Cost-Effective Creative Shoots

Lesson 6 of 10

Shoot: Bed Sheet Wrap Around

 

Cost-Effective Creative Shoots

Lesson 6 of 10

Shoot: Bed Sheet Wrap Around

 

Lesson Info

Shoot: Bed Sheet Wrap Around

All right, so you guys on the last section is one of the things I did a couple times. I put a soft box behind her. Now, one of the things I like to dio is I like to shoot with my four by six soft box or something called the scrim, and scream is usually a large frame with the fusion material in the middle, you can use it in the middle of the day to soften the son, or you can actually use it as a light source and it's really nice, because it'll become like a big soft box problem is certain scrims hard for five hundred bucks, depending on the size you get and a four by six off box first unwieldy it's really big, but again that's another expense, another cost, so we're going to create much larger of a soft box, then you really can, even by and for three dollars, okay, so let's, take a look at this cost effective lighting setup. The sort of we have right here is a bed sheet from a bargain bin at goodwill. Okay, so just an inexpensive bed sheet that we have here, and we're going to light it ...

from behind really in a soft box when you're like, like just a regular soft box, how it's built is the light hits the material in the front and that's what makes it broader and softer the light itself is small but as it travels and hits the material in the front it then becomes a large light source so instead of having the confines of a soft box, we're going to kind of use that same logic and make our own it's our own soft box screams setup so we're going to take a look at this so we've got that bed sheet and it's just attached between two light stands we just have it you know clamped up at the top and then if you come around behind here this is for our next set ups to ignore this this is doing nothing just there's only so much space here okay, so we've got two lights with zoom reflectors on here your considerations if you're using pro photo depending on the brand you want, you want the light to spread out and light as much of that sheet is possible because if yu on lee light a little spot in the center that's all that'll be lit you want to have it to be a nice even light source there's two things if you're shooting with pro photo when you add this reflector I don't know if you can see it from the front but where you move the reflector actually zooms or expands the light so they assumes it in and this expands it out, which means when you have this all the way back the lights further up, it'll spread out more you want it to spread out more because the goal is to light as much of this sheet as possible. Similarly, you don't wanna have this light right here and so it's the bucket of water example, if I have a bucket of water and I'm standing right next to the bed sheet and I throw it it's only going to hit a very small area if I back up, the water has more time to spread out and we'll get more of the bedsheet wet, so I'm going to want to back this up a little and we are using studio strobes here, but you could do this with speed lights, you just maybe need a little more if you need a little bit more power, but you could totally do. This is speed, lights and a bed sheet, so I've got it backed out a little bit, making sure my zoom reflectors back so the light can spread. You don't want to use anything like a strip bank or barn door, you want that light to spread out, and one thing you might consider it is you might consider having one light a little lower than the other, so one is a little higher pointed more towards the top of the sheet one's a little bit lower so that you'll get more even lighting top to bottom you can do it with two lights and if you have more sure throw more lights at it if you wanted to be more even but two lights is going to be fine so let's come take a look at this all right? Huh? I have my lovely model here and this goes back to the creativity part we're going cost effective but creativity every single shoot ugo ever if you wanted to be successful, you really have to ask yourself what's the point of this shoot because what I end up seeing is I'll see a model in a field in a futuristic silver outfit with crazy green makeup and I'll think ok, so why the field? Why the green makeup like maybe you're going alien but ok then go alien it's just a girl on a futuristic thing in a few and so I keep focusing on like what what's the point? There wasn't an idea always have a concept here, so for this we're going for like a little higher key and a little more glam so I wouldn't want dark dramatic makeup and I wouldn't want you know, maybe creepier dark clothing is going to be light that glows and wraps around her so in other words, every shoot that I do before I do it I say okay what's the point, and then how can the poe's work to the point and the light work to the point and the dress work to the point and the props and the all of it the location? Because far too often things are random, and then you're just fixate on that, and it pulls away from the point of the shoot. So I've got this lovely sparkly gown that I have on her, and this is one of the dresses from my dress company dream shoot rentals, so we're going to photograph her, and I'm not going to shoot totally full length, although I could, and this is significantly bigger than I would get with a four by six I can let her whole body easily. All right, so right now I have no lights in the front, just lighting with those two lights in the back. And if I paid attention to my camera's meter let's say I meet her this correctly, okay, you're perfect the way you are right there. I would get something about, like, this next photo that's about to pop up. Okay, the light would be something like this, which it could be okay if you want a relatively even white background and then look at the light that wraps around her clavicles. And around her jaw line because it is a big light source and it just wrapped around her in all directions so it might be a pretty shot that you could do for maturity session if you turn someone to the side or could be a dancer where you do a really elegant pose but I am going to completely ignore what mita ring would suggest and I'm not going to add a main light I'm going to creatively ignore everything with exposure and do whatever I want because that's what creativity is all about so I am going to open up now I'm going to go like several stops like two and a half to three four stops overexposed from what my meter would suggest it really dispensing how high key you want to go and so I'm gonna have you keep your right knee way over perfect archer lower back a little bit great and I'm gonna have you put your hand on your hip perfect and can you put this hand up here great try selling that chin to your left perfect a little bit further to the left right there let's go and a little softer on the backhand good beautiful look great and close your eyes and shit up even more let's go little brainer ok and uh pop that knee up just a little bit higher you bring in the front if you need good getting close rising in so I can go super cereal and wrap around that's probably a little brighter than I'd want to go we'll bring it back in a little bit now would have you try put this arm really high up and then reach this one over to high good and well your head into it perfect much arches possible close your eyes great and now turn your chin hard to your left right there perfect anna left arm a little bit higher like reach up that way and instead of wrapping your fingers around I'll tell you why right now the way she's doing this I see numb fingers so I want her to reach up higher maybe like right now I'm ok with this hand but right this one I want on this side more anger mora lin you're soft, curvy good and ten hearts you're left great ugo and lean that way okay, so and undo one more a little brighter last one perfect so it's super soft and super ethereal and really dreamy if I wanted more light in the front I could do to things I could add another light or basically this sheet is a giant light source that's exactly what it is so if you have a piece of foam core you could put the foam core you know taped on the stand next to you what will happen is that backlight will hit the foam core balance off of that and hit your subject and add a little bit of film or if you got a silver reflector you could stick that next to you if you have a cake pan and you don't have a reflector that will kick some light as well you could d'oh a lot of different things like that or if you're in a small space you could put your back right up against a white wall and if you're right up against the white wall the light's gonna bounce off hit that white ball behind you and act as a giant reflector so these are all different things you could do with this so the bed sheet becomes a giant soft box scrim for three dollars so I like that one but he's a briton whatever questions on that okay, the questions that had come in I think you already answered in terms of could you you swede lights to do the same type of setup? So you said yes on that anything tto add about white balancing or using spot metering those a couple of things so in this I'm basically ignoring ignoring my meter because first of all if I use my in camera meter it's stroke so it doesn't know but then if I meet a ring it's a creative exposure so I ignore that for the for those back lights probably with speed lights you might need a couple more if you're going to do an entire full length shot, they smaller heads and the light might not spread out as much or if you pull it back too far, there may not quite have enough oomph to light the whole thing but if you shoot really wide open you could probably get something just about the same. I get great anymore questions here in the studio audience the priming check and see if our next model is ready or we'll be using the same autumn by using a different model so I might have to make wait for our checking did you have a question that we can try it but we'll see what we can see if it works where he's going to hold the cake pan for me while we wait? Okay, so you know, just raid the kitchen, okay? So same posed for me. He is going so he came over this way so you could feel from that direction and let's see perfect rehearsed and rehearsed and can you bring it up in a little bit closer so you can bring it and you bring it in right there and I might have to clean up a little bit of his hand but actually does light it up, fills it and gives direction light so if you got a cake pan you can use a cake pan or you know, tin foil wrapped around something yeah I've never actually seen the prison used I was wondering if in this situation with a prison work or no you much the surrounding light so giving the prison mirror one or the other the mirror sorry I called that person I mean uh well it's a present don't know totally um let's see I would test see well be my hold it well I usually can but kind of I might switch oh, wait I need my other lens okay so make sure you was sample here can you turn your head against a little your left good we'll show what it looks like I like it it's good. Um the key is is that depending on how big you make your prism you can have different lenses that you can use because right now this is I've got was was this eighty two millimeter it's struggling to fit in the front of seventy seven millimetre front would work better if you're talking about the size of the size of a focal not the focal length right filter size it's like just a little bit too big kind of a couple more because I wanted teo but now like oh that's actually quite nice but what I was going to demo let's see if I can do it okay so different different zoom things this was we're getting there we're getting there now so it's okay so let's just do this one so I can include the edges of it more. Okay, or can you grab out of my bag there? There's a sixteen to thirty five. I'm gonna show that one. Okay, we're getting closer. Good right there. Good. All right. And I'm just gonna switch lenses because this one will fit inside and we get multiple reflection. Thank you, john. So, my sixteen to thirty five. I'm going to go for one of reflections, but I'm probably going to see some ceiling. You should be okay. It was a little small. I have a bigger one at home, but I don't want to take the big one. Ok, let's, try this. This should work. You'll get you'll get the idea, I think should so with this one. This was shot more at sixteen. So if you're shooting on location, it repeats and repeats and repeats and repeats. If you can actually fit the lens inside of it, then if you would be able to see more of her. But from further back you see more of environment. So if the lens is actually in it, you'll see more reflections of her and the lens that I used last time I shot this was the cannon one eighty macro. And that fit in the front of it. And I shot macro shot, so just eyes and lips and stuff like that. It's really fun? Yeah, way. We're going, teo fluorescent. Next, okay, was coming down, okay, so I think we're going to get your beautiful thank you.

Class Description

Have you ever felt dull, uncreative, or just out of ideas? Invigorate your creative spark with Lindsay Adler in Cost-Effective Creative Shoots!

In this Masterclass, Lindsay will show you a range of creative techniques that’ll bring new energy to your work. You’ll learn about:

  • Discovering your creative process
  • Finding inspiration in personal projects
  • Adding interest with creative light modifiers

Lindsay will share creative concepts you can replicate for less than $20. She’ll also share techniques you can use to push yourself to try something new.

Don’t resign yourself to dull shoots, join Lindsay Adler for Cost-Effective Creative Shoots with Lindsay Adler and get inspired!  

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