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Incorporate Architecture Into a Portrait

Lesson 15 from: Digital Sports Photography

Dustin Snipes

Incorporate Architecture Into a Portrait

Lesson 15 from: Digital Sports Photography

Dustin Snipes

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Lesson Info

15. Incorporate Architecture Into a Portrait

Lesson Info

Incorporate Architecture Into a Portrait

We're here back on the Helix Bridge with our good friend Miles. He's gonna stand here for our cool architectural bridge shot. We're gonna so this pretty simply, one light in the front. We're going to add a backlight just because it's a little overcast right now, and I kind of want to pick up the metal on the sides a little bit more. They're getting a little dark. Bring it up, keep going. Right there, stop. So we're using a beauty box on top, just a nice, soft source, kind of small and portable. It has actually a gold reflector inside of it, so it gives a little bit of warmth. I'm gonna sit here. (camera shutter) Put the grid on it. Okay! (camera shutter) So I want you to kind of give me a slight lean in, just a slight, not too much. Good. That's perfect, right there. (camera shutter) Good. Sorry, one second, let me do one more. (camera shutter) Good. One sec, let me check this out. Great. Can you hold it down with your hand, the mask? You mean like this? Yeah, but across your b...

ody. There you go. Does that feel weird? Okay, good. Ready, one, two, three. (camera shutter) Let me check that. Cool, I like it. Let me see if I can change anything. Do that one more time, we're gonna rotate out that just a little bit, cool, just like that, okay. (crew mumbling) What's that? (crew mumbilng) Cool. Drop your side, the foil. Down, there, yep. Hold it kind of more intentionally. Look off to your left. Look off to your right. (camera shutter) Look right over me. There you go. (camera shutter) Right over me one more time. (camera shutter) Do you see this? Let's get his mask. Currently, my settings are at 800th of a second, 4.5. I'm on HyperSync, I have ISO 100. We're framing him with all the bridge around him, and giving him a nice backlight just so it shines off the sides. I think it's looking pretty cool. We're going to try a couple different poses and then we're going to wrap this up. So, we'll try that. (camera shutter) Great. That's super hard to even look at you do this. Yep. (camera shutter) It's like my version (mumbling). That's just kid of cool, right? Yep. (laughs) I should get that right as it's about to hit me. Hold on. It's so hard just to not look at it. It's just top-heavy. Let's just move over and do a little shot on the side then. So, let's keep this same sort of look, maybe we'll move this a little to the front. Keep that light right there. Actually, kill it for now. We were just chatting earlier, and you were just leaning against this-- A little casual... A little casual, yeah, yeah, Just hanging out. Chillin' on the bridge with my-- Just a chill fest. (laughs) Actually, we could get his mask for this, cool? Here, let me frame him a little bit. You want to lean back against it a little bit more? There you go. Just like that. Don't move. (camera shutter) I mean, move it a little bit inward towards that side. Yep. And now turn the head a little bit more this way, yep. And now if you could just jump out for a second. So I'm going to get ready to take it, and it's okay, jump out of the shot. Come here. Fast, kid, come on! (laughs) Okay, ready, one, two, three. Look at me, good. One, two three. Good. Look out that way. Great. One, two, three. Good, one second. Let me look at this. Looking nice. Move a little bit more this way, there. Almost done, so close man. This is (mumbling)-- Second wind. I know, basically. That's why I was like, you know what, just take it easy. That's easy. I like that, keep all your body language that way. Like the super caj look. Okay, great. (camera shutter) Good, look out that way again. (camera shutter) So currently just shooting kind of lifestyle-y type shots. Letting him hang out, just on the bridge. My settings are still 800 4.5. We use basically the same light set up, but now it looks completely different because we're not making it very symmetrical. We're just shooting down a line, we're actually filling the part where it's a little dark back over that way with a giant light burst. We're including it in the shot. I'm going to shoot a little bit tighter now and vertical, and then we're going to wrap up with two or three more shots, and then we'll be outta here. So, let's get back over on your lounge spot. And then, yeah, let's switch that. Actually, wait, wait, I wanted one more with this one, and I'm just going to switch that. And we moved it, we did move it, right? Uh-huh. Okay, cool. Okay, look right at me. Good. I'm gonna come right here. Actually, you know what, look over this way. Get there. That's good, yeah, look out. Okay, look back at me. I'm just going to move around a little bit, see what looks best, frame him. Good, look out that way again, to your left. (camera shutter) Good, one second. One more down low. (camera shutter) Right at me, then out. Good, one second. We got a guy, but let me see. Okay, here we go. Two more shots, and then switch lens and then... (camera shutter) Good, one more. Look up. Good. Let's switch up. Got it? Yeah. Thank you very much. I'm going to shoot a little bit longer. I was shooting at about 14 before, I'm going to push in to about 70 to try to get a longer throw. Get more of the lines on the side here, and let's see what we got. Aperture down to 4.0. Look out that there, Miles. Look out straight to the train yard. Great, let's actually move you down a little bit. So, can we move you right here instead? Same thing, we'll just move over a little bit more. You can kind of keep really in front of him still. Go ahead and hold it by the handle. Let's see here, I'm gonna scoot back a little bit more even still. Look right at me, good. (camera shutter) Try to put your framing right in the middle of this. (camera shutter) Good. Give me a little smile, yeah, there you go. Nice. (camera shutter) Good. Look off this way. (camera shutter) Good. Let's do the foil up again, over your shoulder. (camera shutter) Good, now I want you to go more like this instead. Stretch out your back, no. Okay. One sec, I'm gonna go vertical. Ken, move the light a little bit more that way. Keep going. Right there, stop. Alright, Miles, right here. Perfect. Let me check this out, one second. (camera shutter) That's cool, a couple more, man. (camera shutter) The foil down by your legs, there you go. Look out that way. Right there, perfect. (camera shutter) Glance over at me, there you go. Little grin. Nice, one more. Good. Okay, check these out man. It's like I'm sent from Heaven. I know, right? We turned some of them off, but we turned a lot of them in. I wanted to add a little bit of that flare back in there. Oh wow. Yeah, and I'm framing you right in that skyline. Sick.

Ratings and Reviews

awynterphotos
 

Loved all the ideas and why he's positioned his athletes the way he did, and positioned the lighting. I met Dustin a few years ago at and NPAC conference. It's nice to see him doing these teaching videos. His work is very inspiring to me.

a Creativelive Student
 

Less talk and all action.. This is the best no mumbo jumbo talks and straight to practical work..

Alexandra Schaede
 

I really enjoyed the multiple exposure video, the pity is that they are no videos to talk about the post processing of this image.

Student Work