Commercial Portrait Lighting - One Light Set-Up Part 1


Commercial Portrait Lighting


Lesson Info

Commercial Portrait Lighting - One Light Set-Up Part 1

Thanks to our audience here who's been here all week this is a been a great opportunity I'm glad I could join such a star studded lineup of instructors here so this has been a blast for may hope you guys there having this much fun too and those of you guys tuning in thank you as well so we're going to do something a little bit different today we're really going to give you what a lot of people asked for all the time is to be a fly on the wall on one of my photo shoots you're all going to be able to follow along so we're not going to do keynote nothing pre prepared we're going to photograph the biggest celebrities in like the entire pacific northwest way are going toe we're going to turn the tables on the people that bring you creative live that's right yes we're going to be photographing these guys right here we're going to start with our camera operators if I can get you guys to come out from behind there you are our first subjects right here so come on give a round of the plus come o...

n guys don't be shy come on out we're going to start with them and then we're going to show you aa lot of the folks behind the scenes who make this whole show possible so come on come on out guys come on around well love we're gonna bring you guys over here you could you could be the start so so you feelingood come right over here okay that's great noah no no way give it up for no way very nice to meet you as well perfect okay so I'm going to bring you out with this hot camera out just a little bit right here that's good and then just kind of like come come forward for me just a little bit right about keep coming right there perfect okay and very good you can come on to the other side of him come forward just right about there okay so this looks really cool we've got our lights in here we're gonna pull this stuff out of here just a little bit I'm here joined here by my very good friend john who is I'm sure no one creative life john keeps this thing going so you know it's like and he's also been very patient because what we've been talking about this since I think nineteen thirty four way said we would do a creative live and it's finally happening here so thanks I'm glad john could join us so let's go ahead and bring this stuff out just a little bit so this is actually like one of the tricks that I do a lot for my lights this is sort of like called how to move your pack and create a sandbag all at once so we've got typically like whenever I'm shooting on location I'll always have a j cook hanging off the stand and we hang packs off right there and user up we're using acute pro photo keep twenty four hundreds here and that just makes it easier when you have to move it around everything's all together so let's see school right there because they're looking great you've done this before right now now every day every day it's like they're going it's like why why is he doing this out sweet we had it way had it nice and quiet and kind of chilling out and it's like right away like getting called out well you know that's the price of celebrity my friends so very good for you you know probably he's actually got an act that he can do this with so it's all good okay so john let's let's bring roll the octu bank out yeah, you got around here brian that's a big monster how big is that sucker this this is a six foot dr banks so a lot of times I'll just use it's kind of a nice, efficient size whether you want to treat it is like a big wall of light coming off from the side or it also works great if you just kind of like to want a nice soft phil coming in so brilliant thank you so john I like sort of like just one main light at this point so so you can actually unplug the uh this one and we'll just use that it's phil if I could back you off right about to the wall there we go that's looking good and come back just a touch with him is a policy good so step step back just a little bit toward toward him oh that's good that's cool right there and we'll be sure to let you know when the flashes go off because I don't think you at home want to see the flash straight into your eyes I know that they don't either so here we go so that's looking good so I'll just pull this guy out of here and yeah okay so I'm just going on on this shot basically this is just going to be a soft field coming from the back well it's pretty cool you guys felling feeling it good? Yeah it's like it's like ok, we'll take we'll take all the segments off like this so that's good. All right, wait. So john henry there the other body because I'm going to go with actually that yeah, yeah, we grab here I'm just going to change lenses since we're already tethered up here okay that's okay, can you pop your monitor up a little bit so I can see a little face right in there or or shoot from or shoot from the hip way there we go that's cool now that's where? Okay, so let's get connection here are did nico did you lose our signal here take the opportunity to talk about your camera right now okay on dh I know we're sending people to your web site let's just really briefly ok, so I'm shooting here with the sony a seven are today I've been shooting with sony since the alfa nine hundred came out because it's uh I've loved the sensors and great lenses this actually gives me more resolution than the big camera that I was using before but in a very small package so we're out also shooting today with we're going to shoot with the number of lenses but actually we've just loaded on the very first ft sixteen to thirty five in the u s here so first time right here on creative life so a lot of times it's like if I'm doing a head shot we're going to be coming in tighter like maybe seventy millimeters or something, but for a group like this, you know, thirty five, twenty eight it's typically what I want when I want o a little bit of space around everybody great scene cool, so I'm just gonna I'm just gonna wing it on exposure here we'll see how we look first one band ok, so for you I want like a little bit more attitude give me give me hands hands on the hips and turn it away from me just a little bit yeah there we go that's it and feed as well it's looking good very nice and for you you know maybe maybe about like that and come forward for me just a little bit right there that's cool and you have your arms fall so that's perfect there we go okay let's step back just a hair for me right there you can come forward all right the perfect okay okay trying this just a little bit right now that school everybody shift a couple inches this direction right there that's looking good ok ok and you can even come in just a little bit tighter, right? Right. Oh that's nice back up just a touch a little bit closer to him here we go cool and I want you come forward just a little bit hey, john, do me a favor let's move this over to the other side of everybody so it's not in the way I just like the way the light's following it's going to be a little bit more dramatic with shadows going off in this direction cool so one of the things that you might have noticed that I was doing I was shooting from one me one of things that lets me do is kind of when you've got people of different heights and you're trying to kind of line them up in a shot you notice it's like three different heights right here but when I dropped down and bring him forward a little bit way basically kind of keep everybody about the same height so you're this you're looking very good there so yeah I think so too so wake up you could done just switch over to if you want just which quicker or we'll just we'll wait we'll switch at the next check okay so let's see guys right here it's cool and come forward just a little bit actually no stay right where you are just going to direct john sometimes when you want to see how the lights yeah right there okay looking good would you want no on amman applied so his faces and covered way do that I get it okay it's a good idea so I was trying to trying to find some way that we got the face so here we go so you know probably everybody at home was swimming as we made that last change there something here we go in and drop it down a little bit no I there were perfect that's great okay so right there okay let's forward touch right there and now john let's bring this directly behind me and let's raise the power give me a stop more power out of that if we could and on this one just looking looking right there they're going to probably need to turn the light feather it off just a little bit a lot of times when I'm lighting something I'm not necessarily going to aim it right at the subject all aim it a little bit past them so that keeps kind of the hot spot from being right here it's kind of putting the bulk of the light right in there okay so let's see guys they're very nice school this is you guys were sort of like a very cool seattle band right now so this will be your first album cover coming up with names for the boy but yeah I think it might be wise not to relate any of those names on the air we always got that we've got the adam bowers you'll look good in black so yeah the adam hours I guess we can they can do that won something there we go good I like this kind of snaking in from the foreground so we'll make it work looking good and turn turn your body off this way if we can feet everything keep going right there come a little bit more toward me what good very nice cool so let's give it up for our first subject right here campbell thank you very much thanks thanks for changing on the fly I don't think they were expecting this this morning when they came in so thanks for being good sports so a lot of times like if I'm coming in to do a corporate shoot in offices like this, the first thing that I try to do is kind of do a walk through and look around at all the possibilities I don't want I don't want to do ten shots on the same background I want to have different things that we can work with so that was the cool thing you're going to see you're actually going to see a lot of creative live as we're doing this so our next shot we're going toe I'm going to ask our audience just if you guys can turn your chairs around we're going to move to the back side of this room and shoot against the great wall behind us let's see as well as we get the lights over here let's get him and we'll get it in place and then we'll bring our next subject in our next subject our lord yes are gorgeous next subject I should say and is this the type of learning that you'll bring while you're getting this set up and you could throw questions? Is this something that you bring on location? Yeah yeah so typically it's like if if I'm driving to shoot flying to shoot we'll have we'll have the roller bag and a shoulder bag that's got the cameras, lenses everything like that and then you know, a big stand bag that's got all this grip stuff that you see here and then probably, you know, another two cases of light, so I'm working with pro photo because that's, what I've been shooting with for years, I like it because it's got really all the modifiers I want everything I'm talking about, though, can apply to however you're shooting. I know yesterday you guys got to see a great segment with kevin where he did d I y lighting so really a lot of the same stuff it's like the principles apply, whether we're using big light sources, small light sources on this this thing right here if you haven't seen one of these before, this is this is a beauty dish it's kind of a soft white reflector it's twenty two inches across, and I like this because it's soft light, but it's it's got like, a little bit of an edge to it and it's very easy control john's got the grid for it right here, so we're going to put the grid out in front of it and it sort of gives it more the look of ah, hollywood spotlight so right here we're gonna bring it, I'm going to bring it right over here, so we see it way see the effect better and, uh if I could bring out our next subject this is this is my very good friend george here. George keeps all this stuff going, so yeah, long time to make this happen. And thanks for also agreeing to be photo subject here, so he was actually really good because he realized it would save a tremendous amount of modeling fees on this by basically putting everybody to work. So yeah, you got it. You got to do that at the end of the day. So, it's, I wanted to mention that is our director of george chief. Thank you, director of partnership. Thank you, brother. Director like president and yeah, so george is the guy that you guys will see it w p p I or any of our conference is trying to dig up instructors along with arlene evans there they're magnificent. But if you guys out there and no one instructor that you want to bring here to creative line, arlene and george here are the ones that are on the other end of that you goto www dot creative live dot com slash suggest and amanda and amanda but slash suggests where you can bring in, um, new instructors let us know who you like. Thanks. Thank you. I don't think I need this doing so I need this okay, good, yes you're back in your role is photo subject right there so so I'm gonna I'm gonna have you stand kind of see this little pool of light right? And they're so so this is going giving a different look than we did for the last one the last one we wanted to be a little bit edgier for this kind of you know I mean george to me is hollywood glamour at the epitome so so we're going to go with the hollywood glamour life for the hollywood glamour boy so this this looks good right there so john aziz in place I'm gonna have john kind of walk this around just a little bit bring it just a touch more toward make good that's good so I'm used to working with these things on location, but it definitely helped you out as you're getting used to it to begin with to work in subdued light like we have here in the studio where you can really see how the lights falling, then it makes it that much easier when you're out on location and it's overpowering the daylight so looks good right there your natural man just kind of just kind of lean into the wall right here just like that, but I like the hands like hands and forward no, not we're not going to develop throw you to the wall knows now it's like that because let's see if we stick up there but known just hands in front kind of look good you know you kind of had him like this like that you say is perfect so all right okay so face right about there sir john let's bring the light around a little bit more like that right there that's good yeah, we'll just grab this guy right way go that's very nice. I like suspects are those all right? Ok, so we'll do a hollywood eyewear elio iowa ad for him as well. So wait, this is good, right? That's nice. Okay, okay. So eyes right out there that's great man and what did you just slip like a hand in the pocket so that their young yes it's very nice. I like the pocket square to the two picked right? You went all out for for the people of creative live and we we love that. So all george that's nice it's good. And now I'm going I'm going to move around a little bit right this way so we're going to shoot straight into this gray gonna move this off just a touch a lot of times I like having the lights and close enough that I can just grab them and move them where we need so let's see drop it, just drop it down just a touch yeah, maybe not quite that much up the light's let us know why you're kind of changing things that would you um I just I want like the bulk of the light to kind of hit toward his eyes so so we're kind of aiming at that way getting it just right okay right there and as I said earlier like a lot of times I make sort of aimed the light right about here as opposed to their what it does is that sort of keeps instead of this being the brightest part of the shot it's sort of keeps it right in the center by doing that perfect and are the house light levels working for you okay the houselights actually if we could knock down some of these would make it a bit easier for maintenance here we go so right in here, georgie very nice looking good, my friend right that's nice right there, george looking good and now kind of looking off sort of sort of like you're surveying see that creative giant creative live logo right there I know that'll that'll bring a smile to your eyes that good? Okay and now with the face turned that way just bring the eyes back toward me right there good looks great george right there. Very nice that's right that's good, very good okay chin up just a touch perfect that's great. So you see, I was right here okay guys right in camera looking good question any decisions that you're making based on the fact that george is wearing glasses actually like typically if you're light is off to the side like I probably was somebody with glasses I probably would not like them straight straight on but as long as it's off to the side we're not getting reflections a good thing with modeling lights you see, but even without modeling lights if you're out on location you'll see it on the lcd as well so here we go that's nice that's great judge right? Okay, now let's back up so this is something that I always like have to remind myself to do it's like when you're coming in for really tight shot cover yourself looser like if you come in and do tighthead tighthead tighthead make sure that you back off and give some some options so you got a little bit of space so let's do you write about their george turned just a touch right there right there way go that's not it right there. Perfect, nice that's really sexy I'm just trying to think, you know, I'm trying to think if there's any way we can possibly do a sexier picture and I'm just thinking there's two people who would be just what we need to sex this up just a little bit ladies can I get can I get georgia's the angels to go with charlie right here? Thank you president like so so let's do one on each side way were doing this beforehand so I know that not to do this so just kind of wrap around they're going they're going toe like wrap all around you george I hope you can I hope you can take this so this much excitement way do have a doctor way do have a doctor on set so john let's add let's add in a second a second beauty dish so I don't want to kill the light that we've got but obviously we're now dealing with three people instead of one so rather than changed the light source we're just going to double up we're going to use to beauty dishes too sordid make that soft round light become sort of an over light that keeps the keeps the same look and when I'm doing that I also don't want across shadows so I'm not going to like from different sides we're just going to double up on one side so if you grab me let's let's go ahead and put the let's put the grade on this one to angels yes angels were doing this you want to introduce yourself to the viewers my name's arlene evans from the director of photography education here at creative life and I've worked with george for ten years twelve years I know everything that's in the closets on and she's told it all to me I'm amanda canes that I'm the head of photography education here it created live and I worked with george for two very long years male and actually we're kind of charlie and she's our angel I am an angel I've heard that before haven't you guys just want to take a quick step to bring all these amazing instructors here for this week it has been one of the best weeks ever I mean we've had thirty five instructors six days full of incredible education uh we're lucky enough to have people like brian smith who we've been trying to get on a creative live forever just the timing happened to work out perfectly on brian's just a guy that we've been watching for governor brian for almost ten years and at the trade shows and every conference we always talk we always you know go have dinner and were out and I was like we need we need your incredible bring him and bring him in you got him so thank you so let's reverse the two of you guys come over swapped sides here okay good that's looking nice okay, so john let's bring this in and came in a little more at arlene right here okay, little bit more that yeah right there okay, so so ladies getting there get in there that's good you love this stuff I love how he pretends that he's not loving this but actually george's loving so great now he's actually good sport because he he claims not to love to be photographed but what you will you are willing to do this for us thank you so my whole idea right here is to make it as as low on the miserable scale is humanly possible so we know we're not going to completely get rid of the misery but but we're going to make it try to make it a small em in the misery and not capital so very good ok come on you know, last night at the bar you guys were much younger I don't know what the hell is going on right here so jump jump in there something I think it became an episode of chinatown right? So it's like yes yes ok yes that's very nice suits and now you can just you can just pull them right in there. That's very good. Ok, come on, come on, come on! There we go. There we go. All those expressions oh, my god that's beautiful right there, guys, it seemed like a good idea to turn the tables earlier didn't like just like us exactly the usual so just just about those lovely lashes at him that's that's that's gorgeous that's great guys right there beautiful good that's nice yeah I like that I like that so now you're giving you know just what you're doing right there keep keep the hand up that much good nice okay that's right that's this year's christmas cards right here from yeah beautiful lovely thank you guys so much you so very good. Thank you, darling. Thank you. Thank you. Thanks a lot ok so see how much fun it is to show the people who really bring this all together and make this show happen so I would I would actually be a little bit remiss if I didn't right now grab my two awesome producers kathy can can we go kathy and mike can we get cathy what the heck you know what while we're waiting for that let's you and now nico runs out of the room so it's like you can you can see that immediately everybody if I turn their way there it's like they're in portland forever way we're going to photograph you my friends believe way already have something planned for john so but I have I haven't even better idea right here could could we have our house right now so are you ready? Oh thank you I'm ready anytime you know it's good but get you out in front of a camera instead of like just basically running the show I love it um you know what let's I kind of like that kind of like with the second one is a zip back like so let's just wrap this around that's wanted like yeah okay right about their payment actually like ok so one of the good things that's like a lot of times if I'm using a couple lights I try to make it look like it's really being led by one I tried to use the too too kind extend the shape of the light so you see basically the ipad that he's got right here not only is he controlling creative life but he's actually got the pentagon on pretty nice like I really like you got a lot of stuff going on right here so I like that look actually kind of like seeing seeing the lights and they're so john turn this one just a touch more and we're actually going toe loosening up and include a little more of the set so think about that sometimes too when you're doing when you're doing portrait that you don't always necessarily want to come in even though this is like as gorgeous of face did you find sometimes keep a little bit of the atmosphere around so are they are they saying this is awesome with awesome you need more like ok they're asking about good side a bad side okay so you do not want to get on his bad side no you do not owe how they meant no he good sight that's like with a lot of people sometimes it has to do with you know symmetry of the face other times just the way the the light strikes people from a certain angle like sometimes it's like a better tow light people from one side or the other when you have a perfectly symmetrical male model face like this it's like you just can't go wrong so so it's like the good thing it's like that's that's why I like photographing regular folks because jim is just so good here so here we go so jim I'm going to keep a little delights around you great let me know how you want to tell me just if you could just grab the reflector out of their things okay right there it's nice right there so we're going very very like sort of film noir darkish deep on this can tilt the head back this woman right there perfect okay so I'm going to switch lines is a lot of times when I'm doing when I'm opposing people I like to let them sort of fall into a position that's comfortable for them before I start changing things around um it's always easiest for me if I see how somebody sort of steps into a scene because it makes a little more natural for them not all the subjects were actually working as I'm photographing them but here we go oh that's great right there, man okay so I like that is a very deep ikey now if I want to change that but but not lose the effect that we've got there what I'm actually thinking that will do john if you khun if you can roll up the octo bank we're just gonna fill we're just gonna fill this kind of like from right at the front of the audience right here so I like the way that thing these lights air at reacting I just want to kind of open this shot off overall without losing that effect if you could bring these figures from your room so this makes it john is actually rolling the light up right there this this can help if you've got like a really big, heavy large light keep it on keep it on rollers that makes it it makes it easier and you call that just to get it in position wherever you want it looking good when you're working with your celebrity clients you have stand ins come in yeah typically what I would would do I wanted to give you guys as much camera time possible we also but normally what we're going to do is well pre light the shot with with an assistant stylist somebody from the office somebody is roughly the same height and get the shot ready to get the shot ready to go and then you know the the star ceo whoever walks in and they're happy that way because they haven't had to sit through the whole time of you getting the lights adjusted it's ready to go and then we'll always make like the final tweaks on that so john, you can roll it back just a little bit from there because we just wanted we just want kind of a nice soft built and take take the power down at least the stop. Yeah, ok, so let's see let's see, just opening it up about that much on one second here, let me get let me just get this in position, we're going to bring this up higher because I want this really as just yeah, I want this is just kind of like a nice, soft overall film looks good, but your eyes so and things like that because it doesn't show on the screen. Ok that's a good question. So so I also like whenever I'm working with light and I have all the power I want, I'll always go with the cameras native via so sort of like not pushing film when you don't need to. So most digital cameras these days it's I also one hundred so we're shooting at ice so one hundred the sink on sixteen on the flash because I really don't need ambient and just I think we're I think right now we're it I haven't even been looking because I've been eyeballing were to have sixteen we don't need a ton of depth of field but rather than knocking down the power we've got it if we need it so right right here my friend good and john just a little bit right this way perfect here we go and let's let's come up one stop on the film so a lot of the stuff weaken weaken meter it but honestly it's his fast too to shoot an image see how it looks and a lot of times it's like sort of like tasting the food you've got to see the balance that works so let's see right there that's looking good while jim you're a natural like perfect right there that's great I like that worst host were speaker ever know it's like it's no it's good uh libby williams wants to know ok ever do you usually do a one light set up a two light set up? I think it's really good so normally I would always start with a single light you saw that that's kind of what we did with george where george came in there we saw how that light looked and work from there it's I always want to see what the main lights doing first it's called in the movies it's called the key light for a good reason because it's sort of it's your key to the shop so just like here with this phil I didn't add this bill till I saw what these lights were doing and then it's just basically this is really just as though it's daylight opening up the shot just a little bit so let's see right here it's good that's nice I like that perfect okay jim thank you so much ma'am thank you good. Very good. So one of the things that I asked for when we first said we were going to do this thing they're sort of like I'm not sure about that is I wanted to give you get you guys sort of break the walls of the studio the studios really fantastic but we're going to go on a field trip shoot around the creative life offices so come come on and follow along with me we're going to make we're going to make a location change right now to the production office to photograph one of my very good friends johnny davenport who is going to be coming up up for us on creative live around three fifteen and in the other studio not that anyone will leave this broadcast but um let's let's bring we can actually bring like way could start with one of these right here hey brian yes when you're on location is this something that you'll do in an office space or in a corporate situation or just like this you'll never wake will have five hundred cords running between us everywhere we go but yeah typically the first thing I do is I like to walk around the location if I'm photographing the ceo probably the last place I ever want to shoot him is in his office okay, so we're walking around and on our walk through yesterday we found a ton of really really cool spots and so for this this next shot right here we have these really really cool steel doors that I thought would look awesome for a portrait of a really awesome dude yes, that is you johnny davenport right here. Are you ready, pal? Come on over here. He's come on. All right, so johnny I just saw this stuff and I kind of thought when I heard johnny was coming on at the same time I asked if we could do this shot and I think this is going to look great with you right in here, man. So cool. So what? It's just kind of like grabbed right about in there and today you're doing you're doing a polaroid, right? So here's the reason people want it like actually fly this thing because you don't want to have to pick between johnny and myself so you're gonna want both of these things folks so cool okay, so for this shot one of the reasons I like using a grip arm like this is it allows me like if we need to drop it down lower than the height of the stand it makes it very easy to do that so like their man good taking some tips from you, brian what's what's the flat with the flash think on the the small polar it beats a three hundred second so here we have there and let's bring let's bring the ring flash into so let's make the worst patients to photographers make the worst subject anyone other than johnny that would be the case but johnny's a natural so thank you, my friend. But I know it's very difficult. I hate being on the other side of the camera. Yeah like hell, which is sort of why brutalize these guys so sorry about that don't hate okay, so I'm going to start again like I was talking earlier, we're going to start with one light and will only add in a second can let's run in office seven separate pack so we can really control, so go ahead and grab that. So I'm just going to shoot with this one light first and john, while you're running back there grabbed the grabbed the grid is as well the small reflector and grid so what's again, we're kind of winging it here on a exposure is gonna go back to go back to the fifty five here why you going back to the fifty five well earlier when we're in the studio I kind of wanted a lot of space around jim when we did the portrait to see everything now I'm going to come in tighter so fifty five's a nice focal length for that see right there that's cool can actually that probably is the exposure meter would have told me but I wanted to be brighter than that so I'm just going to open up the stop that's better that's cool man right there so let me grab your microphone so we can get attitude there with the arms there we go nice cool a little bit brighter right there that's nice way face off that way that's nice, very cool. Yeah face just a bring it back just to touch with the eyes there. So a lot of times it's like people not face directly got him over just a little bit that's cool man right now good. And now I just want I just want to fill with the way have a second pack here that we're going to put the, um bring flash on so there's there's a bunch of ways that we can fill earlier we were filling with the the big octo bank directly behind I want to fill for this to be just a little bit edgier take the power almost nothing so take it down as far as it goes split up these quarter and down to ok so now that you're ok so you see, it has this really fancy connection here I tend to go old school which is basically shove the lens through the middle of it and shoot so way go right there that looks great, man good fold the arms again does that look cool right there so we need to drop this even a little bit more way go up on that when you come upon well, come upon the other pack so see right now you've got it stopped yes brought it up two stops so doing the same thing right here it doesn't tell you know, you know the problem with instant film it's? Not as fast, so wait that's cool that right there. Okay, so I like yeah, like when he was turned off this way the one thing typically I never tried to light people so it's your faces turn your face that way I try not to light people from the broad side of the face most of the time I sort of if they're turned to the side wantto light it over here. So we're just going to pull this over from the other side real quick so kind of we're going to go for just about the same angle and distance we're at but just yet right into their broad lining uh no, no it's like occasionally you'll find somebody that you actually want us wide in the face and you can work. But like in general, I usually want the the light to be coming in from the direction that the face is turned. Ok, so back this way, my friends, it was twisting. Thank you, that's. Right. Okay, but came it came it up right there. Very nice way. All know the attitude, man attitude right there. Okay, but face more this direction right there. John that's. Very good right there. And I bring the face back toward me. Just just that much. Perfect. Right? That's. Great. Perfect. Okay, very nice. So I understand you've got your eight ten and john's got his four by five. So so, let's, get some toys in here right now. So perfect. So the guys they're going toe guys, they're going to get there, get their gear let's set up against. Yeah, we're still shoot against him right in here. So I just want to bring this. How do you want to late? I think we can. I think we can work with let's. Bring the light over to this side right here. We've got this is phil so and for the two of them, what I'm going to do go ahead and grab your stuff what I'm going to do on this thing is just pop the grid out so it gives us like a wider area for this one I really want this to be the main light on both of them and then I'm just gonna fill with the ring is low that the low lighting source tell can you tell me the theory behind that sometimes sometimes you like of things in a certain way just cause it looks really, really cool so I I had a feeling with I was sort of like winging it, thinking it would look good with johnny and it did so I mean like every light source is perfect for johnny definitely a little bit more drama. Yeah, great, thank you and a technical question while they're setting up yes white balance white knows well, I shoot, I shoot raw so I don't really worry about it too much like great I think it's I think it's helpful to see as you shoot something that's representative what you're going to do, but you know when you're in raw you can always adjust that later so like as long as it's, it looks fairly close, so a lot of times like this, I'll just lock it down on on daylight so that it picks up on the flash exposure, but if I decide later we're going to process some of these that I may decide to go more to bluish in which case we're going to lower the color temperature or if we want to make it really sort of warm and golden will will raise the cup color temperature and make it warmer perfect thank you so let's see so you got off this way I'm going to kind of do this why don't you johnny why don't you get in b between the gear in fact maybe both of you guys come in between yeah that's nice and let's go it yeah perfect it's great making this easy for me very nice so let's see yes yes, this is this is like the the beard off right here it's probably the only time you've been the underdog I know in a confrontation right here the smith and where the smith brother there so I know all of you got that cough drop reference out there? Probably. So that looks great. Okay, so johnny help this way just to touch for me looks good cards very nice. Okay, so we backed up just a little bit from where we were before so let's see how this looks also pop the grid out which typically I know is going to kick out an extra stop of light so see right there and bring light right here it help if I picked up the right camera here so here we go way good way that's like looks great guys, right? Cool it's nice. I want to come in a little bit a little bit tighter, so I'm going to switch over to the twenty four. Seventy right now, brian, you want to get old tigers that were saying, yeah, I want I want I want to step in a little bit closer to the guys but I want to keep all the stuff around them so we're just going to come over here with the twenty four, seventy it's not gonna change my exposure that much, maybe about thirty five millimeter right there. Good guys right there. You know, this is a very delicate way that I'm moving equipment ever so finally it's like put your foot underneath it and drag it into place. Wait, hold on one second here. This is why I never use these things that are meant to hold it in place. We're just going to remove them the panty bracket way because that's really cool. So what? So, john, I see you've got a gear door, johnny what some what are you supporting right there? I think it's a corona alright, told the hacked up, but obviously it's, not a corona light way good looks great right there just one second, bring it around I think the light a little more of this my perfect looks great and john come up this way just a little bit johnny to yeah there you go, guys perfect right there. Beautiful. All right, can we give it up for these two guys johnny davenport and john cornyn shallow thanks. Thank you so much. Thank you for thank you for american reminding us of, like why we loved traveling with small digital cameras right here. So this's, this is awesome so they have a great clasp allocate. All right, thanks. We'll see after okay, so now that we're in the production office, we've got this really cool backdrop that we're going to work with that I think can actually be cool for a group shot to some of the people here from production. So, um what do you say guys? Are you up for it? All right, cool. So well, we're moving over brian. Any special considerations you take for shooting someone with a lot of facial hair with a lot of facial hair to consideration I took on this last one is to make sure that I get them in front of my camera no it's like when when you see a couple of guys like that, you just got to get them in the shot way go john let's let's undo let's undo this right now I'm sorry hold on one sec work sort of wrapped around it I can say for a fact it's definitely easier and faster to shoot when you have no wires attached to you here so one of the great things with pocket wizards is getting rid of the wires and we just added fourteen more to go with them but it's all good folks so may we can I can I get you guys come on. So this thing this show would not be possible without a producer what that you know you're in this thing for god's sake I forgot we have way have aaron anderson and introduce yourself oh, I'm erin I'm managing content producer here. Kathy rama was some content producer I'm carrie I'm the line producer end protegee troublemaker I'm rose sandy's I'm a host I'm evan sadler hit of production and create life hi we've met I'm amanda I had a photography education and nothing happens here with out these guys I'm really proud to be standing with them too uh mckenzie old summer production coordinator so so guys I'm gonna move you down just a little bit kind of like right about in here worst segment ever this's brutal this is tough my god ok, so even so I love you so but let's which you guys around so so come on, come on over here and I want you guys kind of right in here stay over there. We'll take this microphone away from you right here. Okay, so come out just a little bit to me right there. The two of you over the shoulder. Why don't you come come in? Just a little bit front. So if I'm going line up a group like this, the last thing that I want to do is really put people shoulder to shoulder like a group shot. It makes it more interesting if we've got a little bit of depth. So lovely, dear. Right there, back up just just a hair and now I want you to turn, turn away, turn the other direction so you guys are kind of shoulder to shoulder exactly. So we kind of working with, like, little clusters of of everybody right in here. It's looking good. All right, john, just bring the light right about just a little bit to the the edge right there and then also because of the boom should be able to sort of, like, tilted over that way, and I just kind of rotated forward, okay, and a little bit more this way. So a lot of times it's like, if you've got somebody helping with you delight, you can kind of directed in the place the way that you want it so let's see how we're doing looking cool, so so I like what you're doing but I want you turned away just a little bit right there yeah that's nice good. Okay, here we go. Thanks perfectly oh, here we go. This is awesome. They're right there, john let's bring it up just a little bit more and aim it over right there and now let's go with the ring let's go with the ring flash if you can pull that around and that's the kind of same power settings we had were just using this little bit of a phil kick from that from that ring fly eso again it's just sort of it's sort of like when we were using in the other room the big octo bank to open things up I'm doing the same thing with this it's just when you've got a medal backdrop for something like this it just makes it a little bit more interesting gives us some kind of cool reflections like a lot of times people ask it's like how do you get rid of reflections and shots? And the first thing you really have to ask is like do you want to get rid of him? Because sometimes they're kind of cool so here we go second right there and kick this now keep this one up up stop if we could john weigh very nice it's cool guys right there okay john, do we have one more of these one more than beauty dishes let's bring let's bring a beauty dish from the other side how we doing on time in this segment twenty minutes perfect that's awesome the multi talented right here she's she's giving me the countdown and holding the hi mom from photo week sign way haven't talked about yet is catch lights catch lights ok talk to me about what you look for what you want with golden for you I like I pay far more attention to with the way the light is striking the face and try not to really freak out with cats like like in general you want something that's pleasing so you don't probably you don't want a big round or right in the center of the light it's usually I it's usually better if it's kind of off to the side one of the things that I like and john will actually go to the to the other side of these deaths were doing one of the things that I think is nice about using ground lights as you get like a more natural round catch light as opposed to the you know the soft box sort of thing the rectangle going there yeah but I don't freak out that much with catch lights they can add to a shot but to me I'm more concerned with really how the faces looking thank you and john were gonna pop the we're going to pop the grid off of this guy here. So as you're doing that, I'm going to jump around and grab that you see the very fancy piece of equipment that I'm using here to remove the grid so usually have with you on a shoot similar to this on something like this I would normally have, you know, typically to assistance, but john is like two assistants all into one, so this makes it that much easier. What's, your head fell there, but I also like I don't mind getting my hands dirty and jumping, jumping in so it's like a lot of times that something needs to be moved and I'm close to do it. I'll just drag it to where it needs to go. Terrific. So this is this is looking good. Are we have about the same powers, the other one leave so let's see what we're at here minus two from full on dh full from half minus two from full, full from half let's. See so that's a half. So what we want to do is match bring that went up about this one. Yeah, this one too. That so, ladies, a position that you were had before with so cool, so that looks good you're turning off this way, just a touch and remember that like when you kind of like bore people to death when we do a lighting change they're going to move back so you have to remember so here we go so we ready with our sign here? Okay? That's it very nice right here from this is from all of creative live production right? So john let's go go up a stop on this guy right get up a little bit but that also that the right way wait good right there guys that's nice and you might want to point out there with this camera you're seeing exposure in the view falling during well so so john's bringing up it's like this has an e v up so there's actually two modes you can set it for one is to turn live you on which is what you see is what you get, which is really cool if you shooting outdoors because you know you can basically adjust the exposure in real time before shooting instead of shooting a frame and changing it. I've actually got live you turned off because we're shooting at one one so sixtieth of a second at f sixteen, which would basically be black so we've got the live you turned off right here looking good that's cool guys right there okay, so I'm gonna come down just a little bit lower right there good I want you to come forward for me just a little bit end can you as well here we go good nice okay right here. Okay perfect when you're shooting a bunch of people make sure they all feel the love way and I want you to step back just a touch and you come forward yeah right there you can still kind of lean in yeah there we go good that's it that's a very nice guys right there hold on one sec for fifteen minutes brian okay we're going to show you the guys who really bring everything to the air we're going to we're going to take you over now to the control room and bring nico is already out here working with us so nico if we can get your your buddies to join me we're going to make a move right now in our last fifteen minutes rays shoot the guys in the control room so but let's give it up for production right now thank you guys big ham thank you very very much also we're going we're going to move very quickly over there to try to get this before the end of our segment um let's light with let's like with the beauty dish in a ring so okay all right way don't want to do that so okay all right so those things happen on live tv don't that that's right that's right so so hopefully, no one from pro photo was watching during this. I don't know what happened. It was shipped effective by brian again. I'm gonna throw some questions, will you? A long way as we move into the next room. Wonderful way bringing our car with us? Yes, bring the cart. So all right, I will give you a hand. They just set this down here. What's going on here? Great. So tell me a little bit about how much previous civilization you d'oh before shoot. Well, so so on this one, the big thing that we're doing is really, like picking out locations and I'm trying to kind of pick locations that makes sense for the people that were shooting. Ok, something that it is an area that makes sense. Yeah, as you'll notice that this this next pot we're right outside of the control room, which if you can come right around here, you can see is a note photo zone right here folks note no photo zone but we're going to bring the guys out of the control room because I think you need to see who actually brings creative life all the time. So nico is one of them right here, nico, if I can get you, we'll start with you kind of right in there hello there. And bring it let's let's bring your card around here so nico is the one who's been bringing all the images to us in in real time and where we're tethered today with um with actually cool software that I just downloaded this this week this is captured capture one pro for sony it's a thirty dollars program for every sony user it basically gives you all the functionality of the full two hundred ninety nine dollars capture one pro eight but for four years sony camera so we're tethering with this and double so far aside from when the photographer trips over the cord it's been working perfectly so let's get the light around okay so john we're just going to we're going to use this is the main light so let me just back this off you could you could test the ring and see if it's still going cannot somebody give me a hand here with court tell me about cropping feet and group shots would you brian when you setting that up generally like ukrop them all or none of them it's it's kind of like if you're doing like a tight shop that got interesting airy above I was propping cropping everybody out there you don't there's not necessarily a do or don't it's just sort of I think what looks right so I tend to either try to crop everybody or nobody so let's start with I'm gonna go ahead and start just with with you and then we'll add thie other guys and as soon as you get this knocked down packing according to me looks good makeup so it seems you start with sort of thinking about how you're going to frame the shot or how you're gonna like the shot I probably look framing mohr because I actually pay a lot of attention to background okay and then from that try to decide what the best angle for for the light is like sometimes the framing matters because if I'm shooting from over here versus right this way I'm going to change the lighting of the results all right? I kind of like the way that he is right there so let's see right there neck up now across your feet the way you had it was perfect so yes that's it man right there ok a little bit hot so I'm just going to stop down perfect so I had a feeling it was probably the front glass not that this has ever happened and maybe four mind you about testament to pro photo that's right pro photo is good for the clumsy photographer perfect. Okay, so it's kind of cool so much let's go ahead john and let's that's right and ok so power that were going on as far as you can quarter minus two cool so it's just really, like opening our shadows up just a touch. I think we may even want to go a little bit edgy or do you have the one of those grid reflect there's, the smaller resume reflector so we're just going way? We're just going to change it out right here, my hand, or you can go to attend if you want. No, I just I just need the right blithe. So in the kind of cool thing about this, if you guys can see is this particular had gives, gives us the possibility, sort of zoom in and zoom out to put the light just the way we want and drop the power on that so let's see that? Ok, right there, man, I think we can get the other guys to come out and join you, so we're now we're running creative live with absolutely no control, and this is our audio guy matt who's making a sound good and christo is our technical director. Thank you, and we won't. We won't let anyone. We're not going to do this long enough so people will know that the control room can on ly be unmanned for seconds at a time it's like very good, so unique of the way you were standing before let's just kind of bring this actually you know what bring it off this way because it's kind of a cool shadow come up just a bit this way and yet right? Okay, so let's see how we're doing actually I think you need you need to be back right about in there so I kind of lean into the jam for the arms in front of like really there you go that's good. Okay, so let's see? So I've got three people kind of adjusting the lights so it the bright part of the light goes past and hits all three good and I want you turning rest of shoulder in here yeah just like that. So we've also got now kind of like cool shadow that you see that we're getting on him good way very nice. Maybe that supporters all right in there wait that's cool guys right there. Good do me a favor just exactly the way you're standing but move a couple inches this direction right there good that's nice chris is usually one telling people what to do so pretty much for you guys over at the control room you just said it to play nonstop for me episodes so the rest of it's like it's just it's all just running automatically perfect there we go her love they're laughing because they know it's true so all right, here we go yeah nice good that's perfect okay great. So after after are are we had a break now four minutes left okay, so let's make let's make the let's make the most of this four minutes way to give a little love we have somebody covered in there johnny we we love you stop it. All right, mike down uh john yoo is covering and one way love you you're showing the lot of you you're the one behind the curtain the one man show back there. Okay, so niko come on over this way. Come forward for me just a little bit right there cool let's say turn turn your body this direction let me let me position you step back right about tonight and right there rest a hand on this maybe there we go good. Ok? And now step just right on and on and on perfect. Okay, it's good and let's bring you out just a little bit right there, so maybe arms in front for you good kid right there. That's cool. Brian folks are noticing that the guys and with your group shots they're not on the same plane. I know. I know we're shooting it at sixteen, but generally worry of focusing, so when we're shooting it at sixteen what I'll do is I'll photograph I'll focus on the guy who's sort of midway through so in this case like if I focus right there, we've got a huge amount of death. Yeah, so I'm not. I'm not worried about focus. I just wantto focused, sort of toward the middle, so thank you, way, go good, step on around this side, come up, come on, come on, right there, okay, good, good, that's it, it's right there. Okay, perfect. So one other thing. I'm a few guys. We're seeing. This is something we talked about earlier, when you've got different, different heights, kind of by me dropping my perspective a little bit were ableto, you know, kind of keep the the head's, all that about the same same height across the frame. Is that cool, nico? All right, cool, all right.

Class Description

Tune-in for a memorable shoot with celebrity portrait photographer Brian Smith, Here’s your chance to see what really goes on during an editorial or corporate portrait shoot as Brian Smith photographs portraits of CreativeLive staff. Watch as Brian captures portraits of the folks who bring you CreativeLive. Hear why Brian chooses each location, see how he lights each shot on the fly and watch him post-processes a few of his favorite portraits from the shoot.