Digital Photography 101

Lesson 29 of 36

Shoot: Posing Techniques for a Man Part 2

 

Digital Photography 101

Lesson 29 of 36

Shoot: Posing Techniques for a Man Part 2

 

Lesson Info

Shoot: Posing Techniques for a Man Part 2

Gonna move this a little bit closer and see if we can get a little bit more dramatic, light and, uh, theme of this this way and I'm going to try some some side lighting on eric in the side lighting you remember when we were we were doing the direction of light sidelight can add some dimension and form in your photograph, so even outside a zay talked about the landscape. Photographers love to use side lighting so they'll go out and shoot early in the morning or late in the afternoon, because that's, when the light is low in the sky, and it's coming in from the side it's directional, as we say, and as it falls across someone's face or the mountain or whatever it is, it adds to mention informed that you may have to play with this little bit and it could be a little moodier, but maybe if that's what you want, then this will definitely do it, so you may have to check your settings again. I'll do that after I take a shot here and see how it looks. I'm also looking at exposure meter on the in...

side of my viewfinder, and the camera is telling me that it was a good exposure, but to me that looks like a little too hot, too bright on one side of this face. Um and I also think I just kind of want toe move the light back just a tad hoping up walking down my blocking no ok, so it's all about moving things around looking at your picture and maybe changing some exposure settings I'm going to go in and just move my the aperture up to let's say f four just for an experiment I just want to see that this is a little bit smaller aperture than I had it set on before and let's see how that effects the photograph and it affects the photograph by being a bit dark, doesn't it? I may change to another I'm going to do another change and I'm going to keep my um I'll stop now I'm gonna go back two f to eight and take another shot we're just kind of checking lighting it looks a little bit from what I could see here looks a little bit better I'll try some now actually spin all the way around eric with your back towards me with that side light to you can see a little bit more sidelight does tend to show off any kind of, um bumps or anything on the face eric has great skin, so you know we're not seeing a whole lot of wrinkles or bumps or anything, but it does with that dimension of form also look at what's happening with his shirt in that picture we've got more sidelight on a shirt so that showing the dimension informed there too. So now I just I'm just kind of playing around and just see how is this going toe just to try to get a couple different shots he's turned all the way around to me no, his back is to me and now he's turn his face back towards me try that looks looks that looks nice. But again, I kind of like the face more sort of straight up there you go and now his eyes or towards the lights he's got nice catch light how about right towards me? Okay, let's, try some without the stool and we'll just try some standing. Could you fly in that little step stool for me? How tall are you, eric? Speed erica's six feet tall. I am five, ten, five, eleven on a good hair day in about six feet in the shoes. But I still feel a little shorter over here and my vantage point is now I'm kind of like looking up at him a little bit. So what you need to do when people are taller is either have them sit or you need to get up a little bit so that's, why I always like to bring it's like a little plastic steps sold, I think, getting home depot and this could help raise you up a little bit now if you need to be raised up a lot, then you'll need a bigger step stool or maybe an apple crate or, you know, get up on something taller that's safe but I usually bring this to photo shoots just because I want my vantage point to be up a little bit higher and what I'm going to do now is we're working with this one light it's kind of coming in from the side and because he stood up it is now probably too short and needs to be raised because remember we like to bring in the light from a little bit above someone's face I'm gonna pull this back just a little bit the questions so far I'm just kind of playing around here there any anything that's popping out at you that like doesn't make sense or is that something you'd want to know more about? Let me know we sure will okay all right, so let's turn on some music. This is something that I like to do whenever I'm taking pictures of people and you may want to ask what their favorite music is before you start the shoot so you know, whatever your plan they can kind of get into but it's kind of it it works when you've got something playing in the background that adds a little energy to the shoot especially if you want to get some different expressions and body movement and just kind of gets people into it now if you had super bright light you could have someone sort of move around a little bit maybe jump around dance around but with these constant lights there bright but they're not really bright enough if you want to get say sharp super sharp pictures of someone jumping up capturing the action so he could you know eric could move a little bit but it's not you know I don't want him like dancing around like this and less well yeah you can unless you know I wanted to get a blurry kind of movement shot all right so I think way talked a little bit about this before eric and it was like you can try some maybe hands in your pockets you know, just sort of hanging out or maybe one in your back pocket and even on and this is what I do a lot when I'm working with people in front of wins I do what I want them to d'oh and then they can emulate me it's easier sometimes to do that than to say turn left put your head back down don't you know and they're trying to figure out what you're trying to tell him I just e I just go over and uh you know or show him kind of mirror what what I wanted to do so let's just you know, try some things like back in your pocket maybe standing standing there you could also try some armed folding and it's more like it's more like a whatever whatever feels comfortable tio yeah there's that there's okay, we'll try that I'm gonna get up on my little stool here careful not to pull off ok? And you know what? I'm glad that this has happened right now because this is something that happens on a lot of photo shoots and you'll end up having to photo shop it out later it's too distracting eric, could you take off your watch? Men often times have big watches on and it can be distracting now the other bracelet he has on to me is not that distracting it's smaller but big shiny watches will just you're looking at a photo if they pick out their hand in the photo is just like and listen, so watch ad it's really gonna be distracting so that's another another key thing that happened so I've got two lights one's closer to him one is pulled farther back and it's acting as a fill light. You can tell us a little bit darker on one side of him than the other and I'm gonna get a couple full bodies all right? And here is how if you're working with someone and they want a bunch of different looks one thing to do is you might just think about just every time the shutter goes off just think about another little subtle change you could do just even in shifting away from one foot to the other so it's could be kind of like this or you could also you could turn to me and like maybe um and uh you know, kind of cross the arms we could think about different different poses to play around with I don't get to posey with people I just tried to kind of give some suggestions there you go yeah it's ahead is it a straight right at me and how about turn your body all the way around that way there you go and you can kind of let let your arms down maybe one hand in your pocket there you go that's nice nice okay and just kind of let your right arm fall down naturally that's good, great and turned towards me just a little bit okay nice that's great and then kind of keep turning around turning towards the light all right, cool. Good. I like it looks good when you look towards the light over this way and I'm just kind of you know I'm snapping, giving him some direction the lights stayed pretty much the same let's start one with your hands down like that and maybe try one where you're changing your weight from one foot to the other like this and this is what some catalog models do. By the way, have you ever seen that have the catalogue man from the seventies? But no, this is what a lot of models will do on set is you need to stay in kind of a contained space right in front of the backdrop within the lighting scenario that I've set up but you want to show some movement you want to show something that you know where you kind of mix it up and this is what they do, they have their feet, you know about shoulder length apart and all they're doing is shifting their way back and forth sometimes you'll see those catalogs where the models look like they're going somewhere they just said hello or they're coming they're going somewhere else like, oh, hey it's, just consider just shifting their way back and forth now that's where catalog models eric, you know we're not doing this as if he's a catalog model we're doing it is if he's just regular guy and getting some photographs taken, but think about that as some posing suggestions that you can give to people especially if you want things to feel like there's a little bit more movement in it and it's not, you know, just one pose, okay, all right nice okay, tries try one let's try this as faras kind of a framing if he had like one hand kind of like this on your next sort of like you're going oh, man something ah let's try the other arm and see how that looks so what I was looking at is and it's it's not so much of me you're kind of like going like this like you having it you're having a moment there okay, I think I'm going to try some with your arms down now because what's happening is that right? And turn your body more towards the window let's see how that looks and try it with just the arms down and kind of like you're just coming back around towards me so your turn your body all the way to the window there you go and I like that the other pocket thing works and with your right arm maybe just kind of bring that back a little bit okay, that looks that solid all right, so if he needed a shot and there you go oh yeah we got the golf swing the nine nine yeah, but he's got he's got that's a solid look, you know, he's a little three three quarter to camera um his arm is not distracting his right arm is sort of it's out of the way we know he has another arm but it's not you know it's not out in the front and it's just kind of a solid shot this is a good classic way to shoot people and especially men his face is like in a on a street up and down position it's not tilted to the side either way like this it just looks solid so that's a few different ideas I'm gonna play around and now let's see, I want to try playing around with we've gotten some of these shots that are three quarter shot is what this would be called so it's not like a tight portrait a head shot and we also got some other shots of him with yeah the jeans are a little bit longer um what I'd like to do now is totally different lighting setup more what's called a high key lighting setup and that is where everything's a lot brighter and whiter and so it's just going to take a second so let me get this set up and I think the way we'll do it is I'm going to use this soft box as almost a backdrop you know? It sounds kind of weird but just watch it's kind of cool trying to put this back here and eric, I'm gonna have you grab that chair and you're going to put it right here in front of this so you're going to actually be sitting with your back of your head to this just like so now you would think when you're shooting into the light that that would be a bad thing, right? Well, not necessarily we talked about this in in the quality of light and direction of light sometimes having a hair light creates a nice room light around someone or it can create lens flare which technically wasn't always such a great idea but now it's become very fashionable to have lens flare in your images which is kind of this very bright light coming in um but with this because it's a soft box and it's it's basically this nice bright white light I can place it behind eriks head and in essence it becomes like a big white backdrop and right now he's a silhouette but if I bring another light and bring it in kind of close I can light up the front of this face so he's not a silhouette and this is kind of a very tight shot mainly because these soft boxes or about twenty inches square so they're not huge. You could do this with a much larger soft box and, you know, incorporate more of the body but right now what I want to get it just what's called like a high he super contemporary looking head shot of him that would be totally different from, say, the moody or shot or the classic shot that we have appear where he's got you know, nice celebration of shadow on one side of his face and I just you know, did this one one night just kind of playing around and discovered hey, this kind of work side sort of like this it wasn't like any anything that I had you know, looked up or even intended to do is just it was playing and you can do this too, so I'm just kind of pulling the light around adjusting the light I'm looking at his face he's got great catch light in his eye, which is the shape of this soft box because it's nice square, bright catch light going to grab my camera and erin for those folks who might only have one soft box, could you use one as the backdrop in the news a reflector infront reflect light back on the face? Um well, you could try that, but it might not be enough light and I'll try it here and we'll do test to be great, but I'm just guessing it may not be enough light to really give him enough light in his face but you know, try it yeah, we'll try it out so right now he is going to frame it up and I'm probably gonna have to change my settings I don't know yet, but I'm just going to take a shot and just see how it turns out let's see what this looks like and this is kind of like a little bit in my way so I move it over and maybe just this is like the happy happy shot and you're actually gonna look towards this light and turn your face a little bit more towards into this light right there on kind of eyes to me on a big smile on this because looking into the white light and having something kind of bright and cheery, you want a little happier look ok? So right now what's happening is I'm getting a couple different things one it's like my exposure setting I could probably change it's looking a little a little too brights on his face some highlights or kind of blown out one because he's got short hair no, I did this with one of my girlfriends another night and she's got hair that covers her ears but eric's hair doesn't cover his ears, so the light behind him is actually making his ears glow, which I don't know it's a look but what I would do for this justin playing around is probably haven't turned his head like we were doing in those other shots little more three quarter there you go so now the glowing air has gone away and I'm gonna pull this light out just a little bit and I'm gonna move this behind you just a tad try this and one other clarification on are you shooting in program still are you emanuel now I'm still in that manual mode with the same setting I had before and I just took a shot with the same setting which was one sixteenth of a second at two eight theis so it's four hundred and I just was kind of experimenting to see what is this going to look like? So in this shot right now that I took before I could've framed a little bit better because I can still see some black on the sides um and his ear was glowing so this is just kind of set up shot I'm going toe going to change it and I'm going to keep the same actually I'm gonna change my exposure setting and he's going to go toe one eightieth of a second I'm just shutting down the shutter just a little bit maybe darkened things up a tad and eric I know it's kind of tight because I'm your on that one little square but I'm gonna ask you just to right where your head is right now just turn it three quarters a little bit more a little bit more and a little bit back to me a little bit more there you go in eyes right teo and bigger smile and hey ok so this is a fun way to create something that's like a totally different look it's like ok so that's like a happy smiley hi key shot and I could play around more with turning his head moving the light back and forth but you can see that the light is really wrapping around him from behind so I've got a lot of nice white light it's something you can really play with and it's just like a different look that you could do with soft boxes and I could try maybe bringing this back a little bit in back of him and adjusting it a tad so it's that's all about playing around trying something different and seeing outlooks there's no specific formula that's one thing I discovered I mean they're certain little things you want to follow like you don't want things to be over exposed or under exposed you don't want your model subject in front of the camera toe look nervous you want things to kind of flow but other than that you can move lights around, play around with your camera settings and do things that are a little unusual because that's what that's what's going to give you your unique look you know play once you just like when we were talking about composition when you learn some rules of composition that's all great it can help you create a better photo but maybe there's something in there that you want to play with and break the rules and that becomes your own unique style speaking of composition, I thought it might be good tio talk a little bit about some things you can incorporate into your photos using composition I think we're going to handle that in the next segment um but I kind of wanted to work a little bit around just getting some more expressions in different poses from eric and I'll play a little bit more with this and if anybody has any questions or any you know anything that's like struck you so far like ok, I could have tried that but what if you do this so that's right? We're going to try the reflector you have somebody flying that silver reflector? Yeah that's great! This is an experiment so you just asked if I had this light behind eric if it would be enough light if let's say someone didn't have a second studio light if I had enough light just by reflecting it back in his face and the way you want to reflect light is find the light source and then reflect that back. So right now my light source my only light source it's really bright enough would be this one soft box and just by finding that light and bouncing it back in his space it's just really not enough light I could try exposing for that but I have a feeling the background would obviously it's blown out white already that's kind of what we wanted but then what might happen is his pieces of his hair might start disappearing. It becomes too white back there so things might look a little distorted so well, we tried it and know what didn't work just by the way when you're working with daylight balanced uh, studio lights it's a good idea if you're using a reflector either you something quite that's, very neutral that can help reflect that that white light back or you silver and that you'll notice that these reflectors this one in particular this is called the five in one reflector meeting that there were five different things you can do with it so it's silver on one side and it is black on the other, so maybe if I wanted to reduce light or block light and then I can switch it out and change it to gold, or here's a white side on the inside, so I just take this whole zipper thing off and turn it around and put it back on this which is a diffusion panel and this is something you can put in between harsh light and your subject it's kind of like like parachute fabric or something this sort of translucent white nightline and put this between harsh light and your subject and that will cut down on that that light so that's that's what this reflector does and that's a lot of my students have asked me, especially the beginning when they start using reflectors. It's which one? Which side do I use and how do I what do I do with it and that's, exactly what you do with that used silver with the studio lights and also outside if you want a nice kind of a little bit sharper reflection on and it's also good with window light. All right, so that was our test didn't work that's okay, sometimes, you know, you have to have a couple things that don't go right, so when things do go right, you can really appreciate it. All right? So now I'm moving this, like, right in front of his face, and I may bring it up a little bit and see if this makes a difference. So the light now that it's coming from up above him is giving him or shape beneath his cheekbones. I've got some shadow going on there and that's always attractive again, the direction of light, either side light or the front light, those air good lighting scenarios and any any variation of that. But when you start doing under lighting or top lighting, that something was aren't so great, um but we're going to try a little bit of that in the second and I'll show you a trick okay when you take a couple more pictures of this you want to set up just a little bit taller so I can get your face right there on the back of that soft box and turn your head three quarters towards the light that way up and come out towards me just that's nice nice and a little bit turn your face just a little bit more towards me so you got a nice kind of he's got the subtle the subtle smile I've got a little bit of catch light in his eye and I could play with this you know the soft boxes small so I've got some some cropping I could dio but you get the idea and it's also something you might try for video these air constant lights so that's something that you can work with not only with still photography but whenever you're say doing something uh a little intro to something you're doing in a video and putting it on youtube or whatever you can do this with these constant lights because they're always on think about it if you've got flashlight the flash strobes and you're trying to take a video it's not gonna work so you need this constant light that works really well for that to um ok I wanted to move this and let's try anyone have any any suggestions I can I can uh if you have like an idea of something you wanted to try, I'll try it for you right now I'll put that poll out there way oh so anybody if you've got any ideas out there through a mountain we can see if we can make those having me that that's the reflector again I'm just going to show you a little a little fun trick and this is something you can use for men or women and I'm going to use let's see thank you um this is something it's called clamshell lighting and it's kind of little a beauty trick but it looks good on men or women and basically I'm going to create a clam show out of a light and a reflector and it just gives a totally different look on someone's face so just for now if you could hold that for me and I'm going to move, maybe I will use this light I move this light in the front here and I think I'm going to move this light out we'll see okay? This is just with one light and one reflector and I'm looking to move and make the height of the stand bring the light up pretty high like so if you have even higher and I'm going to tilt it down just a little bit like this so it's on his face but it's also going to hit the reflector this is how that works okay, we've got light coming from there and what you're going to do and this is often times what you could do with a lot of people in front of your lens if you need some extra light on their face and you're coming cropping and kind of tight is to have them sorry gotta get this other court out of here is to have them hold the reflector so you're going to hold the reflector where it's bouncing that light that's coming in like right about there there you go so this is kind of a tight set up you've got to get your camera and coming in through here you want to make sure your light you know is this high as you can as you can get it so you've got enough space and it's not you know you can have your subject maybe sit in a shorter chair so he's got the reflector right under his chin and what it's doing is it's taking the light that's coming from here and bouncing it back into his face? And not only do I have, like, lighting up the top of his head and also the top of his face, but I've got this light that's also coming down the reflector I know who so I'm also tilting this down there's a tilt knob of here some kind of play around and I may have to come in really tie. We'll see if I can get it this tight, but the light looks really cool and because I've got a lot more light, the exposure setting may need to change. Like look at that it's really kind of blown out. So if I put it to p for program was to see what happens and turn your face a little bit more and kind of go look towards the light that way, actually, chin down just a tad and turn your face more three quarter bring your face up like so you're gonna your nose is going to follow my hand so there you go and then down and then over just a little bit. There you go right now is write to me great and let's see what program does as faras exposure settings on this. So this is a lot of a lot of nice bright lights, so notice I don't have much shadow going on in his neck, but I still have shadow under his chin because of the light direction here. Look at the catch. Light in his eyes. He's got really to catch lights ones up above one's kind of down below the one up above is this the one down below is the reflector this is a lighting scenario you can use if you really want to brighten things up, punch things up and get rid of any imperfections in someone's face yes chris I think it's kind of across the board no just noticed there's such a difference with the shadow underneath the in the neck line so is there something when you're doing portrait's and stuff because there's like really no no avoid doing this at a certain angle of where it's coming or because it can make your face look longer and all that is there or you just gotta play around with it and figure out what looks right well currently ok, so if you didn't hear chris's question he was saying, is there some hard and fast rule about when you take portrait photos of their places that the shadow should not fall and you kind of to go as well? You know what looks good to you right now? This is just another lighting set up. I've got a lot of light kind of under here which isn't really that necessary kind of depends on the face that you're photographing eric has I would say kind of he's got a night a square job but he's kind of a little bit longer faces like an oval face but some people, if they've got a really wide face, there may be ways you can shadow that and I could I could show you that quickly but there's no hard and fast rule about do this don't do this other than you don't want shadows under the eyes you don't want to shadow under the nose that covers the teeth I mean it's all about light positioning and right now if you look at the light on eric right now without the reflector, I'll take a shot of that and we don't have the light reflecting underneath his chin anymore and it's nice and kind of a little bit more about think strong eyes right into me into the camera and turn your face a little more towards the light more three quarter it's nice and calm down just a tad okay, so on these I've got some light now that's coming in right beneath his chin and it kind of the shadow on his next to me is kind of distracting. I've got like too much light on him and that's because this lights position sort of right over his head. If I was only going to use this one light, then maybe I'd want a position it over here and I could feather it back and forth to see how bright I wanted it to be if you will, whether it over that way and now I've got some nice shadow that's coming in on this side of his face and it's going to be a totally different look. So again, it depends on the look that you want, andi also the shape of the face. So we talked about the different lighting patterns thie other day so one of the lighting patterns you can try using it let's say, if you wanted to make someone's face look slimmer is you want the side of their face that's towards you, the camera toe look darker, that's called short lighting, and you can do it just by placing your light over here on the side if they'll bring it down a little bit and I've got it kind of close, it doesn't have to be this close, but it's it's coming in on the side and if you turn your face a little bit more into the light and chin down just a tad, maybe back towards me just a little bit, you can see. So this is what's called short lighting where the side of his face that's towards me has more shadow on it and I could change that around. Maybe I'll change it over to this side because I have a little more space toe work with light and I'll move it over the new over here. And it's all about where you have your subject turn their face and where your position so turn your head a little bit that way okay? And maybe even a little bit more over to your left that's nice and I write to me actually both eyes uh your face is a little bit more towards the light so there's just an example lighting pattern wise of a way that you can depending on where you got your light position where you're standing away and I would probably change my exposure settings right now I'm on p for program I'm going to change it to em manual and probably stay it right now I'm still it s o four hundred f two eight that's my aperture setting and I'm going toe probably stick it say one eightieth of a second and I'm pulling the light out even more because I want to make it a little bit softer over here and I'm just going to take a shot and see how that turns out my exposure reading is saying I'm a little dark and turn your face of this way and shut down just a tap and I was right to me. All right, so now what I have is something called broad lighting so this is where the light on the side of his face closest to me is bright and this actually makes your face look a little wider so it's, two things you can do if you wanted to help sculpt someone's face depending on just looking at them because we all have a different shaped face and maybe you wanted, um, accentuate something on someone's face or if you don't want to accentuate, if you want to make it kind of recede, then you put that in the shadow. So two different ways. Short lighting is where you have the shadow in front nearest the camera and that just all depends on where you got the light place he could move the light around. You could move your subject around. You could move around, but you just know that a soon as you move over to a certain spot. Okay, the light it's bright on this side of his face that's the broad lighting that makes it look brighter. And then I could move over here and you could turn a little bit that way. And then I've got turned even more towards the light so the light on this side of his face now is darker and that's the short lighting and slims a face down and also the faces look a little slimmer too and you turn him three. Quarter. I'm doing a lot of time doing some three quarter here. One. I did it with that very high key light source because I had light shining through his ears, and then the other other reason I was doing it is he's got a really short hair, and guys just tend a look a little bit better, at least close up. If both ears are. If you're not just straight on in both ears, or just sticking sticking out, he doesn't have to think about that night. A year, though you don't really.

Class Description

Are you ready to start taking amazing digital images? Join award-winning photographer Erin Manning for a three-day introduction to the fundamentals of digital photography — frustration-free.

Whether you take pictures with your phone, a point-and-shoot digital camera, or a DSLR, Erin will give you the tools you need to capture beautiful digital images. You’ll learn about light and exposure, including how to work with and modify your on-camera flash. You’ll learn about common errors beginning photographers make and develop strategies for troubleshooting. Erin will also guide you through the basics of digital image editing and sharing your images online.

By the end of Digital Photography 101, you’ll have the creative and practical skills to create, edit, and share stunning digital images.

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Good basic or "refresher" course.