Cost-Effective Creative Shoots

Lesson 3 of 10

Shoot: Double Exposure

 

Cost-Effective Creative Shoots

Lesson 3 of 10

Shoot: Double Exposure

 

Lesson Info

Shoot: Double Exposure

Today what we're going to do is we're going to focus however on in camera creativity because I think that I have endless creativity and photo shop I've got so much that I can cover and I have covered and I got some creative five classes on that stuff but today is just going to be in camera especially if you're somebody who maybe don't have photoshopping maybe of elements or you did not you know already I just I want to get creative and camera before I dive into this whole photoshopped thing so everything we're going to do today is solely in camera so for example our first set up is going to be how to do this in camera so that is where we're going to start so I'm going tio call my lovely model over and I'm going to take you guys through several in camera creative shoots that's the whole rest of the time so make sure that if you have questions ask me I'll walk you step by step I'll tell you what different things cost and anything else that you want to know all right huh you look lovely t...

hank you. Can you do me a favor? Can you stand right in front of this soft bucks okay oh yeah she's a little taller than my stand in models were gonna raise it up a little bit yeah it's cool um okay, so let's talk about the logic behind issue right now I've got a soft box behind her, but let's say you do not have any studio lighting this you can recreate what I'm going to do here with a window or against a bald white sky so you need zero light modifiers you don't need any lighting whatsoever to do this, it's just we're in this studio so that's kind of how I'm going to do it here and so what you need to dio is you are going teo shoot a multiple exposure and many cameras do this I'm going to demonstrate for you on a five d mark three hot issue, a multiple exposure in camera the process is going to be the same with many other cameras but the buttons they're going to be different, so you're going to wanna look that up, but it does exist. I know that, like most nikon cameras have, many of the cannon ones do, so I'm going to put that on you, we're going to talk concept I will show you my buttons swishing some five d mark three is still popular, okay, so here's, what you need to do first of all, you need to experiment because everything does something different if you overexpose the first shot and under exposed the second, and if you're overexposed, you tried this, so just don't just copy what I do like go test things out, but we're going to start with this okay, so what you want to do first for this demonstration is to photograph your subject in silhouette so that would be window that could be the bald sky or it could be a soft box and in this case for how I'm going to dumb when I'm going to use the soft box but treat it like a window so I'm just going to shoot with manual or aperture priority just to create a silhouette of my subject we're going to start there and I'm sure the five day mark three and I think I'm going to shoot with camera over here I think I'm gonna shoot with an eighty five on first and I will walk you through this so I if I shoot her straight on right now, I'm not making use of the silhouette it would just be a blob of it's a beautiful blob of the head, but it would just be a blob of ahead. So what I'm going to do is I'm gonna have you turned here left uh well, okay, accurate, accurate. Okay, it happens actually. So the reason when average in the other way because the lights who will actually messed me up so I will have you turn that way and I'm gonna have you step a little bit closer to that song so I can either shoot her in complete silhouette or with a little bit of light on her face here's how you could do this you here's how you can decide right now I'm not sure if the cameras can catch it but the way she's position a little bit of that soft box flight kicks over onto her face and it wraps around a little bit the closer I push her up to the soft box the light will wrap around a little bit more and then also and think of this with the window to refusing a window example can I have you take one step back uh towards the back when she does that it's putting more of the soft box or window in front of her to wrap around so more of the light will wrap around her face if kind of step up this way if I step up this way it's going to have no light wrap around and just be a silhouette? So think of that that actually window light isn't just window light where you place your subject makes a difference how far they are and what side of the window they stand on so I'm gonna take a shot right around here and I'm going to test I want this to be just a silhouette so let's test this out here little close you have a beautiful profile okay and I am shooting with a towel live you tether that'll pop it up there so we got to see that's probably pretty close to what I want so imagine that with a window and ideally you don't do it in a brightly lit room because if you haven't a brightly lit room if there's a window over here is going to like her you actually need to have some shadows he needs to have a little bit that works pretty good let me just take a couple photos for this demo so let me take great and can take one step back good perfect ok so these silhouettes will work great this is my base image this is what I am starting with and then I'm going to multiple exposure onto it now what? I thought you used tohave to dio as I thought that you'd have to take the photo and then immediately the second one that's going to mix with it but thankfully our cameras are set so I could do a whole session with her and silhouette a ton of different ways and then go on a walk in the park and then shoot to composite on those and I can do one image at a time and I can pick out okay I want this tree line to be on this silhouette and then I can do I want these flowers tow line up with this silhouette so what you'll do is you'll shoot a siri's of silhouetted images as many as you want try different composition so that's where you're going to start and this next step is the second part like getting the composite part so can you pass her the flowers so here's my first expense zero expense from window light right or modeling light that you already have the next thing is we bought a couple dollars worth of sunflowers okay and you want me doing holder you want her to hold it okay so you can step off now I guess thank you you're coming back though so don't worry okay you can yeah perfect all right so here's what you have to dio I'm going to shoot so you can see up on the screen exactly the buttons that I'm pressing let me see if this would be for this camera okay perfect so the button that you want to hit on the five year mark three is your creative controls or creative effects button it's right underneath where the menu is it look like a brush so when you click on that you're given these choices your picture style and then the next one over if I die allover with my little eye dial here is for multiple exposures so I'm gonna click on that and it brings up my menus okay, so here is the things that you need to try all of it because it's old doesn't mean I don't know really, though, you know, the more you try, then you'll have a different different solution. However, I'll show you for what we're doing here today. The first thing I need to do is by default, multiple exposure is disabled, so I need to make sure that it's enabled if I depending on how I said this, it'll either just keep going like by default beyond or just on for one shot, so I was going to set it for one shot at a time here, the next one down. Okay, how many of you have seen any of my classes on blend mod's okay, couple things on blend mode so you have light in and dark and blend modes, and you have multiply and things like that. This is blend mode in camera that's exactly what this is because, for example, darken or dark is the dark and blend mode. So if you know this, if you have no idea what I'm talking about, go look up, blend modes, dealing with layers and just to give you an example, if you have to, if you have two layers and you put one on top of the other and you change the blend mode of the top one to darken anywhere, that top layer is darker than the layer below it. That's where you're going to see it so like if there was a white sky and then you had trees on the top of the trees will show up in the white sky. The darker area is going to show up on whatever below it's lighter so it's the same thing here. So when others it takes practice to kind of train your mind single case I made this darker. So then then in this next shot send darker what else would I put here? And how would it get dark it's a practice thing, but way back when I used to shoot you shoot lots of multiple exposures in camera. My first camera that I had for doing that was a canon rebel two thousand a shot, one hundred gs slide film and I would do a lot of multiple exposures and what's closest to that is the additive mode. So if you've ever had that experience, try additives that's, what we're gonna do right now, okay, you can pick how many exposures when you could do it a ton of them, you know, so you could get up to nine. I just need to for this, um, saving source images let's say that you do your double exposure, you take a shot, you had the girl silhouette if you don't save your source image, it rights over it, so if you change your mind you're stuck so I always save all the files the original files, the file in this example of the flour and then the end result so it saves all that you have some options and then again, this is where you can set up how many shots you're going to do, the multiple exposures for and here's the part where you select the image for the multiple exposure this is where you select your base, so I'm going to hit set and I'm going to find the photo that I want let's say it's, that one ok love her profile on my gosh is such a beautiful profile, okay, beautiful! So then I hit set, and it says, okay, so now I've selected that particular file as my source file, and I've got to take a picture of these flowers in a way that it'll do something funky, so here's that's awesome trick if you shoot with natural light, what I can do is that can use my live you and this is awesome because when I use my live, you it's going to give me a ghost of the image tow line up so I can kind of see where things intersect so let's see here okay, and this normally I can see it in my camera but the way we haven't hooked up I've got to look over my shoulder but let's try and I'm gonna wanna lighten up those flowers even more okay let's see? Mmm mmm mmm mmm remove my focus point okay, I'm focusing let's line up like there see how it worked and I'm going to have to adjust exposures and stuff okay, so you see there where I have like the ghost of her exposure there I can darken it down a little bit let's try another one a little darker and I'm going over lamp it a little bit further to the left so when did the exact same time go through the exact same thing against you can see it you get your creative control button, we disengage creative controls button and then it's going to pop up multiple exposure I want to enable it just doing one image of the time this time additives good perfect. I'm gonna select my shot in this time I want you want this one hit okay? Selected going to turn on my live you don't make the shot a little darker this time. Okay, let's try to line this up focus and normally you can look at the back your camera but oh, turn focus back up just a little I think I've got that area okay, good luck okay, so that's another effect and so this one I under exposed the flowers and the last one I overexposed the flowers this particular thing is with additive you could try and a different mode the photo that I showed you that was in my presentation was where instead of having your distance silhouette had a little more light on the face when you add more light on the face when you composite these things when you adam on top of each other the face is more apparent if you shoot solely in silhouette the face comes out as a cutout if you light the face more you you'll see the face and then it fades into whatever you composite on it that kind of makes sense the silhouette will be cut out where it's lit will be more visible and that's all you can think of it this way see how you see the white in the background the lighter parts are more dominant so if you ever face a little more that will be more dominant so much or one more of those and then wrap that up and do questions it is laziness up just a little perfect okay last time creative camera controls multiple exposure enable it two shots great select my image I think I want to select that one again and I'm just gonna lighten up a little bit more, okay engaging live you cool it's good right little gus one more step back so that is an overview roughly of what I'm going for and it's just fun and it's painterly nit's dreaming I envision this being printed on canvas and it's just romantic and I know that nowadays I shoot fashion nice to beauty but I think something like this would be incredible for maternity session because you feel to see the outside of the form that haven't sold with flowers and I think that's amazing for you birth announcement or war bridal show are our babies our bridal shower that it could be okay no judgment uh but anyway I think it would be abs so beautiful and thats all in camera so yes just let me know if you have any questions in here but just to remind people I had some people asking can you do it on this camera can you do it on that camera what's your advice you can do it you have to look at your camera manual or just look up your camera name and then search multiple exposure thank you tons of them do it I think pretty much most ni cons do it and I think they do even more that nine I think they do more than that like tell one more okay you beat us by one all right all right fine I'll let you have it we have ah one question back there. Great um hi lindsey my question in terms of telling a story from my experience if you're trying to submit for publication a lot of the times the magazines say, make sure that the images tell a story so where does that fall into the creative process and do you find that important as well? Totally it's actually two perfect examples I did a story like this actually as a story for a magazine and it was but it was done in post instead of shooting the multiple exposures in camera, I did it with blend modes and post and so for that story they don't really mean narrative they really mean that it has to have cohesion so if you want to shoot for a magazine, usually a fashion editorial is a minimum or beauty is a minimum of five looks all based on a theme, so if its beauty you've got to change the hair five times or the makeup five times but it's all gonna have a theme of like wet ok, so it's all got to be wet, but like in this one, the wets across her face with hair like this and the other one it's you know it's a different pattern or whatever so story is like really loose thatjust means usually the same model similar lighting patterns and then the same feel to them and when I shoot I love when a magazine has a theme, because it gives me those words. And then I write down all of my other words, and I connect to the random dots, and I put things together. So I think that actually boundaries make me more creative, because when I have no boundaries, I don't know where to go, and we'll talk about that. At the very end of all this, I have my five tips for fostering creativity is the end of both of these sections a moment. All right, I'm going to use it on. This one is, well, okay.

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!  

Reviews

Crystal Nance
 

You know what I love about Lindsay? When she is teachingu, you feel like you're having a conversation with a friend. She is inspiring and tells it like it is. I love the fact that she shows you ways to think outside of the box to create amazing images and that you don't necessarily need to have the top of the line equipment to do it. I've learned a lot from Lindsay's courses but I walked away from this course with some great ideas and she opened my eyes to find inspiration in the most unexpected places.

Christine Brown
 

Lindsay recommends looking for inspiration to get creative. Lindsay your enthusiasm and passion for your work is my inspiration. Money well spent.