that's, what you gonna do? But if you only think about experimenting that you're an experimental mode, then you come up with things that nobody else is doing. That's the fun part about photography that's a good question, though. So we got a new image that I don't think it's something I would shoot but, you know

Ratings and Reviews


Joel Grimes reflects the true meaning of a passionate modern artist. Seamlessly blending his old school film techniques in todays ever-changing digital world with such amazing realistic results. Not only in his own body of work, but achieving the same outcome while teaching LIVE, even when things don’t always run smoothly, much like the real world. Thank you Joel for sharing your hard work and talents, your struggles, most importantly, your honest open teaching style with such detail in every segment. Much appreciate CREATIVE LIVE for keeping it real with good talent, on and off screen showcasing common humanity in us all. Indeed, a revolutionary company. Manny DaCunha.

a Creativelive Student

As an editorial and photographic professional it's refreshing to find new cerebral information that goes beyond simple instruction. It was motivating to see Joel, a highly respected professional who is successful in "real-life", display his thought process, points to be successful, and insights into his art. When you have been in the industry, working full time, you need those moments to relax, visualize and re-energize so you can look at projects with a renewed vision and passion. Joel and his Commercial Photography course did that and more for me. If my schedule allowed, I would certainly join Joel at one of his workshops. Only thing better than this CreativeLive would be attending live. Thank you Joel.

Student Work