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Shoot: One Side Light Beauty Shot Part 2

Lesson 5 from: Commercial Photography: From Start to Finish

Joel Grimes

Shoot: One Side Light Beauty Shot Part 2

Lesson 5 from: Commercial Photography: From Start to Finish

Joel Grimes

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Lesson Info

5. Shoot: One Side Light Beauty Shot Part 2


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: One Side Light Beauty Shot Part 2

You know a fixed lens generally sharper than to generally we say that andi old school that that was the way it is but the list has gotten so good these days but the zoom gives you a lot of freedom so that's kind of a bit of a tradeoff there so uh this is a beautiful lens here very sharp it's the new cannon version two seventy two two hundred and so what you think is still going good to go here let's try it okay and I'm gonna get my button up here okay ready let's try this again focus oh yeah looks great on here their web okay so hopefully we didn't go here so that's a pretty cool pose see the you know why it is this legs in front okay, so the line of emotions comes like this right that's what we want with the female form a little bit of movement a little bit curve and so that that's a great and plus as a general rule for a female you want the lady leg forward as a general rule especially when you do a swimsuit things like that you want that leading leg forward but that's a great curve ...

and the way she's standing looks great so let's do another one like that can't go back focus on her eye use it whenever I stop and move around come back to my camera even though it's probably a focus I always focus again just to make sure ok that looks pretty good I'm liking that now do that same pose maybe you're looking down or something a little bit different you know like a little more just a little bit right there yet so just move a little bit in that in that zone right there just kind of moving around and I'm just gonna keep snapping here and I don't know if light room will keep up with me but I'm just gonna watch her there you go beautiful right there look at that gorgeous okay, now I've got that so what I do is I can zoom in a little bit wash this still not even moving the camera three focus now watch this bam now I'm a little bit tighter and also I could say that I might want to bring this phil over just a fraction because it's kind of fill in the back of her head just moving it just a tad let's see if we smooth it out just a little bit and also you gotta watch the hair as it starts to fall down it's blocking a little bit of that phil but um oh don't happen starting happen okay, here we go can we just do a serious like yes yeah keep it going now you know I'm not gonna coach her too much but I was going to kind of wash your here now try looking at the bank of light moving your face toward their little bit yeah right there gorgeous okay all right so we got that so I want to do is since I've got her right there let's like that let's flip it horizontal and I'm gonna zoom in just a fraction let's try this right there that's one with the top of her head look at the difference here so this is full um head right now watch what I do this I'm just going to crop in like this just see what it looks like it's got a different field completely different feel especially do athletes just a different feel right so I might even go a little tighter with that crop so I'm still now I'm still right about here very cool so it's got a different feel right because I'm playing music I got a major minor seventh chord going on here doesn't make sense it's different so you keep shifting around just trying little things just give and I look at her eyes they look gorgeous don't they? Okay so let's do this now turn and look at me right there so I got focused on her eyeball right there boom wow her eyes look amazing so knowing that too I might go in a little tighter I don't know what's gonna work I really don't until I started shooting it okay see how tight that goes do this now, let's. Kind of swing your shoulder a little bit. Let's. Try with straight on with your eyes. Okay, so pull back your hair just a little bit on that side. Okay? So we're going to concentrate really tight here, actually, no it's. Kind of nice when you have your hand up there. Just kind of like right in there like this right there. Beautiful. Look down. Just kind of move around little bit. This kind of who's gonna watch you here right there. Yes, yes, yes. Now, let's, back it out a little bit right there. That's. A good look right there. Look at this. Next couple ones here. That's a great look. That's, kind of where I feel like that's that's. Ah, a good feel for her, you know, um, so and I love the hand coming up, so let's, just try a couple more like that, okay? So this is a great shot right here. Beautiful. That might back down just a little bit so I could see a little bit more of the feathers and all that right there, right? I like it now. I'm just going to try something. I'm going to fill her just a little bit more, just smooth it out. I'm breaking my rule that's going a little bit tight little bit tight on her I wouldn't normally do this but watch what happens here ready one two three that's going to give a little bit more smoothness on her her side there wash that in that great that actually works good so let's take um let's do that way like back there let's run it up and let's get you to turn this one off up against the white I'm gonna see if this will pull over the top jobs I just pull this over you kick yourself in the head okay? We're gonna take this out of the way we're gonna quickly just throw it over here that's not good to do that to my background but um okay, so what we're doing is I want you to get it close as you can to the white and all they do is push this out the way I'm gonna take a the model there the reflector that comes with the light eight inch reflector I want to put it directly over the top of my camera and I'm gonna shoot over the top my head and what happens is usually a little bounce off my bald head adds a little reflection into it I'm just joking there seriously keep going up and I want to get this kind of what they do for vogue cover vote you know, real harsh, impactful um and my goal is to get a little bit of shadow under the chin nose lips, eyes okay so let's see what happens here so let's take this suspend us this way we're still all connected here and we're going to focus and I think we're we're at ten I don't know if that's going to be talking to me too dark but let's just see what happens well way to dark okay so let me get my glasses and I'm gonna go to f seven point one that's my favorite sweet spot seven point one at s o two hundred let's see what we can do here two hundred s oh come on, come on I s o two hundred right there can you see what happens now? Still little dark okay, so I don't have the flexible that was that fate so let's go backto seven point one actually going six point three because she's up against the white anyways let's see what happens here? Okay, now we're talking ok so we're still little dark just a tad dark there's the last one okay still dark so I'm gonna go to is so we're gonna go to s o uh three twenty we'll see what that does already and that's gonna push it to see what happens that's getting a little bit just a little bit too much so let's go back to um s o to fifty here or we could go to seven point one since we got to go on the teeter totter thing here once I get my once I get my look here let's go really tight here I want to do the magazine cover look right here so I'll be focus I'm gonna get those feathers in their right there one two three so that's my look right there look at that look one light folks homeland this one's not firing yeah this is not this is just it's just there but look out clean that isthe ok now I would say that we run that light can we run it just a fraction ono you move move that way just a bit right there I want that shadow dead center over the top of me so that the shadow comes down right below her let's try it you ready again focus one two three beautiful look at that she'll clean it isthe let me try a horizontal here and zoom in a little bit and see what this looks like right there yeah not going to cover but yeah I'm a little sleepy somebody's I'm account no don't worry about it I'm just kind of count really one to three beautiful gorgeous eyes gorgeous eyes yes now let's see if they go any tighter feel simple this is just one light overhead and I even have a having put a bounce in her there yet wait till I put a bounce I can't really focus that might be a little too tight for okay I still like I still like we're doing with the uh this is the light that comes the modifier that comes with your stroke in that crazy and you can't put a live diffusion on if you want but I don't know if that's gonna make so let's go and get your hands uh right about right there yeah there's my cover right there okay again I'm gonna count to get your eyes really bright ready focus hold on focus focus focus if that light starts to bother one, two, three good job again one, two, three and I'll try one like I usually like to chen down try one little cocky a little bit more one, two, three yeah now I've got my safe shots here maybe and I don't know you enough but like some models can really go while right not that that's you know the most important thing but maybe try something a bit different let's just this is really let her go here because this is this is on white right and it's so easy I just let it go here here we go that's it beautiful beautiful so now I'm gonna there's a rhythm going on here so once I sort of um establish you know, pretty much instant recycle but I could just follow her okay hold on a second I'm gonna be really cranking these things through here but you see I'm just gonna let it take its course and so I get my shots and she kind of she'll know all suddenly good model will know what your rhythm is now if you shooting outdoors you got recycle issues you might slow down a bit pop pop once you establish the rhythm then and then you know there's gonna be a shot in there that's gonna be killer now in terms of full length let's just do one this is I usually get this uh sweep is not perfect underneath but let's just try I show you what a full length looks like here so this looks like that's killer now try doing where you're going you cross in the leg or do something a little bit different here. Okay. Ready beautiful look at this look at this we could rule that paper so there's actual roll on it you know, uh can we do that? We have enough time to do that. So that looks like a studio, not just a rip piece of paper um and then what we'll do is we'll get a kill card. I will show you what a kill card looks like way okay, so let's see if that'll stay way have anything we can put over here um bring that bring that just bring a glass your drink right there just put on outside outside yeah should just stay. Come on, baby, don't do that. Come on. Ok, full length. Here we go. Focus. Damn, that looks killer. Yeah, I'm a little crooked something I hate cricket. Cricket here we go. Here we go. We'll just do a couple really just kind of let it go there as great, beautiful, beautiful that's what we want right there love it love it. Okay, so I'm gonna do it waste up again here real quick so we don't worry about your feet so much just started doing it. I want to make sure I get my shot here. Okay? Probably straight on going to be the best. I mean, I say straight a pretty straight with special with this outfit. Okay? So let's, try one where maybe you do a little little, you know, little spunk too. Yeah, just give me a little now bring one hand up kind like you're in here like this, right? They're beautiful. Simple. This is one light who says you can't do with one light? Who says you need more than one light? John let's do real quick. I want to do before and after of, we're going to get this white foam core and we're going to fill it in I'm a show you what a fill us softens the whole thing up so let's get it before so get in and let's get a group good position right do that when you cross your legs across like that let's say because actually come in I gotta come in a little bit tighter so we're going right there oh, you just block your life, okay? Actually works fine ready now we're dio is we're gonna come in cliff you want to help and we get john on one end cliff on the other and we're going to make one big old bounce right here and what we want to do is remember that my life sources there so it's got it's gonna hit bounce right off of it okay, so we just did it before, so take a look at this here, look at this. Here we go. Ready? One two there's after come on. Nothing. Wait, can I back up a little bit? Okay, so do this bring it up higher and higher and then you gotta angle it toward the light a little bit there you go that way it does it, it does its duty here I'm gonna zoom in a little tighter one, two, three that should be much more see the shadows a little softer still still not as much as I would think oh, we have the jig but what is it jim is not blocking it. Okay all right. So that could be a good thing though, right? You never know that could be my shot little diffusion through that actually, you could do that. You know, I have I had a studio mate who could build this frame and he'd have like a net on it and then he'd put leaves and then he set it up and shoot through and cause kind of like a weird little shadows and so there's all sorts of fun things you could do yeah, here we go. Ready? I want to get that feather in the side here I'm getting too tight let's spin it this way. Okay, so listen, I'm going to do me a little tighter bring it up, bring it up, bring it up, bring it up right there. Okay one, two three happens that's filling it in quite a bit. My point is, is that you can use a little bit of phil to smooth it out if it seems to you a little bit to contrast it for you but in this concern in this case is really not doing this floor is actually pretty light so it wasn't a black florid might change a little bit if we spun around the black but that's a lot of work okay, we'll get this out the way famous last words. Here we go. Okay, so what? Let's? See what happens way. Absorb the light, so bring it back up. Ready? One, two, three. Not a kind of difference, but you'll see the shadow. You'll see the shadows. See how much darker the shadow is, good or bad. Who's who's to say it's, right or wrong, right. If you're an artist, there's really never wrong, can it be true? I mean, you. What if you cut someone's head off right around now that you could say as a general rule, if you, you know, do something really whacked and it says no, it's, not work. But you know what you can do a serious of photographs that are all out of focus. There was a girl that did that she's a beautiful siri's of images. They're all out of focus and all you saw was stick figures of serve, movement of colors. And if you inform who says you can't do that, you're the artist. You could do whatever you want.

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