Natural Light & Alternate Light
Now that we've kind of seen a little bit about the process of what goes into making this indoor location shoot happen as far as all the thoughts that I go through, the checklist, the working with the subject, the initial framing and lighting, even seeing a little bit about the first shot and how that works, once you feel comfortable like you've nailed that first shot, you have a good feel for how the shoot's going, there's always room, or hopefully, there's room to be able to experiment and try something that's not, not exactly what you planned but to push it a little bit further. And like I said, I'm always shooting with lights, whether it's the Profoto strobes or whatever it may be, but occasionally it's fun to get back to where we all started which was with natural light for the most part. And I like to try and build room for that within the shoot to see just kind of what happens. It lets you shoot a little, a little more quickly. Sometimes I will unplug from being tethered. And jus...
t kind of see what happens. And, that's what we did here. So we were able to move Alisha from, you know, her area at her workspace of staging all the, the work she does with the wax and everything. And then moving her over towards that big window because it just was asking to be used for the natural light, especially on a nice cloudy day with that big warehouse style window. So you know, don't be afraid to use what the location gives you. You might have that plan in your head. You might have that shot list. But again, things happen for a reason. And a lot of times when you get to the location there might be something that's so obvious that you can't ignore it. And in this case it was, she had a workbench set up right along the window. I'm sure she loves to work there just because of that bright light. And it being an overcast day, it was just like this giant soft box right in front of her. So, I thought why make this more complicated than it is? We already have the shot that we had planned. Now let's move forward and try something like that. So trying alternate lighting methods when the location allows is definitely something you should do because who knows what will happen. In this case, I've already looked through all the images obviously and one of those portraits turned out great and it looks exactly like the lighting which is why I light the way I do too. It's kind of a more polished version. Her sitting this close to the window there was no need for even a reflector at all. It was, it was that easy. And this also let me change up the frame a little bit as far as working, focusing on her hands, focusing on her face. Pulling back and getting some wider shots and letting the, the studio kind of fall off into darkness and keeping that focus on her. So you'll see how we do that. And this might also let you expand your shot list. Again, adding those detail shots of her hands. You'll probably notice that she has these panels and they have blue painters tape on the side. Well that's for all the wax that falls over the edge as she's working. Before she puts them on the wall, or sends them to a gallery or a client she has to remove that wax. And I thought, well that's part of the process. You know, it kind of just looked like a fun time to get those detail shots of her stripping the wax off the sides and removing that blue tape. And that's exactly what we did. So, the next video focuses more on using the natural light. It's not so much about the lighting. It's more about the content and getting those additional shots. And those details. So we'll take a look at what goes into that. There isn't a lot of technical info there. It's more just shooting by feel. And seeing what happens. So let's take a look at how we move from our strobe lights to our natural light. So what I'm doing for this shot, we obviously used strobes to recreate sunlight for the first one. Well now I've moved Alisha much closer to the window. I'm gonna be physically closer to get a tighter frame. And we're also using only natural light for the first part. So I'm gonna do two shots here, both, one of them just natural light. And then one where she's back lit with natural light. And we're gonna counter that with the strobe as the fill. So, we're just gonna start off. She's gonna be scraping the wax from the paint, edges of the panels, using the torch and the other tool there. And I'm just gonna be letting her do her thing in this nice pretty window light. And I'm just gonna shoot. The only difference is I'm not shooting with a strobe. So I went down from five six to two eight. But I'm leaving all my other settings the same so that way when I go back to strobe I don't confuse myself and it's an easy transition. So, all right. (camera clicking)
I could scrape more but I don't know that I want to do that.
Okay. Yeah. Just kind of inspect it as if you're, seeing if there's any other work that needs to be done. Maybe, yeah, there we go. Okay. So now just some with you looking straight to camera. At the lens. And then I'll just keep moving around. Keep your head, nose just this way a little bit towards the windows. Yep. Right in there. And expression. I'll give you a three count. So you know when I'm gonna take it. That's kind of the difference between action shots and you know, eye contact portrait so, one, two, three. And I'll be taking a bunch so. Yeah, that's perfect.
Do you want me to move?
No. I like how you're sitting right like that. Yeah. And I might even have a couple where you're holding that. Like you had just finished, like you were just doing this and then you just glanced up to the camera. So maybe holding the tool in the one hand. And, I'll give you a three count. So one, two, three. Perfect. Let me do some verticals of that same thing. Looking down to start. All right, eyes right up here. Perfect. And then maybe one with the, a kind of a smile. All right, one, two, three. Perfect. I'm good with that. Now we'll switch to the back lit one. Okay, so you just continue on. Although you will be holding it.
So I can do one like this?
Yeah. That's perfect.
I do have to soften that up really quick.
Okay. So maybe turn just a little bit more towards me. Yeah. Right in there. Yep. And now you can do your thing. Okay. (camera clicking) When you're done with that row I'm gonna have you glance up to camera once. Perfect.
I'm awkward when I don't actually normally work in this position.
Yeah. We can. Before you do that, I'm actually gonna have you move your chair this way like six inches. Just so you're not, there's a weird. There you go. That's perfect. There was a bar going right through your head. And I wasn't really loving it. That's good. Yep. So I'll let you do that and then I'll have you face this way again just for the lighting. And then we will call it good. (camera clicking) I'm sure to get the verticals. More kind of looking as if someone came into the studio and was down by that hallway. Yep. Like you just glanced up there. There we go. Perfect. Um, last shot right here is the same thing. I just gotta have you face that way again. Um, no you can just sit there.
Whatever. Maybe like you're adjusting the torch intensity of something with that little dial. There we go. Looking over this way real quick. Perfect. (audience member speaking faintly)
All right, so you kind of saw a little bit about how we did some alternate looks. The first one was all natural light. And then obviously I went in to using the strobe. That wasn't working out exactly how I wanted. But sometimes that'll happen. That's why at some point I thought, ah, we'll just move on because I had that safe shot. These were some alternate looks. The natural light version was working great. The last version of this back lit, I couldn't quite balance it out. And I didn't want to totally reframe because we still had another shot on our list to get this portrait. So sometimes when things aren't working and they're not going to work, I thought, ah, we'll just, we'll get rid of it. We'll move on to the next thing. And you probably saw when I was shooting natural light I looked over my left shoulder towards the ground. I don't know if you noticed it but I did that about 10 times. It's because right next to me was a pot of that molten wax. And I could literally feel the heat on the side of my face so I didn't wanna dip my elbow into that. But I remember that. And then when we were watching this video that's the first time I've really paid attention to that part of the video and I noticed myself looking over there. So, some of those elements like that can get a little tricky too especially around hot wax. But I loved how the images with the natural light turned out. Again, the detail shots of her hands. I wasn't planning on doing that when we started. But when we got over to that light, and all the sudden her hands were the focus, it just seemed too obvious not to capture.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Confidently create environmental portraits
- Light any portrait, indoors or outdoors
- Compose strong environmental portraits
- Cull and polish high-end images in post
- Develop a portfolio and marketing tactics
ABOUT DAN’S CLASS:
Create dramatic images anywhere by mastering on-location scouting, planning, lighting, and composition. Join professional photographer Dan Brouillette in a start-to-finish course on the art of environmental portraits. From planning and scouting to post-processing and portfolio building, gain the skills to shoot high-end portraits, anywhere. While designed for environmental portrait work, this class is also for any photographer that wants to create better light, on location.
In this light-intensive course, learn how to craft environmental portraits using photographic lighting techniques working with both natural light and studio lighting equipment. Work with multi-light strobe set-ups and natural window light to turn difficult lighting conditions into beautiful light. Then, learn how to mix natural light and studio lights for dramatic effects that complement the scene. By incorporating light in new and inventive ways, Dan will help you push the boundaries of your portraits and improve your workflow.
Finally, work with culling and post-processing. Learn how to polish images using a combination of Capture One, Photoshop, and Alien Skin software. Then, gain insight into building a portfolio and marketing your work to work in editorial and commercial areas for environmental portraiture.
WHO THIS CLASS IS FOR:
- Budding portrait photographers
- On-location portrait photographers
- Photographers eager to learn on-location lighting
- Photographers branching into commercial and editorial work
Capture One 11, Adobe Photoshop CC 2018, Alien Skin 2018
ABOUT YOUR INSTRUCTOR:
Dan Brouillette's high-end editorial style has lead to work with celebrities from Anne Hathaway to Scarlett Johansson. A commercial, editorial and senior photographer based in Nebraska, he's known for giving everyday people the Hollywood look. His previous work as a lighting technician helped him build his signature style using dramatic lighting techniques typically used for commercial work. With an insightful and easy listening teaching style, he helps photographers learn to craft with light.