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Shooting with Judy Host

I need to start out by saying that this is not how I normally will photograph. I'm pretty much all natural light. Part of that will Big part of that is because I photographed Children for a living, so there's no way that I'd ever get a one or two year old sit still long enough for me to get lights and reflectors and so forth all set up so I don't I've I've learned Teoh shoot quickly and fast and be very quick with my settings because they're always moving. And so my lighting is always changing. Um, today, what I'm going to be demonstrating is pre visualizing shooting for design. I know that I'm going to be adding graphics and different L design elements to my imagery, so I need to sort of pre visualize how I'm going to do that and give myself space to do it. So I'm going to start off here with our beautiful model, and I'm going to shoot this white background with these lights so that I can show people that are doing studio lighting how it looks when you add graphics and textures to you...

r imagery, and then when we're done with this and I have a few bees. Then I'm also going to shoot natural light, which is much more intuitive to my style and show also that type of an image when I add the graphics and so forth to it as well. So I I'll talk about it as I'm doing it. My settings air. I'll tell you what I'm shooting with right now. I shoot with a five D mark to a canon five D Mark two. I'm using a signal lens. It's a 72 200. It's a 2.8, and it's one of my favorite lenses to most of us. Portrait photographers love are long lenses. Ah, lot of it is because my normal way of shooting is with my aperture wide open. I do that because I like to blow out my background. I'd like for it to go soft so that when you're looking at an image, what catches your eye first is what's closest to the camera. It's also what's sharpest, and that should be your subject. And so I'm always softening my background. If you will press suspect, I like reading. Okay, have 16. That's what I'm at. 1 25 for my shutter speed 1 25th of F 16 and I'm my eyes says at 1 60 Yes, perfect. So right now, Um and also I've asked because I'm a short person. I've asked for a step ladder because if you take away anything from any of this that we're talking about today with shooting this way, lighting and angles is everything. I'm trying to tell a story. Also, while I'm shooting, I want my viewer to look at this image and be interested in it, so at the same time, but I'm being concerned with my settings. Looking at my light and my angles. I'm also thinking to myself, What is my story? What am I trying to say with my imagery when I'm doing this? I did the same with my graphics. When I'm adding graphics to the image it isn't. I don't want you to look at the image and see the graphics. You know, great image, nice graphics. That's not at all what I'm trying to do. I use my graphics to add to storytelling element. I wanted to become a part of the image, so it has to blend. It has to work with it. So again, I need the right image to do that with. I need a story. I need an expression. And so my style is to keep it, um really more riel, less posed. So I say place instead of opposing, I'd like to place my subject where the lightest thing to reflect and be the best angle for them. And then at the same time, I'm looking at them trying to figure out what is the best angle. So if you would be very careful when you step back, there you go right there. So I also have a tendency. When I'm shooting to shoot, I I angle my camera a lot. Sometimes it's very distracting for some people, which is sometimes a good thing. Sometimes it lends Teoh how you tell your story. So for right now, when I'm gonna ask you to do what I might again, I'm going to talk about my style. There's no manual that says you can't or you shouldn't. I'm just gonna tell you what what works for me. I will hardly ever photographed anybody straight shoulder to the camera. You've got beautiful shoulders, and so that works. But normally I wouldn't do that. So I'm just gonna turn you a little bit. Yeah. There you go. I've got her at an angle. I can still see both shoulders. Um, and then I just want you to shift your weight away from me, because normally that's gonna be a lot more attractive, especially on a woman. And I'm gonna have you looked down. There you go. And I, um Yeah, it's perfect. Just like that. So let's see how it looks. So soon as that comes up, you'll be able to see what I see. And so now what I'm gonna do is I'm just going to continue to shoot this way to angle until I find what I'm looking for. And I don't really know what I'm looking for. When I first started takes me a while to figure it out. This last one that just came up is more what I'm looking for. Its space the other way that I love to shoot is off to the side. And I had a new audience not too long ago. It was doing a presentation and they said to me, Do you do you notice that you have your subjects sometimes all the way off to the opposite side. So I have her looking towards, uh, this direction, but I'm dropping her off in the other direction. And it made a couple of people very uneasy, but it kept their attention, so I thought Okay, well, that's a good thing. I'm gonna I'm gonna keep doing that. So let's come in a little bit closer. And now I'm gonna ask you, Jen, if you could just bring your chin down just a little bit. Yeah, their ego. And just relax. Hold the shoulders back. Yeah, and then just really soft, free hands. I want to see the fingers. Yeah. There you go. Beautiful. The other thing that I like to do when I'm pre visualizing is I'm gonna turn you around. So you have. So I have your back. Sure to be right here. Oh, sorry. So it's completely out of light wag. Oh, I see. Okay, Sure. See, This is why I don't like lights. Right. Okay. So I can shoot it this way to that About the distance we shot. Yeah. This is why I would never be a good studio photographer, because I'm always changing my mind. And then every time you do, you have to adjust your lights to go with it. Okay? So I'm going to re shoot some of those. Well, just zoom back out. Sorry. Do that one more time, okay? And now just kind of relax a little bit. Now, I want you to keep your body where it is and just kind I'm gonna have you just turn your head a little bit more. This way. Beautiful. Perfect. Now again, while I'm doing this, I am thinking about the different graphics that I could have working with us because I'm doing this specifically knowing that I'm going to be adding graphics to it when I'm shooting at. This was a live session for me and I were shooting. I would be shooting for the client. And then, as I'm editing and I'm looking at the imagery, there's always gonna be one or two in there that I think would work with graphics. But not everything does work. So part of this is just understanding from a design element again. As I said, you're telling a story. So what? What will work with it? Sometimes you don't need any graphics, so I am specifically looking for a story that I can tell. That's what's going through my mind right now. I'm also I have realized that I will focus, and then I shoot some people do it the other way. It's whatever is comfortable for you, but I'm always focusing first. And then I will, um, figure out my crop. So we'll take one more of those. Okay, Now I'm gonna have you turn your back to me. So you haven't really have all these wonderful tattoos. I'm going to shoot your back. All right. So, General, what I need you to do, Nia, I'm just gonna have you just exactly what you just did, and I'll tell you when to do it. All right? Go ahead and turn. Let's try one more time, Okay? Now I'm just gonna have you turn your head a little bit towards the window and then look down. Bring your chin down yet just like that. Relax those arms so they touch your sides. There you go. Perfect. There. See? I am angling her off to one side. That's also something else. That's a style preference for me. I hardly ever shoot anything in the middle unless it's a you know, it's a face may be just the neck and shoulders, but if I can angle it off to the side, that's always my preference to do that. It's just a little more interesting. I think that if everything's in the middle, all right, Jenna, I'm want you just to bring your chin all the way down. Now, there you go. Just like that. And you can still do that because you're young and beautiful. Here you go. Okay. Now, I'm gonna turn you to the side again just yet. Just like that. And then shift your weight again away from me. Perfect. And then you're going to bring your face towards me, and then I am going to bring Have have you bring that right shoulder? Yeah, just angle it a little. Little bit more. Very good. Perfect. That's beautiful. Awesome. So for me, this would be a signature. A signature shot. When you see this come up. This is how I love to shoot. And this is also how I like to add my graphics. So I'm gonna come in a little bit closer. Let's get that beautiful face. And if you could bring that shoulder out yet. Perfect. I'm going to get the step ladder now, if you noticed. Also for me, the expression is more along the I. I don't want to say summer so much as I want to say more. I don't know what she's thinking. He's its thought provoking. And that's really the look that I want because that works well for me, for my style or what I like. And also, I think when I'm telling the story with my graphics, it seems just to work a little bit better. So I'm gonna have your bring your chin down just a little bit. So that pops bringing the chin down the pops, the eyes open, and we'll take one from here. We'll get a little more of your body in here and focusing now on the eyes first, and then I'm gonna come in a little bit closer on. Let's go this way. Okay. Perfect. All right. Can we bring Ben in and Jenna don't go far. Oh, no. So we have about 15 or so minutes. If that works for you, Okay. Will you loosen your tie for me somehow? I don't think that's gonna be no I mean, undo it. I want it sloppy. There you go. Yeah. Just let it hang. Perfect. Yeah. Um, yeah, that should do it. Okay, then I'm gonna have you turn your, um, Yeah, just like that. I want to see that other show that perfect. Just like that. Yeah. And you have put your Can you put your hands in your pockets? Yeah. There you go. I want you to look comfortable. That's that's the look that I'm going for. So straight head yet? That's awesome. And kind of Ah, thought provoking. Look, So yeah, not so much that you are thinking, but that you're reflecting. You're being reflective. Blossom. Yep. Perfect. And gonna do one more here. I like that. That looks good. Okay. Now, I need you to get shorter than me. So thank you. Thank you. Perfect. Yep. And so now I'm just gonna have you looking off. Not looking at me. Great shot. Nice light. Okay. We're going to do one more. Me. Get it in here. Close and actually been. You look a little too happy, so I need you. Look up. There you go. Perfect. Beautiful. And bring your chin down. Just a tad gorgeous. Awesome. Okay, um, I want to do some natural light since I'm running low on time, so don't go anywhere now. I'm going to adjust. Okay, So that's how I'm tethered. Um, I cheated a little bit because we'd shot some of these yesterday, so I'm bumping up my I s 0 to 1600. I'm gonna change my shutter speed to 2 50 and I'm gonna open up my aperture all the way to 2.8. Your your soda. What? 1600. And then I'm gonna bring you over here to this window. Yeah, I just moved back a little bit. And let's, um you're one of these things, and I need my stepladder. You gonna shoot from over here? I am. Okay. So are there any questions when we're moving this? Absolutely right there. Perfect. So, question for Judy? Yes. Is there any special reason why most of your portrait are 3/4? Is that your style or is there another reason? You know, there really is no reason. I seem to have a tendency to do that a lot. Maybe it's just what I like when I when I see it. But when I'm shooting inside in this kind of environment. Yeah, absolutely. When I'm outside shooting, I've got lots of scenery. So it could be just the studio environment. It also could, because I'm using a long lens. Okay. Ah ha. The great April izing. Okay, I'm gonna have you looking towards the window care. I need you to turn your head a little bit more towards me. Just perfect. Right? Right about there. Okay. So what I'm looking for right now in this kind of light is half his face is is beautifully lit. And then I have that little V shape right underneath the other eye, and the rest of his face is in the shadow. And it makes for ah, very interesting and really a very beautiful portrait, which you'll see, Hopefully in just a moment. Right now, I'm just looking, trying to figure out how I want to capture this, and it's it is It's beautiful, beautiful life. Jenna, I'm gonna bring you in here also. And yet, if you could just kind of get onto his shoulder just with guy with your hands. I don't want you standing so much side to side. I'm just so I want Oh, yeah. Actually, that works. Great. That's beautiful. But genital Children. Yet there you go, because I just don't want to shoot into it. So now for me, this is more intuitive to use this kind of light I can see so much more. It's for me. It's more dramatic, and it's also a kinder, softer light. And it's just a lighting style preference. That's really all it is. It's how I see the world. I spent 10 years shooting with a soft focus lens with the Mumia many years ago. And so the world is kinder and cooler and gentle for me. I'm going to also have to skip you guys in just a little bit. Joe, can I get you to move the red share that's behind her? Perfect. You guys look great. I'm going to close down stop money to right. Just okay. That should be coming up in a moment. So it's I've got beautiful light on both of their cases now, Ben, I'm going to bring you out, and we're gonna leave Jenin in. And Bethany, could I get Bethany also? Okay. And I'm just gonna have you turn and Yeah, perfect. But then you're gonna be looking in this direction. There you go, gorgeous. And again, I'm looking for space. I'm looking for a way to add graphics to a little bit of the background that I have here that I love. I'm also going to shoot will change my angle because it will also change how I'm seeing the scenery that's behind her. And then, Jenna, I'm gonna have you lean up against the wall. Yeah, just kind of fall back onto it. Yeah, perfect. Just like that. Beautiful. And then angle you. Awesome. There we go. So I was a little bit bright. I've changed. My shutter speed is up to 3 20 I'm still shooting it. 2.8. I'm still at 1600 you can see this gorgeous light that I'm getting. So what's happening? And what I'm trying to do is all these leading lines that you see here lead right to her so she becomes. Although she's not the brightest part of the image. All of that lie to those angles. They all lied right to her. And that's what I'm trying to accomplish. I still have detail in my shadow area, which I wanna have in processing. I could bring that down or bring it up either way. But I'm trying to create a story, as I said before and add a little drama. And then with the graphics that I've already created by shooting around the building and some were going to use from another company, I can enhance that whole feel and tell my story, which is exactly what I want to dio. So now, Jenna, I'm gonna bring you out and Bethany put you in there. Actually, I'm gonna I just want to see what the light looks like. If you back up all the way to that pillar. Whatever you wanna call it. How am I doing on time? Got about a little less than 10 minutes. Okay, Cool. Perfect. Okay, so now it's going to get even more dramatic with the light here because I don't have as much light, but I still have some beautiful light. So running out of cord, I'm gonna shoot this, and then I may need to adjust my lights. So let's just go ahead and do a test shot. No, it still looks pretty good, but I am gonna adjust my settings to 2 50 at this point, and then I want you to turn and look at the light. Um, and then Bethany, I need you to yet I still need to see the other side of your face. So that's perfect if you stay just like that. But look at me. Yeah. Beautiful shot. Love it. Okay. And I'm gonna get in just a little bit closer. OK? So, um, I need to angle your shoulders just a little bit. So if you could Yeah, there you go. Perfect. Was shooting you straight on and not liking it. And I'm going to come up and use a down angle. Beautiful. It's awesome. And again, I'm looking as I'm looking through my lens. I'm looking at everything that's going on around her Now. Obviously, there are plugs behind her down here that I know I can get rid of Photoshopped. But normally everything that I do when I'm shooting, I'm trying to get everything accurate in the camera. That's always my first concern. As far as my exposures and so forth, the better it is coming out of the camera. The less time I have to do anything to fix. I'd rather spend my time enhancing. It's just a lot more fun. Okay, I'm gonna get in really close now. Yeah. Bring that chin down. Just a tad perfect. Love it. Okay. Going to do a little bit down here and actually, I'm going to bring you up here with the light is a little bit stronger. Awesome. Let's just move you away from it. Because it's a little bright. And also, I'm looking at What's behind you, So keep going just a little bit. Perfect. Yeah, that's awesome. And again, let's turn your shoulders towards Yes. So? So, basically, for me, this is a soft box. That's what happens when you shoot with natural light. I have this wonderful soft box, and when I'm outside shooting, there's a lot of reflecting going on with white buildings and cars and cement. And and I am doing what you all are always doing with your lights and your reflectors. But I'm just looking at what's in my environment and using that. That's really the only difference. All right, so let's have you Don't don't move your body. Just turn your head slightly followed and then look off. Perfect. Awesome. Love it. It's beautiful. You're a beautiful model. Okay, we're going to do one more. Awesome. Beautiful. Okay, um, Questions. I mean, I could keep shooting for the next hour, but I'm trying really hard to be good. That's great. Do you have any questions in the audience? I see we'll take a couple questions from the Interwebs. We've got one from Anoop Divi, and he asks about the importance of facial expression. And, um, he said he could see some serious looks on their faces. How important is that when you're doing photography, like guiding their facial expressions and that type of thing where you just kind of for a natural thing, whatever they dio? Well, no, I mean expression. It's great question and interesting because I'm writing a blogged right now on expressions Go eso. Thank you for asking. That question was great expressions everything, but I have to find out what's intuitive and natural to my subject. You know, there are the way that I classify people. There are people that can smile and their face lights up and it's beautiful. And then there are people that can just look and it just cuts right through you, so you have to be able to recognize that in Bethany's case, she does both. When she smiled, she's she lights up. It's beautiful, but she can also do the power thing to really well. So when I'm telling a story, my personal style is really I'm looking for more in introspective. I'm looking for more toned down. I'm not looking for a real lively happy that that's, you know, that it isn't really my overall style. I want to know who people are. I want to know what's in their heart. I want to know what they're thinking on. And so that's what I'm looking for. And I'm also gonna be adding graphics. So I know that, too. And this is specifically set up so that I can do that. You and your kind of thinking about what graphics you're gonna be on after I am. I'm looking for an overall feeling to the portrait and and to the image and with all three of the models. They have a great just a natural look about them, and they're comfortable in front of the camera. That helps to, you know, when you have someone that's that you haven't been able to disarm enough to get them to relax. Then you have to work with what you get. Right. Word for expression. Is everything disarm? Yeah. So is that what you're talking about? When you said, uh, Nina, it's Nina sco. Tune from France. Says asked Judy if when you started off saying that you are looking for a story to tell you talk some more about what kind of story? And is that what you just described it? Yeah, it's, You know, I tell people when I'm photographing, I might my styles about who people are not what they look like. So I'm trying to get past what they look like to who they are, and I have to sum them up almost immediately before I start shooting. So sometimes, with people of Bethany's age in our models agents a little bit easier to do, you can talk to them, you know, right away. These people are dancers there performers, so they're used to having people look at them. Most of us are not most of us, especially myself. I'm behind the camera because I'm more comfortable behind it than I am in front of it, but I have to. My job is to find out who you are and then to capture you in a way that you like when you're looking at. I'm paid by people to do that. So I need them to recognize themselves in their imagery and toe like what they see. And I think people are usually more comfortable. I know I am when they're not looking right at the Cameron smiling, I just say Come alive tomorrow when she goes into her graphic interface with these images fantastic. We are excited to see that Yes, so hopefully that answered the question. That's great. I guess I was just gonna follow up and say What may be your top you things, Their tips for photographers that you would say allows you to get to that that plays. I think probably one of the most important things is learning how to disarm your subject. If you create a safe environment, um, for your subject where they can relax, then you can find out who they are, and that's what you can capture and how do you go about doing that? I will show people the back of my camera so they can see what I see, and then they can tell me they like that angle. They don't like they an angle. They don't like their nose. They don't like the chin they don't like their hair on. That's I mean, everybody's got their thing. And so I share what I'm shooting with my subject so they can see it, and sometimes that will help to disarm them. That creates that environment where they know that I'm really looking to find their best angle and to capture them, you know, in a way that makes them feel comfortable when they see it.