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Experimental Portraiture

Lesson 12 of 14

90-Minute Challenge, Part 1

 

Experimental Portraiture

Lesson 12 of 14

90-Minute Challenge, Part 1

 

Lesson Info

90-Minute Challenge, Part 1

we've got the 90 minute countdown timer rate ago. Basically, you do whatever intro you want to do, and then let me know when we start the countdown timer, and we will start. Okay, So it is important for you all to know anybody that's just tuning in. That may be found out about this on Twitter. Um, this is an idea I had last night. We had another scheduled session to do today, but I thought this was going to be a lot more interesting. And so we're scrapping our session, and we're doing this 90 minute portfolio because basically, what I'm gonna do is show how show you hopefully how to think in the moment had to create in the moment because so many of my assignment jobs are, you know, you've got 15 minutes to shoot our CEO at this car place in Chattanooga. That was like the reason job I did for fast company and shooting the CEO of Volkswagen. And so, you know, so many times we get thrown into into ah, situations for Tarver's, where we have to just be brilliant, you know, without having an...

ything to work with. Um and so I'm gonna try to create as many images as I can as quickly as I can, using only this room we're standing in right now. Um, granite. I do have lots of helpers. I'm gonna be using natural light, one light, maybe multiple lights, maybe black lights. I have no idea. But this really is Aziz experimental as it gets. I have no idea what I'm about to dio I have a couple of ideas, so I would guesstimate the 90% of what you're about to see is truly improvised. Maybe 10% of it is a couple of ideas that I have looking around, but, um, we're truly just trying to create something fun to watch for you guys and to see how many things I can create. There was never getting the need for you to create a portfolio in 19 minutes. This isn't a You have to be able to quickly do this. We're just showing you examples of different things you can do very quickly in case you ever get through into that situation. Different ways to think about the way light is hitting, whether it's natural, lighter strobes. So I should just stop talking and we should we should do is what time is running out to 36. So we've got to a Are we ready? Ready? My camera cameras air here. Um, better start thinking, right. Go. Let's do it. All right, We're started. Okay, so first of all, I'm going to shoot untethered. I'm gonna shoot the cards. And so we're going to download the images at the end of this thing for you. In fact, I might have somebody running cards for you. Um, and as of right now, I don't know the first shot I'm gonna take, so I better get that together. Um, John, let's, uh, get, um, v flat and have somebody grab of e flat. Bring the one light over. We're gonna shoot against this wall right here. Uh oh. And by the way, I'm gonna be probably utilizing everybody in this room. So everybody's fair game. Uh, somebody hand me a red balloon over here. This is the part where really start filling mike leg. McGovern again. Balloons over there. So, um, I'm gonna move this chair. Mm. This chair it here. Um, who wants to? I like your dress will get you blowing up the red balloon. So you're gonna stand right here? Um, you're gonna stand right over that board you're gonna put the board behind me about right here. Cameras. You're gonna have to come around this way or that way. Probably. You're gonna flash this light full power into the board. That's gonna it's gonna turn this B flat into a big into big source. Um, you're gonna be blowing up this red balloon if you don't mind. And can somebody hand me my to 35? What? Angolans. Um, so you have pride. Just stand next to me or whatever or above me? Uh, sure. Either way, um, I'm gonna scoot this box and better. They better get going on. Oh, gosh. In the pressure count. Um, is that one firing on me test my? No, we're not. Fine. That always makes a difference, doesn't it? Um, Came in to get a 1 25th and in turn, my white bones to flash. That's fine. Just leave it yet. Beerbohm. Oh, thank you. Okay, go 16 to 35. You get your Oh, I need a is already deflated. I need a deflated bowling. Sorry, guys. You're gonna be blowing it up. They got in frame. My shot here. We're just waiting on a deflated building. Let me go and fire one. Just just She didn't directly into this white wall, John. Okay, You ready to start blowing it up? I'm guessing my exposure were firing the light. Full power. I'll say 1 25th 80 100 eso we go make guilt as big as you can. I'm trying to cover up your face with the balloon and just hold one hand on it with once you're done, you know you going? Uh, that's pretty damn close. Keep going. Even cover up your eyes. I just want to see a big red 1,000,000, over your face, okay? And you can even just push it up higher to where it's covering your face. Yeah, Let's get right there. Um, she won more, so it took three images to get that. Okay, that's good. Um, now you're done. Let's move this trash can over move the sub box. Um, if I can have people scoot this board over and I'm gonna open this door just a little bit. Oh, yeah, It might be closed. Okay, Somebody get over that from the other son. Begin just a little bit, Mr. Here. So, John. Now go go through here and with this lead again, and you're going to try to create a shaft of light coming through there. And that's closed the door back even more. You almost get the board more over also doing set design within our 90 minute time frame. Okay, let's get it all the way flush against the civic and help you. Um, Sean it actually, Let's go from an angle. That 45 degree angles. This way. Yeah. And go farther back, but the harder light source. Ah. So surely let's have you, uh, actually wanted me to this, but it's good this board over one more time all the way over. Gonna have you stand about, like, right about, like, right here. Okay. Yeah. Um, right hand over your your stomach looking off this way. Yeah, that one. Um, can I have my, uh, 24 millimeters 70 again? Gonna have that back? Similar shot, but a different effect I'm going for, um, Just scoot out of this way a little bit. Yeah, right there. Okay. John tried to catch is the side of her face. Um, we're getting there, and then I'm gonna go down on my ambient all the way to a 25th of a second to let just a little ambient light in. Actually, John turned that that power all the way down. I go up in my eyes. So to 400. Not to 8 25th Is that all the way down? Okay, that's better. Now let's split the difference. Um, actually, John, you leave yours. Where it that gonna get a and John G 02 more stops of power. Yeah. There we go. That's better. Turn your body angle. Like towards that wall. Even even a little more angle. They're there. And then just push that door open about two inches. Okay, That's good. Actually, leave your hand up like that and size. There we go. One more thing. Look, it may actually look over your shoulder this way. No, just getting back that way. Okay, Um, that's good. And then can anybody do? We have a ladder that folds. That goes that I can stand up. I on with any of that. So you're good? Um, Craig, actually, let's have Craig, You come over here. You're gonna lay down on the ground right there on that concrete. I'm sorry on your back. You're gonna get a light from over here this time and scoot that way. About a foot. This is strictly chaos. I've never tried this before. I'm like, Oh, people are liking this. It's a fun challenge, that's for sure. Much more fun than cheating on white seen once. I'll tell you that much, actually. Leave it right there. Um, you need to light it from and go ahead. But that soft box back on, we will use a little diffusion. Hey, Jeremy, Internet just like you toe clarify that you're gonna show all of these images. They will see every image take. Okay. Thank you for sure. At the end of the 90 minutes is when I have toe doing my raw processing and they will see all that happen as I do it, I'm seeking even get above the letter, like coming straight down almost from my angle. That's good. Maybe even, um directly like you see it? Yeah, That might work. Let me see it, John. Real quick. Turn this up box. Can you hold this to cheat it down like that. I'm sort of hands in the frame. We need more everything down that way. I think this is symmetrical. Yep. And then Ah, complete profile, Craig, look, all the way that way. Basically, I'm moving on to the next image when I think I have something that's worthy. So So if you see me keep shooting, that's because I don't think the images there yet. Support that out of frame again. Very cool when it come down for your hat closer up to your face a little bit. Very cool. Look at me. It's time. Yeah, I'm sure this isn't as exciting. Not being able to see the images, so we will get that now stand up request and you can raise us even above me. This time Just come stand. Um, right there. And you'll be just looking that way to come way way back here. It's actually pretty nice natural light. So now we're gonna go from trying to use a strobe on that someone to kill my pocket wizard. Shoot the same because it's actually beautiful light coming in. We don't really need this true big smile. Almost a laugh. You big fake out loud, thick left. Sweet. I'm going to change my white balance to shade. And you're gonna do that one more time. Uh, beautiful. I don't like the shade White balance. I'm gonna get auto white balance one more time, okay? Yeah, it's good. Uh, we got that. Okay, this is interesting. I'm gonna be worn out by the end of this 90 minutes and tell you that much. Um, where did that brown table go? So, brown table a minute ago that I liked for suddenly. Yeah. Yeah, that brown shiny one over there. Um, can somebody pull out the silver board over here quick? And then who do we want to? Aren't CJ Europe try to hide? Yeah. Have you were going Teoh overthrown attire every time I got on really well, no, you're fine. And they get it. Okay, So we're gonna use this is our background, actually, kind of like it facing this way. Let me see this table. I need somebody to hold a couple people to hold the table up like this. Who can do that? So you're gonna stand through right there? You're gonna bring this table right there, higher if you can and then someone come and help him balances to where it's nice and straight up. Okay, so you just look right there. I'm gonna look, Mr Pistor. Serious, Serious angle. It's a little right there. More getting your mic and the shot Move your Ah, actually, just for symmetry purposes go in, but in your top button. And then that's how you wear it. But but in all those buttons, really quick Just to make a nice Yeah, I don't have time for it. Even the top one. Let's go all the way. They're getting started. Yeah, it's actually sure. Okay. Straight in little. Right there. Okay, woman time. Turn your body dropped that arm. They've got it. Yeah, because it listens. Your shirt. Scoot in. Just a here. Yeah. Back out to stay here, actually. Do this. Very cool. Okay, we're done with that. Um, See, What else can we do? We did that. Uh oh. I know. Cindy. Let me have that. That white board now when he's a stroke, begin, Um, a pocket wizard on. That's my timer. Okay, 15 minutes have passed. Right? Okay. We can cheat this natural. Well, I think I'll just shoot this maybe India. Ambient light. All right. Would do a quick little engagement shot. Who wants to be? He wants to be married. Do we have any married couples here? Not so much. Uh, okay, here's a good height. Three sheer. Let's try that, Alan. Which, uh, you and Christie okay, Already stand on the other side of this on the other side of here. What's that? Well, your silhouette is okay, honey. On the side. Get right up against it. You on the other side, right up against it to RCR silhouettes. And then you're gonna make a pretty little heart with your fingers. Like like, uh, I don't leave that up to you. Never been. But uh huh. Actually, I could do it like this. Right upside down, maybe. Like something like something like this, guys, you know, going our pretty little engaged couple. Wait with that? Yeah. Open your bodies up. There you go. And then watch your hands Here. I feel death do us part. This is ah, good. When we should only need 11 shot to get this afeard. Must room. Is it firing back there? Okay, I'm gonna kill it for saying get it natural. If you're an actual engaged couple, I would have your kiss. But since you don't know each other, I'm gonna skip that part. May be good. Okay. Really good. Um, this is the thinking part. Fun, fun thing. Okay, let's get a grab some more of our burlap stuff over here. Okay? Uh, what's that? No, I think that's good. Okay, let's have you. Have you wear a burlap? Move your faith. First time I've said that. Sentence a and come over here. Can somebody hit me in my 51 2? Watch the hair. There we go. You're gonna stand straight ahead of me facing me. I have no idea if it's gonna work, but I promise you I won't show an image that I don't think it's remotely slightly interesting. Actually, no. What do this kind of almost like You're peeking through a tunnel. Yeah, that's much cooler. Yes, that would be cool. Okay, I never It's getting all over me. All the focus was not on. I'm cheating at and over expose a little bit. So it's ah, even let a little bit more. This thing I'm gonna change my white balanced shade on going to open up a little bit more to 200. Yeah, that's pretty interesting. Let a little bit more of it. I'm sorry. I need to see your eyes, but more closer on this side. Almost like a tunnel right here. Bring your side and closer, John. Toe the set of the lens, even like in front of it. I mean says, the cool thing is, here is we have the creative off studio than background, but I can't see any of it. Real fierce. Look, we're tough. Lips together, more squinted eyes. One more. See? Do. That's it. Okay, we get it. Um, I just had another idea. What was it? What? What's that? What's that burlap in here? Um, Crag. You look cool in that leather jacket. Let's trust something with you. Um, What's that? Let's give him the downer. Look, we'll put him out against this black, this brick wall with his leather jacket in one stroke. Um, probably that son and just Yeah, exactly. Yeah. What's that? Probably, uh, kind of almost make it look like an outdoor scenes to the light would almost like a street light above. In fact, you could climb that ladder and put a yellow gel on it, and it will give us that streetlight. Look, have yellow jail we can throw in there. Um, see, it's them wasting time now. I'm just waiting. Just kidding. Yeah, we'll go with that little work, um, thinking through my next shot, seeing what else to get no pressure, guys, no pressure at all. Any questions or we're going. Kenna, I think we're good, Jeremy. I think everybody's commenting, but what's that? Everybody's Everybody's got a lot to say, but they want to tether into your brain. Yeah, um, that might be hard to pull off. Actually did see ago last night that has installed a camera into the back of his head. And he's going to take one picture a day for the next year, and they're going to display in some museum. Very interesting. He's literally mounted singing into his head. So keep going higher, John and, uh Yep, straight down. And we're gonna go toe 100. I So, um g o started F eight 1 25th in my flesh. My white Balance it flash. And so I need you to move over that way. Whoa. We actually achieved what I was going for. That's very cool. Move this, uh, move this thing out of out of the way. Actually. Looks like he's outdoors. Very happy. Um, can you grab that? Any kind of white Phil or the even that similar field? Just lay that on the ground. Um Oh, are yellow, Phil? Yes. So, basically, just I'm gonna try to fill. We're gonna try to fill in that. Sorry. Trying to fill in that silver just a little bit. I don't know if this will work. Fill in the details there. Very cool. I'm gonna open up just a little bit. That's essentially what I'm going for. So we're good. All right. Well done, Craig. Um, looking through my toys over here, so I know what I was gonna do. Um, So let's kill the overhead lights were quick. So we're going to create some fund shadows with this guy. So, John, just take off the soft box and use a heart light, and we're just gonna I need somebody else to hold this right about here. I felt like that. Whoever can do that. And, uh, John, you're gonna fire through this against this white seamless over here. Um, and my model is going to be Did you have a question? Ideo? Ok, have a question from Patty in the chat room. Are you going for a variety, or do you plan to relate all the shots together with that? Are you going for a variety or do you plan on relating all the shots together? No, it's just kind of Ah, you know, just like one of the shots of singing amount of about a minute again would be more of a lifestyle shot. Seventies there, a little bit more fashion, and they still fall under the general. Well, I guess that did the wedding image to Yeah, I'm just kind of trying to think through different things that people might shoot, so this probably won't be a cohesive portfolio, but it will be. It'll be a body of work one way or another. Sorry. Um, let's see, Emily, let's use you again. And I told you to use that Beerbohm. Okay, that's good. So you're gonna come over here, Emily, actually. Yeah. Let's roll that out a little bit. Who have get another trick? You just have to show you you guys, you guys will dig the next one. Okay, I'm gonna need a lighter for the next shot. Okay, so you guys can lift this backup sandbag Porter seamless down. Anybody, Anybody? That's good. Okay, Emily, Uh, come on. You're just going to give me scoot over a little bit wizard on. Okay, Um, where we had in power. John, wait. Okay, let's let's start all the way up. Okay. Ready? Just give me super simple. Almost deer in headlights. Hands down by your side. Yeah, Super minimal here. Um, almost pretty cool. Mina change, I think a good sorry. A lot of what I'm saying. I'm just thinking to myself Look hard to your left that way. Actually, keep both arms down to your set again and go even further away. John, As far back as you can go, I'm gonna try to get the shapes to be harder on the surface on a seamless same thing in my There we go. Now, who's armed or see their house? He one of your arms? Yeah, maybe. And pull it out whiter. Still seeing some things are maybe go that way? Yeah. Check one that with now that's looking cool. Um then can yoga hired All top people. Step in now it's to split the difference. Good. Back down a little bit. Like your arm like that. Keep your arm over the camera, listeners. Push that right hip out some more. Yeah, and that's a shot. OK, let's keep moving. Uh, lights can get back on. Oh, my trick. Um, where's your lighter? Do you have that available? Okay, um, this is how you treat your camera bags were here, Roman. Where's my other one? Right there. Don't see. I had another. I think it had more of these somewhere. You don't know if they're over there? These little vintage. Have you found a cameras? Right. That's my work. Oh, yeah. There's our mind. Let me see the lighter. One time I had Teoh shoot an album cover and I randomly need they have something about space. So to achieve this weird idea space, I went in my kitchen in a little camera on fire. So we're just gonna Chris, I smoked the glass. Just a little it. See if we can get to kind of bubble up a little bit. Don't try this at home. If anything, that probably just made a black mark? Um, yeah, exactly. In this this is the kind of things that I do when I'm home. Home alone. I burned my gear. I think this is just making. But mark against different plastic responds differently. But why not try that? See if it worked. Let me try one more. Let's see that sees this guy. I think that's gonna work. Okay, let's try this again. Carrie is leading his cameras on fire. The flame is literally touching the glass. Let's see. Yeah, did kind of make it weird. We'll see if it works. Um, OK, so, uh, museum, let's get you over on this texture. And let's, um I'm just gonna have somebody hand hold this thing. Yes, please. Yeah. I probably went to four on this one. Yeah, that's when I might have burned this one too long, but it has worked before. Um, I see, since we since we should that we would try it. I think I went too long on that 10 I need my macro lens in here. Yeah, here it is. There is another A TV camera in here that I burned in the actual shoot. It might be one of the in those plastic bags, but it looks pretty cool. Um, it's we'll try hard as this come up closer. I'm sorry. We have to have it about them. Here. Yeah, I burn this one. Do long, so that may not work, But we're gonna shoot anyway. Yeah, that's this camera. You failed. I failed. So I want to shoot people anyway. You know what? I might work. We'll see. We are you already strobing. Okay, We'll see what happens. So Amen. This is really interesting. Where is she? I saw you minute ago. So now we have bubbles, right? Right there. You'll see me focusing in a Okay. Sorry. When I start to go fast like this, that start to sweat, and then I start to smell really bad. You're getting a nice, big, nice big with of me right now. Look off to your son to your right or left. Same thing. Um, that's his phone. I see. And you're hard to find. Where are you? Had you I'm gonna cheer them that burnt texture on that one first. Everything is jet. Yeah, we'll go with that, though, just to show them what can be achieved. There is a really cool image on the website. It's an artist called the Sindh, and that was the image that I shot after I burned my camera in the kitchen. So if any of you want to go look at jeremy Cowart dot com, you can find that image. I was just gonna remind you of your 50 year, 54 minutes. Is that right? He talking smack now, and that's the office. Ah, let's turn on the Heyzer over there. Checkers? Uh huh. I think you're right. Yeah. Um, let's get our Hayes. They're going and stuff gets Some of the images have shot already in this workshop. I could do again, but I'm trying to create only new images. Um, could always be fun. Sometimes. I like Teoh, you know, tear up, tear up this stuff. Just gonna get the season. Actually, that might be cool. I'm going to take this. Sorry. And let's plug this bad boy in. Uh, and we're gonna see John here. You know, the corn. No pressure. So what I like is this metal and here. And if I use John's head Teoh flag, that's all I might put every year, so I can make use of the natural light coming in the window. I'm running at a birth. Um, and then we'll just fire away and see what happens. Um, bring the go and bring this over here. The whole of also being actually, maybe call it that Bt Discreet, too. It's right there are there, but facing me, they go. So this we call this our Willie Nelson shy. It's in. Somebody lower this stand. Get your head banning all in your well, I'm here right there, and I'm gonna get your profile's gonna face that actually other way. Scoot for just a here. Oh, and can somebody grab me my 24 to 70 lens, please? Um, John, you are now in the felt books. A lot of focus become, so turn that the power all the way down, so that could work. But I don't want to do that. That's what I'm talking about. Very cool. Um, and drag my shutter to let some of this light come in. Now, the 30th of a second helped a little bit, Powers all the way down. Right. Um, look. Look at me this time straight on you, actually. Right there. It's come from the really drag. Much better. Very still, John. Very good jobs. Things still did I Not on purpose. I'm trying not to. If we were that, that works better. Yeah, that's actually looks pretty good. Um, one more for ticks and hold my breath. Here we go. OK, hard to the left. Uh huh. Bring it. Um, what could our background be? Yes. And what? Uh huh. What's pick here? Lots of stuff. No, no. Another shot I wanted to do. Backgrounds were not used yet. Okay, No, we want your hair and done. Uh, Yep. Okay, um, somebody could start seeing that whip my hair song. It would be a good background music. John, let's move these flats of here. I'm gonna use the green lockers is our backdrop. That would be cool with her fiery red hair. So we need Ah, some kind of chair will grab this thing. Case the list. Celeste is our creativelive producer. That your official title? All right, um, sit up and you're basically gonna whip your hair mawr, like, set aside like that. Is that an amazing example? I just gave you, uh, deal. He I would have a tripod, but we're gonna try to get without it. Not from my my friend. We'll try it once. First loving it. Yes, it is. Let's see. Coming. Okay. Ready hunt to three. I was using this trip like again. Go the other way. Yes, to start looking that way and then turn over across. Okay. Won t three and then you hear, like some missing with locker Actually, uh, I didn't get one more time won t three Okay Won t three and then actually stand up quick and then turn your head down and do it up. And but skewed every little bit. This way, De Haan. Stay right there so I can focus. Pre focus. Okay. Okay. One C three. Go. Uh huh. Ariel. Okay, look up again at me. Okay. Ready? Probably. It was nothing, but it's kind of funny on then. One more time said the fund. Thank you. You are electric. Sorry. I'm quoting Ron Burgundy again. Okay, Um, stare there. Have you blinked? Cheater. Okay, one more time to the sad. You just keep going back and forth for a second. I'm just kidding stuff more time Hold on. Focus. Going back to manual. Focus. One more time. Back in for go. Okay. Done. Way to go. And we got one that I like. What's a Oh, the Heyzer. Um, how much time we have? 45 15 minutes till I start editing. Okay. Um, yes or no? We'll see what happens. Uh, just right there, actually. Yeah, actually. Right there is. Let's close these blinds a little bit, actually. All the way. And just let's settle Slivers of light. Come through. Hey, Jeremy. You hear me? Yeah. Yeah. Can you have been wanting to look, period, But I haven't. Anytime there's glass and lenses involved, I'm game to try things. Uh, so you're my way. That's anything. It came to one point. Where do you focus? I've never used one of these. I say something. It is interesting. I don't know that pulling image out of it. There we might try it. Let me see a little more open Just a hair and let's go ahead and turn that Hes wrong. That's good. And then that hat looks amazing. Emily gets you and one stuffed box, please. That's fine. Yep, It's already so I'm gonna sit on that, Um, And if I can get somebody of the flag too, Shine that fan this we want to smoke going up this way. So, I mean, if you get a hold it, name it that way. Probably not. So you could catch them again. 70. Move this real quick. Anyone that's not in the shot. So we want as much smoke to go up into these blinds as possible. Way smoking everybody out. So, Emily, let's have you come stand right here. Have you standing there? Yeah. There you go. Perfect. Um, actually gonna movie right over here, and then let's keep keep it firing. There's let it go on, then consented. Come turn the blonde the other way. We think this place is about to go down in that. My work I wish we had. Ah, I wish we had a strobe outside like we did yesterday. But that's a good We will try to make this work opening back up a little bit and actually leave the stuff. Bucks right there. Actually, if somebody could just raise it up a little bit and we're not firing, it ends there. We plugged in a Okay. Nice work I said on 25th trade. Oh, look, Write it that way. Auto focus Back on, Philip Definite the blinds. I think we're too much smoke to me and not enough over their opening the blinds a little more. Yeah, yeah, yes. Try to get it away between us. I mean, me and her. And that's gonna be hard and that you're good on the spoke for a minute. Can you grab the slight out of the way with snow on it in black crap? It looks very, uh, Titanic or something. Same thing. What I was trying to do is to get these slivers of light. It's for the haze to create slivers of light coming through those blinds, and we could achieve that with more effort. But I don't think I don't know that we can in our short window of time. Here, go and pull those blondes all the way open. Now, give me a very romantic like that. Your typical thirties like head back. You know, like you're doing annoying over somebody that's better with even your hand like I was. And then across here. Yeah, that's great. Send back down a little bit. nice puffs. Okay, Um looked straight at me. Shut up. Some of that light really coming here. Still in camera. Chin up a little more. Okay. Very cool. All right, Becca, you're looking quite awesome over here. I'm running out of backgrounds. That's my problem right now. Maybe the white curtains might be cool. Jeremy, I have a request. Balboa in the chat room. Okay. If one of the photos could be a self port, A self portrait. Interesting. Adding to the jail in the next 39 a half minutes, let me go and give you a car to start down. Letting these so once for my 90 minute once 1 30 60 minutes is up. I can You can go and get those loaded self portrait. That's what they want. Jeremy. Um, that's really funny. Let's see. All right, Becca, um, heavy right here. Where's my ring light? Can we bring that over, John? Me this light behind it. What's that? I kind of like it. So you're going to kind of just interact with these curtains is kind of, you know, whether dangling them right here, I don't just play. What's ah right here. I'm not talking guys, Um, the end of this on this phone still have power your chin back a lot, A lot of attitude again and get I like the torque in your body. So one shoulder higher than the other. It's going to really push that hip out. Let's see more of your arms and hands and kind of disappearing. Let's go to this flash. There it is. Hello? She's awake. Now, if you could only see that image. Yeah. Yeah, definitely. Where is it now? Half. That's good. Still, there just This is nearly a school. Is your crash disco ball shot? But it'll work now. Just give me, um, stand just in front of it and just arms down by your side. Yeah, I kind of dig the nice thing. Simple. Shut up a little bit. Look hard. Hard to your right profile shot. Just your head, Vega. Okay, that will work. All right. How many minutes from six minutes till start editing. Um, experimental portraiture. Here we are. Um, okay. We haven't uses who is Ah, Craig, you're looking good. Let's have you come over. We used we used the left. So you're gonna go back behind here um, and John, you're gonna let him from behind with the swollen? Yeah. Oh, sorry. Baskets. I think I think I'm now talking to baskets. You know, lost my mind when I'm talking to props, apologizing to props. So I like that you can just you go back to against that wall all the way back against it. You are in dispute over someone just back flat against that. You're looking that way? Yeah, that's nice. Uh, Johnny. Ready? Cool. So go over in the end of that corner. Right? We're going. This will be nice. Did a fire. Sorry. Okay. And for those watching, I'm just guessing my settings on these and then darling it in. Um, do you have another head readily available? That good? The kid, um, come into play, too. That looks good. But I want to like the foreground a little bit as well. We've got three minutes. Four minutes. This is really where we're getting into. MacGruber. Territory. Four minutes. This place is gonna go up in flames. Uh huh. Uh huh. Someone hit me. That dog turd quit. I don't like doctors. I don't want to touch that thing. And explosion. So you're just gonna pull this way back. Maybe. Um, it does look pretty interesting. Now I'm gonna get one more. Just your light. John, Who just turned that power down? It's actually called. Yeah. Good. Down a good bit. Okay. Same thing. Go down some more, and then just bring it back as far as you can. This way. That's nice. Very cool. Um, change the white balance T flash to step off. Just a hair off that wall right there. Very cool. That's fun. All right, That's good. How much time you have left before? I want to start editing two minutes and 30 sick. It's What's that? 2.5. Um, okay, I might try something. I did it with Christian. Really? Quit with my, uh, mirror over here. Who are Suess? Who else? I Can I borrow you? Effort? I'm sorry. Forget your name. All right, Chelsea, come on, huh? Go back to natural light. You're gonna sit on this box right here, Sit lightly. I might break. I don't know. It just looks like it could break with anything sitting on it. Yep. And then just lean brisket. That back. Okay, lets go. And then what? we have behind here. You can grab that. Anybody grab this Adam away. Thank you. And lean back. Right. Thinking this here. New flash. Look right up with me. I don't I love this shot, but I'm going to try to see for quick because I thought we have last K. Look up it, Megan. He's in camera meters. They tell you what, it will change your life. Okay, Give me again. Lean back some more quips didn't mean the flash. Okay, that's pretty good. How much time? 26 seconds. Cool. All right, so I'm gonna start editing all that stuff.

Class Description

ex·per·i·ment (noun) - a test, trial, or tentative procedure; an act or operation for the purpose of discovering something unknown

How do you make extraordinary photos that surprise and delight? Join Jeremy Cowart and a lively mix of first time models in an exciting, eye-opening 2 day workshop. We'll explore methods and techniques to reveal, highlight, expose, enhance and otherwise present your subject in new and unexpected ways.

Reviews

a Creativelive Student
 

I almost didn't watch this one. It was a little slow at first, but once JC get's going it's a fun ride. He transitions from using $2k strobes, to using just a few dollars for lighting. This course opens a lot of doors and shows that it's ok to go against the grain and to think outside the box. Lots of good ideas to see in this one!

Mike Taylor
 

Experimental portraiture is just that. Experimental. However, I don't feel that JC was properly prepared. Shooting a single person with a 2400ws pack is simply overkill, considering that he wanted to be shooting wide open. A fairly simple solution would have been to use a few sheets of Lee ND filter over the light head. I do suppose this was typical of any shoot. Especially a shoot that I'm doing.