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Concept-Driven Commercial Photography

Lesson 13 of 22

Shoot: Beauty Headshot

 

Concept-Driven Commercial Photography

Lesson 13 of 22

Shoot: Beauty Headshot

 

Lesson Info

Shoot: Beauty Headshot

like you guys said that you can got a little bit of the inside of how I think in terms of doing my lighting and my approach to photography. And really, it's simple, right? If it's too complicated, what happens? You go. That's that's over my head. Or, you know, my brain can't figure that out, especially when you have to do a mathematical equation to figure out where you put your lights. And so I love to simplify it. And if I can't get you in a position where you say I could do that, then I've failed as a teacher. So that's my continual goal is to make you go. Oh, man, I can't wait to go out and create images. And so now there are some things that are complicated about what we do right. But I think we can sort of simplify it. And then with time, if we want toe, add the complex city, we could do that. But I think in the end, the complexity comes not with the techniques, but with the vision that we have is an artist. And so that's what I want to keep emphasizing is that this is a creative ...

process. If you take the creative process away, what do you left with a bunch of tools? Formulas? And that's not what makes great images. It's the creative mind. So I have a saying that technical instrument can never make a creative decision. It's reserved for our human mind. And so and I keep saying And we were joking about this around the table at breakfast this morning that Saturday is my I think the big day for me in terms of explaining about being an artist and all that, and I'm looking forward to that. So I hope you guys are, too. So what we do now is I'm gonna take the same approach that I did yesterday with their athletes. Um, and my goal there was to give what? That kind of grungy, you know, superhero, look right? And so I worked in two zones. The zone with the edge, lights and the zone down the middle. We're gonna do that again, but I think that if you realize that the zone number two, which is that middle zone, that's the zone that can either give me a punchy, gritty sports look or a smoothed out beauty shot by changing really just that one's own. And so that's how simple it is. So we learned if you if you didn't c yesterday, I'm gonna give you my two basic principles of lighty which again wait to call in the laws of lighting. But I hate the word law. So the principles of lighting and that is the bigger my source in relationship to my subject, the softer or the harsher the light. So if I can think in terms of is it too soft or too harsh, edgy or say contrast e or maybe flattened smoothed out a little bit then it's really easy. So if I look at an image and I go, it's to contrast. You're too harsh. Hideaway, soften it up, get a get the modifier to come closer or get a bigger modifier. That's how simple it is. So it and I have right now the to what we call the large, um, Westcott boxes in the back. And so if I'm gonna bring Alex and here in a minute, and I'm going to try to get a soft can, so I'm gonna bring these boxes in as close as I can to her, but still keep him out of the frame enoughto where Aiken, you know, see the background and that's going to give me the best or the softest with those boxes. Now, if I get to that point and I go, I wish they were, it was softer. I have to go to bigger modifier, and so we're gonna pull out. I think at some point, John's gonna help me. Maybe after this scenario will pull out the big seven foot umbrellas with the diffusion. So it's like a seven foot octo. It's the less expensive version of it, and we're gonna mix it up and make some really soft lighting for there, too. So I have a small octo overhead right now. Same thing is a beauty dish. So we talked about yesterday that if I had a 22 inch beauty dish or a 22 inch octo, the final results gonna look the same or if I don't have a octo and I have a square soft box that's around the same surface in terms of square inches, produces the same quality like a different catch light, though, so as a general, we keep around modifier overhead for the catch light. But if you don't have around modifier, don't panic. Just get a modifier that's around the same size and you'll get the same results. So why don't we bring in Alex and we'll get her in front of the camera and she's got a white dress on. I liked how you doing? So let's get you over here. I got a little piece of tape that I'm gonna have. You stand right here and we put her in a white dress. So I like solids. I like, um, dark solids or white. You know, salt. It's a white dress is great. Um uh, My goal is to get her face to glow like an angel. Okay, so I don't want stripes patterns now, sometimes you'll see. I do have a couple images where I have ah, pattern dress and it looks amazing. But as a general, I like solids. That's just me. And you know that I have I said this before. I'm colorblind. Okay, So, uh, I can usually deal with white or black or grey or, you know, But when I get colors in their pink purples and whatever greens and what I can't really? I don't know what I'm doing. I'm just OK. Looks good to me or not, Right? But as a general, you look at my images. I like the face to pop. So what do you want to start with doing a head shot. And what I like to do is, um if we could maybe have your hair pulled back a little bit. I want to see the cheeks because the cheeks are going. Allow me to show that transition, right? So the transition from Zone one Zone two is really important with a sports scenario, it was a drastic transition. Now we could talk in terms of ratios, right? But and that's OK if if you've been taught ratios and you know how the working ratios, That's a good thing to do. But I don't Okay, so I don't know exactly if I say that's a 1 to 4 racial or 1 to ratio. Whatever. I don't know that because you could do that with a meter, But I don't have a flash meter. I want to do that in in terms of my visual. My visual observation. I go. The transition is too great or too not enough. You know, our I need more drastic or less, you know, transition. So I'm gonna let my I m My tent, My intuition, Tell me when I'm on track. So yesterday I noticed I have watched a really small clip, and I kept putting my glasses and hearing talking like this. So number one rule today is Don't put my glasses in my mouth while I'm talking. Okay, So I didn't get a text from my wife. She would have probably jaw get those glasses at him out. So So look at this. John is such a great guy. We're gonna put my glasses right there, but I do need my glasses to look at things up close. So what we're gonna do is let's get you in position here. And so, as a general rule, remember, What I said is that as a starting point, we take this line across from the two boxes, and that's about where her shoulders should meet. That's a starting point. Don't go. Okay, That's the golden rule. Because I'm going to look at an image and ago move her forward backwards, or the lights. So, member, yesterday I ended with my lighting section that 234 inches can make or break the shot. When you say, Can it really be that critical? Yes. So when you look at my images, I have the lines and everything in a certain look. It's not by accident. It doesn't mean I'm brilliant. It just means that I've trained my eye enough to know where to go just a little bit to make or break the shot. So and I haven't shot a picture of her yet. So if says, I did get John in there and he looked pretty rough. He looked like actually a rock star so that maybe it could be your next career. So, um, I'm gonna fire off, and I'm gonna watch the lines on her shoulders, the lines on the cheeks and that one might be need to raise about an inter, too. But we want the middle of the box about to the shoulders. You know, that's the people Ask me that question a lot. Where do you put the box? And that's again a starting point. And I've got the, um, octo, which would be like a beauty dish, Um, about two feet. So what did I say yesterday, a two foot modifier looks really good to start with. That two feet, a five foot modifier looks good at about five feet and a seven foot modifier looks really good About 70. That's a good starting point. Um, but don't make it the golden Rule. But I've set it up right now just because that's where I'm gonna start, and then I'm going to see about how it looks. So let me step around here, and we're gonna get in position here. It was that she has little taller. Okay, so I'm gonna have to You're a short guy, John. Um, and I'm not gonna rub that in. We need short people, right? Yeah, we need short people. We're also gonna bring in a Phil card for you. So what I do often is all set up. I'll set a couple, um uh, boxes up and then you got it. Okay, so let's not put it up first. Let's let's because I'm gonna show it without first. And then I'll show you how that's good, that that'll that'll be perfect. And so I'm gonna move in here, and I'm gonna look at my background lights. I would say that one's a little bit in, so just pull that out about two inches, okay? And then there you go. And then I make sure that the box itself because I got grids on him are pretty much pointing straight toward her now. What was the reason for grids? What did we say yesterday? Grids cause help. Minimize flair. They do keep the light from going to the background, good or bad. Sometimes you want a light in the background up, and your boxes will do that. But the grids minimized flare because I have a zoom lens and I'm going to I don't know what millimeter yet, but it's gonna be fairly wide wider than probably what most people would do, right? So let's get in here and let's make sure I'm kind of straight on here. So again, I'm gonna start with her straight on, and then later I might have removal bit, but that's what I want. I want to see where those lights are falling. So let me give you my settings. I am at my my shutter speeds 200 of a second. I've got the policy buff cyber sinks on, so I know that 202nd doesn't give me a little bounce shutter that, you know. But if I had my pocket wizards on, sometimes those do that, so I would go to 1 60 But right now it's 200 I So 100. I have my f stop at 7.1. We talked about that yesterday. That's kind of the sweet spot of my lens. It's gonna give me the best optics, and so that's my starting point. So let's get in here and make sure you're dead center here, so move just a tad that way right there, Okay? And we're gonna fire one off here, and we're gonna pray that we have something. This gonna work. OK, so I already know where I need to go. I'm getting a preview here quicker. Should pop up here as that. My overhead light is not, um given me enough, Phil, also, look how far the light is from my my camera, this lens. That's this modifier here. Look how Aleka high it is. It's about four inches off my my camera lens. What happens when I raised my modifier as my overhead The shadows get what longer? Okay, So right now I can see that probably the shadows are a little little bit longer than I want. I don't have a fill card yet, and I'm still under on my light overhead. This is more set up for, like, a sports. I mean, it's giving a little kind of between. It's not quite filling what I want. So let's do this first thing to do is lower the light. So let's do this. I'm gonna bring it down and actually kind of just touch my lens. Now, it kind of hides me from my model, which could be a good thing, because it should be freaked out by me. Right, so here we go. Um all right. So ready. We're gonna fire another one off there. Okay? So already this should fill in a little bit under her chin, her nose or lips and everything. Tip. Four inches. Okay, So not a bad start to what we've got. So let's do this. Let's take a fill card. And, um, let's take and just see what this is. A small filled cards. Not very big, which is fine. So let's see what happens. And we might want to put the bigger one onto. But let's just try this one. Ready? Here we go. We're building a shot. Boom! Now we have the same thing. It move. My life's just my lights, anything. And with a little Phil. So let's see what happens here. It's gonna go. But already it's looking better write some building up. But are we there yet? Not even close. We got lots of work to do. Let's try bigger Phil. And let's do this. I'm gonna tell you what I'm doing. Since I do this all the time, you watch how we do this. I actually picked this thing up here and it will come into my frame. And what I do is I just drop it down slightly right there. And then I have the ability toe. Just keep it out of frame. So watch this next one. It should be a little more Phil. Okay. Getting better. Am I there yet? No, I'm now going to go up in power. Let's go 1/3 3rd stops that I'm not third stops. Not very much, but let's go. Three clicks ready? One to three. So I'm gonna go back. Okay. So John's gonna do it, so just raise it up. Keep going. Right. Right now. Drop it down. Right there. 123 Okay, now we've got a little bit more power. It should just brighten it just a tad more. Okay, It's getting there. It's getting there. So now I gotta look at my transition. So see the face Where the right where the jaw and the cheeks are to come. There's Ah, highlight. There. Now it's because your hair is blocking. It's not I'm not seeing everything. Do we have a, Um Well, let's try that. Let's just do that. I would just say we could always pull it back a little bit, but let's just see what this will do. This way. Oh, yeah, This will. Good. This look good. Ready? So now Oh, yeah, yeah, yeah. So now I see that transition glow ready. Here comes Boom. Now I've noticed that my my right light is not as not as smooth. Evenly. It's not matching my well. I say camera camera left or hurt on her left cheek is not quite the same. So let's see what's happening here. Let's see. Maybe I gotta bring it for a little bit, and it could be that just the angles. Not right. But let's try that first. Fire another one off here because I want those. Both the match ready. 123 Okay, it still seems a little darker. Well, maybe a list. That could be the power settings Wrong. It's too. Oh, there's my problem. But we were one 1 60 What? You said Okay, so that was a little under. I was at 1 40 or something on that one, so I tried again. Ready? Okay, so let's see. That should match it. If not, we'll just bump it up a little bit Here. That was really 1/3 of a stop. So let's go. Just do this. And you know what? A lot of times is just a slight angle could be different, but let's just do this. 123 Let's just go give another third of a stop, Okay? All right. Good. I think I can see the cheeks now. That's what's most important. Okay, so that should smooth out. The two lights should be pretty close to the same here. We'll see what happens here. That's getting there. Still may be a little under. Um, can I ask a quick question, uh, so question from summer crook in the chat rooms. Are you purposely shooting her a bit low? And do you always choose to shoot under the Isler below the eye line for beauty? Well, I get I kind of get in the habit of shooting a little bit like this, you know, because my all my athletes, but really, at this point, I don't know if I raised the camera up a little bit in May. Level her out or all I gotta do is ever believe, forward and drop, That's all do in a minute. And, um, do you normally do so? I did a little like this. I do kind of go from this angle. There's also a couple questions from folks about shooting so close with a wide angle lens and a distortion. What you think about that? Well, it's a consideration, right? But it goes back to when you to have a guitar and you take and I used to write songs and play, and you start with them a major chord. It gives you a certain feel used do a minor court and give you certain feel court progressions create emotional moods. Choice of lenses. Choice of lighting. Choice of this choice of that gives you an emotional mood that you're you respond. Teoh. I happen to like wide angle. Just me. It good or bad. Okay. So good or bad, It's It's it's, you know. And so right now, I don't think that could be a little bit of a little bit of a stretch because I'm using a wider lens. I don't have a problem with it now again, because some people like heavy metal and some people like jazz. Not every was gonna like the way I approach or the way you approach. I mean, we're going to say, Hey, that's two white. I would never do that. I got friends of mine and really good photographers. They think I'm nuts going this close to a model. It's just the way it is. So All right, so we're still not done for a beauty fashion. Our beauty headshot, we're still not done. So I just moved that one up. Another third, Some gunfire. One more. Okay, so I'm gonna make sure. Oh, that looks great on the hair, But Let's just to me to see what the cheek goes. Okay? I like the hair a lot better now. Wow. Okay, now that glow lights block the hairs blocking, blocking the cheek. Right. But look at the hair. Got beautiful. That looks. But I'm not done yet, so I'm gonna give it. Let's go. I'm gonna go up another. Let's go 1/2. Stop here. 12345 Watch what's gonna happen now? Time's gonna clear that out. Ready? Beautiful, Alex. Now I'm gonna start smoothing her that zone to out a little bit more. Watch this boom. See, now it's just a little more acceptable for what we call showing off skin, right? I keep bringing that value up. Let's do it again. Let's go to another level. So I'm gonna go. I'll just go another 55 clicks. So how have stopped? 12345 Here we go, gorgeous. Okay. So I'm going to see how far I can push it before before I start to lose the transition. Okay, so that's a little bit smoother now, but look what's happening. I'm almost pushing it to where there's no transition. So to me. That's that's that. I'm getting close. I almost proud. Went too far here. So let's knock it back a little bit. Let's go to CLECs. And this is the beauty of a strobe system that gives you the ability to fine tune intensive a stop. That's how critical is. So you don't You're not changing your you can't camera can't do 1/10 of a stop, right thirds have but strobes you can. So that's the beautiful thing about ah strobe system like this. Okay, you ready? So here we go. So, in some yesterday, we had someone asked me about continuous light versus strobes. Now, most continuous light systems don't allow you to do variable changes. Intense of the stop. You could put stuff in front of it to knock it down, diffusion sheets or something. But that's the beauty of strobe. Gives you very small, precise requirements. OK, so that was the last one. Maybe still a little bit over. So let me go down. Want to clicks at least for my taste at this point and then All right, now do me a favor. Just just leans just slightly toward me and drop that chin. Just leave right there. Ready? So it's kind of like I'm not shy. You should do this with executives. I get, you know, a CEO in front of me. And they're like, they're like Heidi, right? So if you bring them forward, drop their chin a little bit, Given the power authority. Now, I don't want you to have power authority, but, you know, and also, let's do this. If you look at the shot ahead on the wall over there of Monique, she has her shoulders arms tapering out. So let's do that. It's gonna give you a little bit more. Um, I guess not that you want to look wider. It just gives you a little more sloping of the shoulder. So let's see what that looks like. Okay, so let's make sure we pull this, pull that hair back a little bit more, keep going, keep it, keep it in front like that. Beautiful. But just let's keep it back as far as we can off the cheek. But yet still in front like that. And so we're getting closer and closer to are Look here. Beautiful. Okay, maybe don't drop your chin. That much. Come up right there. Ready? 123 Okay, okay, we're starting to We're starting to get it starting to come together because I want a beautiful picture that Aiken retouch for later to write. So now I'm starting to look, I'm thinking, OK, what were her? Her strong points. What is it that about her? Because she's a beautiful girl. What is it while her eyes are gorgeous? I mean, you know, things like that. I'm looking at a beautiful hair. What is it that I could do with her that's gonna make her look like a $1,000,000? Okay, that's what I'm looking for. I don't want her to walk away. Go. That's the worst picture ever. It was ever taken of me. I like to hear. That's the best picture that was ever taken me. That's that's kind of my goal. So also, the gray background has a good It's a good GRE, right? It's a good, smooth gray. If I had a five foot octo, what would happen to the background? It would be a lighter value of gray. So member that could be good or bad. So if your client says the backgrounds too dark. I can throw light on the background or you just get the bigger modifier. So what's the bigger modifier going to do at this close? It will give me a little bit softer on her zone. Two. It might be good. In this case, it might be good. I don't know. I'm starting with a small just for because that's how kind how we do it. So let's, um, let's take I think let's pull this back a little bit here. I think that's a little bit of my problem on that one. Cheek. Let's try that fine tune just slightly. Here we go. All right, so I want to get a picture that I go. Oh, my goodness, I can't wait to retouch that shot. So a little side note, I can fix wobbles on the face or if one eyes a little bit brighter than the other. What I can't and I have a really hard time fixing his hair. If hair is not perfect, it's very difficult Now. There's some re touches that can do here. I can't. I have a little bit of skills and here, but really, if the hair is not right, it's almost impossible. So I'm watching right now is I got to really make sure that hair is perfect. And to have someone on set that could help is a like a gift. So if you don't have the resource is to have a makeup artist in a hair. Uh, stylist. You You can still get subjects and do a lot of some. My portrait. I'm just being the model, but it helps to have someone that knows what they're doing. But if you don't take the time tow, watch it. Watch what's going on. There we go. Look at that. Look at that. Look at that. Beautiful. Wow. Sorry. I forgot to put that on there. Okay. Ready? 123 Beautiful. And so that I think it's starting to come together, the one right into the next one. Ready? Here we go. It's starting to come together right there. Look at that. Is that beautiful? Now we got this box in the background. So let me do this just for kicks. I'm gonna zoom in a little bit just to take out that box right there and just clean it up. Up. I still got a little bit of it in there just a little bit, okay? I can't. I can't take it out all the way. So let's do it this way. Right here. Now I just chop her head off. Maybe it could go a little lower. And and so again, it goes back to my taste. What? Why did I do that? I don't know. But sometimes I just love it when it's right smack in the face. I'm going a little bit more right here. 123 Beautiful. That's a good clean shot right there. Ready? Come up. So I've chopped a little bit more. Come down. The eyes zoomed in just a little bit, but now the skin looks really good. Smooth. See the transition here on the side of the cheeks to the transition Here. There's just a little bit of transition. Not much. Just enough to go and say there is a transition. So if I Let's just do this 123 We're gonna three down, swept down three down just to see what this looks like. Okay, so it's going to give a little more transition. Not much. Just enough to go and pop those edge lights a little bit more. Now watch this. Let's take and go. Three clicks up on the sidelights. So 123 gives me a little more edge light, and let's see what that does. Ready 12 Chin up. Just a little bit Right there. Perfect. On a match. The other shot. Oh, that looks good. That's starting to happen. Just a little more edge light. See that glow on the cheek there? And this one's being blocked a little bit by the hair. But I'm gonna do this. Don't move. Don't move. I'm gonna slide it this way just slightly, so we get a little more glow in the cheek. Ready? Here we go. What? Gin up? Just a little bit. Right more right there. So now we should get a little bit more glow on that one side. See what happens. Here goes You know what? That one's now third stop mawr. Anyways, because remember, we had some problems, so I'm gonna go 123 here. So you I did it behind the scenes. Well, it took a little, uh, camera and put it on 11 2nd click. You know, like recording. And when you watch it, I'm going. I'm just running back and forth in my light. That's how I do it. So I'm fine tuning it. Ready? Here we go. So now that glow should be just a little bit more Matching it and look at the shoulder to the shoulder. Should pop a little bit more, even while we're gonna go. 123 Just a little bit more. Here we go. Focus. Right on the eyeball right there. This is gonna be it. Gay. Um, Now we're talking. Now we're talking. That glow should pop a little bit more ready. Here it comes. Look at that ban. It's starting to come together, right? So let me shoot another one. That's backed up a little bit now that we've got our lighting getting a little bit better, Um, that's that one box of sneaking in there. But I can I can fix that photo shop. Okay, so let's close your mouth. Let's try with your mouth closed right there. Beautiful. Zoom in. So now, once I get my life pretty good, I'm gonna start popping off. So let's drop down just a little bit right there. So now I can start, you know, working her expressions a little bit. So so because she just had a man standing there. Right? So let's do this. I want you to take and just look off that way. Just turn now, just turn your chin off that direction. Now watch what happens when I do this. Even though my lights have been equal on both sides, watch what happens to the glow on the side of her face. It's still there. Look at that in that gorgeous and let's go even more. Let's go even more. Look off a little bit more, really. Keep your head straight a little bit. Just turn off toward that little set over there. Look over there. Keep going. Bring your chin. Keep going Right there. So now watch the glow on her cheek. It becomes really gorgeous. Just a little highlight. Ron that edge. Look at that. So it's still the beauty. It's still there, right? It's It's And do this. Don't lean this much too much. Just just would you turn? Just turn into that light over there a little bit. There you go. Oh, gorgeous. Ready. Focus on her eye. Here we go. Now watch. So even though I have equal, like my lights out. I can have return. And that effects still works. See how that's just still have the high liner cheek. Now, that light over there's now not hitting her cheek so much, but it still has the glow on her shoulder is still lighting your hair. Now look right back here. Look that direction again, we'll keep going to turn all the way. See right here, this little bump right there. So that kind of thing, I can maybe fix in photo shop. But, you know, I'm watching the hair. I'm looking the hair. Okay, focus on the I beautiful. Now do this. Take your right hand and just and just bring it up. Bring it up into your into something into the frame a little bit, A little higher. But like, you're like, you're just, like, kind. Like this. Yeah, You had it. You in it? Yeah. One finger up just a little bit right there. Now look off again. Look off again. Right there. Right there, One Now, maybe a little chin up. Just a little chin up there. So now we're bringing a hand in it into it. And I would say this I am not the master of Posey. Some people have, like they write the book on posing, right? I don't. Joe Grimes can't write the book on Posey. But there you look at my work, and there are things that you see that have a sensitivity to how I play somebody, a lot of us, Just like I don't really know necessarily what I'm doing at the time. I just looks good, and I do it. So, um, let's try it again. And so when you have a hand here, you don't want like this, right? You don't want this. You want this? Can you see what I just did? So you don't want this? You don't want this. You want this little just a little bit of ah, like a relaxed hand. So, in drawing I used in class, I had to draw a hand. That's one of the hardest things you can dio. But how do you position a hand that looks naturally? So just if you were to relax it, how would it look? Right? It wouldn't be straight. The use of that one fingers up a little bit. Okay. So, like like you had a necklace and playing with the necklace kind of thing right there. So you're just bringing it into the frame. Now look off again. Focus. Gorgeous. Gorgeous. Yes, I was watching that hand here. Let's see the next shot, I think. But so there's one more That's pretty good, too. And then this one. Okay, now maybe do that. Same. Look, only chin up a little bit right there. Like you're looking off. Maybe even more. A little bit more toward the lights there. No, no. Keep going that way. Right there. Ready? Yes. Now starting to come together. So, Butte. Okay, so let's go back to this. Relax for second. Okay? So when I talk about beauty light and there's this joke between my wife and I, she says, Do you have to photograph all these beautiful women? And I say yes. Because it makes me a better photographer because beauty light is the hardest like to do It is so critical. Skin has to be perfect, right? Makeup, hair, everything. When I learned how the light a beauty scenario, I can take those skills back to my portrait. I became a better portrait photographer. So that's why six years ago, I didn't really do beauty lighting, and all of a sudden I got a phone call for a magazine. They said I want beauty, you know, stuff. And I'm like, I'm not a beauty fashion photographer. And that taught me something. Three days I three days to two days, 13 models and it taught me number one. It's very hard number two. I walked away going. Why? I learned a lot. And I've taken those skills to me with other things. So it doesn't hurt, Even if you say, Well, I'm not gonna ever do really beauty fashion doesn't hurt to get a beautiful model in front of you and go through the exercise of beauty, fashion or beauty lighting and really take pay attention to the skin. And remember this no model is perfect. No skin is perfect. We all have a little wobbles. We're gonna show you. I'm gonna show you how to take wobbles out in voter shop and to make skin look a little more what we call perfect, but no models. Perfect. So, um, a lot of models will show up and they go well, a little pimple nowhere is no raise. You take care of that. Really simple. Now. What's really difficult is adding hair on someone's head. That's a challenge. No, we could even do that in photo shop. Right? Um, but I didn't clean up, but let's just do this. Let's take let's just fire a few more off here, and then we'll move on the next scenario. But I want to get a really good shot to make sure that I can retouch it. So let's just do that straight onto straight on again. Now, this time, bring your hand up again. Just like you did just right there. Ready? 123 Just see what that looks like. Okay? The glows perfectly on her cheeks. Well, just snap a couple like that. Make sure I have it ready again. Straight on. Straight on. Beautiful. Okay, let's zoom in just a little tighter right there. I'm assuming even tighter. So because I have a zoom lens, I can make that transition of zooming, and now you know better. Now we all know people ask me. I got an email asking me Hey, um, you know, I know that you talked about zoom lenses and stuff, but, you know, I'm a fixed lens person, and that's great. But having a zoom lands can sure be a benefit, right? So don't think. Well, okay, because of fixed lens in very sharper than a zoom lens. You know, I want the sharpest and I am like that, too. I want the sharpest, but the zoom lens gives me the flexibility of doing of variation very quickly. So there's a trade off their but And this is the new canon 24 70 to a version two primo. Absolutely gorgeous lens. So let's let me do this again. There's a couple here, turn in hand and just a little bit right there. There. You have perfect uniforms. You're looking great. And I look off again. I want to just really get that. So people keep turning. Keep turning, keep turning. There you go like that. I'm a zoom in really tight. Watch this. This is gonna look beautiful right here. All right, Beautiful. Now the I had at one point the cannon 24 to 105 version R F four to give you a little longer. So I got kind of used to that so that I go to, uh 70 millimeters like, Well, I need a little more, but I do have my 7200. I think I got enough here to retouch you. Look at this. I could just keep going occasionally. Yes. Is there a point where you will have to go so far? Are not go too far. Where's that cut off? Well, okay, let's try it. Watch this. Let's move in. I'm gonna take a focus on her. I and I'm gonna go low. Okay? Ready? Ready. So this is probably too low for me. Ready? So let's take a look at it. That's probably too low. Okay, so let's do one. I would think would be acceptable. Would be right about here. So just a little more. A little for my taste. Kind of in between, you know? So here we go. Just Whoa. What happened? There it is a se f 7.1, 202 100. The gremlins just came into the house. Well, a 7.1 s o should be still I so 100. He looks fine here. But you see where crop there it's just but, you know, again, I don't really think about that. I'm not even thinking about that. You know, I'm just shooting animals moving up and down, and I haven't liked determined that this is the perfect spot. This is not just think if you don't cut it enough, It almost looks like you made a mistake. Now this? Oh, absolutely. So watch this one. If I do this right here, bad news, this means I you know, I made a mistake, right? Watch it come up. That's a mistake to me. So you don't want to just crop a little bit off the top of the head? Jason, you file shot where she's, you know, it's a side of her face with this work was try it. All right, So you go toward the audience that right there. Okay, So here's what I Here's what I like. Okay, now I'm gonna show you. Ready? 123 I don't see the second. I OK, so you still still looks good. Watch the light. Looks great on her. It looks pretty good, but I don't see the second I so watch Alex start moving toward me. Sweet toward me. Now I see just a fraction of her. I were taking like that. So I just see a fraction of her. I was probably not enough for me. So come a little bit more right there. Beautiful to me. I want to see generally a good a good a good portion of the second I want Oh, like right there. To me, that's more acceptable. Now again, Is there a book on posing and whatever that I've read that tells me that? No. Could I even write a book on Posey? Probably not. But I'm knowing by my intuition that to me that looks better than the ones that before. For that before that. So now I like that. Let's do the close up of Ed right there. Resume and all the way to my my 70 millimeter. And I have one like that. I like that. So again, that's why I would say this. I get a lot of emails from people that are literally in a panic because they've overthought everything to the point where they are choked. I they're so nervous. And they trying to think of this conceptual ideas and all this stuff, and I see the hair right here. See this little hair right here? Sorry. That little hair bugs me. So if that gets tucked in, there's a long one right there. Well, who? My gosh, Um, yeah, but see that little hair coming down? Does that bug you that bugs me? I know I gotta retouch that. So if I can fix that now, it's going to save a lot. I probably can't retouched that pretty easily, but, um, just that one little chunk of hair. Now look off again. Right there. Even Mawr. Swing your head away from me. Away! Away. Way, way, Way. Right there. Ready? 123 Oops. I might have gotten you blinking. Yeah, that you blink You. 123 And I'm gonna get the whole head in there now. This time 123 Beautiful. And even the hair behind the chin. Yeah, you know, But don't wait, but don't worry about it that I can take out pretty easily because it's just immigration. But I'm just saying all those little things are details that later I gotta fix. And so I got to be aware of that

Class Description

This course is part of the Joel Grimes Bundle.

Commercial photography isn’t about mastering complex lighting ratios or obscure retouching techniques. Successful commercial photography hinges upon your ability to turn your creative vision into a polished product. In this class, commercial photographer Joel Grimes will teach you how to think of your photography as an artistic process, not a mathematical equation.

Joel, a commercial photographer with more than 25 years’ experience working for top advertising agencies, will reveal his signature lighting, shooting, editing, and marketing methods. Joel will teach you to trust your artistic instincts by demonstrating how he conceptualizes two different photo shoots: an edgy athletic portrait, and a commercial beauty shoot. Joel will also walk you through how to identify the right lighting to attain your desired result.

After transforming the way you think about conceptualizing, lighting, and shooting, Joel will unveil his creative compositing techniques and tips and tricks for retouching skin. By the end of this two-day workshop, you will have a tried-and-true playbook for creating works of photographic art that dazzle commercial clients.

Reviews

x-man
 

Fantastic!! He is so down to earth and humble. His work is unique an exceptional and he shares his techniques, experience, tricks, and best of all his life stories that took him to where he is now. One of the best instructors in CL. I love how he checks the ego at the door and just shares his art and techniques with us. I definitely recommend this course and I was lucky enough to get it at a great discounted price but it is worth its regular price imho.

Dee
 

He's my new favorite instructor, there are many CL instructors I really like but the second I watched and heard him I bought the course, love his style, love his knowledge and the way he conveys it. His way of Frequency separation is fantastic and pretty precise and takes care of a lot of flaws. Learned lots! Thanks Joel! Thank heavens I am not color blind ;)

aracelibotello
 

Joel makes it easy to follow when it comes to editing and shooting. He is a wonderful teacher and very easy to learn from. I enjoyed the photoshop techniques he taught as well as his approach to lighting. My favorite part is his advice on business it's very motivating and inspirational. I thoroughly enjoyed this course!