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Experimental Portraiture

Lesson 4 of 14

Experimenting with In-Camera Color

Jeremy Cowart

Experimental Portraiture

Jeremy Cowart

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Lesson Info

4. Experimenting with In-Camera Color

Lesson Info

Experimenting with In-Camera Color

We're gonna bring all four people in a minute onto set all four models. Um Oh, thanks. Appreciate. Do those split those lockers right there? Um, I'm excited about this. This next shop, because we're basically going Teoh, go full full on with our lights with their subjects. With our poses, this is gonna be the full deal. So, um, let's see. Becca, you are incredibly tall. Yeah, it's awesome. Um, back in the tub, you go and come on. Oh, and, um John, I think we're ready to take one of you outside into, uh, t. You're gonna like this window right there. We are going to also get the haze they're going. Yeah, but her Hold the light. Um, you and we can also, uh, where are my color jails? Right here. He only carried colored hills where you carry indeed to, um, all the above. This is my my role of color that I think with me everywhere I go and and but explain what I use and when I use it. But basically, right now, I want to create a very warm light coming through those blinds right there. Uh, ki...

nd amendment mimicking the sun and so actually don't have a great yellow filter in here. But we're going Teoh. We'll go with the best. We've got to move some stuff you always work with on just ropes, Or do you mix in speed lights? Um, you know, that's a good question. Uh, I should work with speed lights as light is there in It's portable, affordable. They are new. David Hobby. Mr Stroh vistas. They the master at that. And I know he talks a lot about that, and I just haven't much. It's not because I only prefer strobes. It's just that I haven't really met. So that means I've started out cheating pro photo. I just, you know, just kind of, um, to get a loan and bought a few pro photo lights, and that's all I've ever used. Um, I have shot about 20 to 30 weddings years ago, and obviously, I had to work with on camera speed light quite a bit on, uh, definitely learned a lot. Everything taped together. So this is gonna kind of act is our son. Um, it's a little bit more orange, but it'll get the job done. So what I'm gonna do is have one of my assistants go outside the building, and the beauty about using that 600 watt pack is that it's portable. It's battery powered. So I charged it overnight my hotel room, and now we can take it outside and use it without having toe. You know, uh, plug it into anything and say Who's going outside to do that now? Okay, um, so he's gonna go out there and do that, and basically what we're gonna do is we're gonna create that that hard, hard light coming through the blinds. We're going to use a Heyzer, which is basically a fog with fog machine and smoke machines. There's lots of different brands, but I like to use them occasionally because they create a very interesting texture in the air that that I find kind of interesting. The trick is to not overuse them or really not even using the time because they really can become over done. But I found that they're kind of fun to play with sometimes. And, uh, we're gonna try here, it's gonna get really smoky. So I have no idea what's gonna happen on camera. But I'm right, exactly. I think so, Yeah, sneaking down through this wall would be cool. Um, Craig, are you ready back there? Uh, you ready as well? Come on. Okay. Get to Craig's. Yeah. This is gonna be fun. I'm excited, toe. Now I'm in my element truly, where we get to play with the big sets and all the lights and all the color. Um, kind of throwing everything at once that you all. Now, um, I'm gonna have you go back and stand against the ladders, even, like, go ahead. And I'm kind of it might be awkward. We need to make sure you stay safe back here. Um, three ideas that we maybe just standing on the first or second stair. Just kind of leaning leaning on it, you know, you're gonna be elevate. I'm gonna be cheating lower. So I do want you hire, uh, maybe one more. Just let me see it and we'll open there. Yeah, I think that would be good. It's perfect. Yeah. Um, this a lot of times, people say, Why do you need three or four assistance? This is one of those times because I literally could have five people doing different things at this very moment. but I've got John outside putting up the light. She's sitting up the Heyzer. Um, it is my third. Where's my well ish? Yeah. Um, let's go ahead and get, um, basically, what we're gonna do is we're gonna use the beauty disk read up front. Gonna put a smaller, tighter grid on Rebecca in the back. Um, do you have anyone else to connect of the fourth assistant in here? Okay, it's still hitting up facilities if bad boy. What? Uh, maybe yeah. Um, And what can take questions for a few minutes to you if anyone's asking? Actually, the question from chat room from Robbie. Um, I would like to know if you usually uses a set team or do you change it depending on whatever location your at? Yeah. I mean, a lot of my jobs are our travel jobs, and so when I'm traveling to L. A, I actually do you have some guys in L. A. I always use the same two or three first assistance, and then I trust them to hire the second or third assistance. Um, at home in that show, I pretty much use the same three or four guys because they know their stuff, but also because I like them as individuals. You know, it's fun for me to hang out with my friends when I'm shooting to just have fun. We joke around a lot. And so for me, when I look for assistance, I'm looking for personality and guys that guys and girls that I just enjoy being around so it doesn't, um, technical know how. It's certainly a big deal for me. I don't want, you know, on assistant, sitting a polite staying without sandbags, because then it's like crashes and falls on my talent. We're all in trouble. And so did technical prowess. Is is a big deal. But more important for me, his personality, um, the answer, that question it does. Thank you. Yeah, because you're Mike working. I don't know. Let me ask. The internet is my mind work. Um, this is gonna be a cool shot there. Let's go in. Scootsie over to the right A little bit. Yeah, in the in the chair. Yeah. Um, see what other props we can play with here? Um, yeah. We can get turn all their models modelling life on, um and we'll wait. The Heyzer that we're using is warming up. So we're waiting for that to g O. And then one of the things I'll have to do with color is Teoh to mix colors together to create to create kind of new killers. Um, red and green make blue. Uh, now, this is a weird color combo that I use a lot. It's odd. Lime green with the kind of bluest steel or something. You can see the already taped together. That's because they use a mark. So we're gonna We have gas tape. We can put this over the beauty dish. Then we have Gaff tape. Yeah, Gaff tape is gold. Stuff is amazing. I fixed many things at my home, would get it. So, uh, that made my home sound amazing. Everything is Gaff tape together. You never know what? Yeah, right. Um, yeah. Yeah, I think that'll work. Let's put one more. Yeah, and I apologize for the wait time. This is definitely longer thing to set up, but I think I think you'll enjoy the final result here. Um, for me, I actually prefer the really, really complicated sit systems like this where you have a huge set a big cast, and you just get to play and figure out where the light works. Works best. So I'm gonna have the beauty dish grid mainly focused on her. I think Craig is gonna catch a little bit natural light. We're gonna have a Let's roll the big light over here to go and get that coming. Um, so I'm gonna have the grid on Becca, and we can also go much higher with that kind of the same thing I was saying before, Like, kind of that 45 degree angle. Um, is the light outside already? Ready, John? Okay. Is the class seeing that light fire outside? Can you put the cameras on that window? Watch when I hit the test button? See, that's the cool thing about pocket wizards. You can set a lie outside the building that's battery powered, and it will still fire. Um, and so Becca is going it blasted from behind with that light? Um, yeah, we'll start there. We'll start everything like, really full power. Um, this is gonna be are a little bit of Phil overhead, so get it is more kind of aiming straight down as you can. Yeah. Easy. easy, easily done. Right. And then, um right. So, like I said, this this big light is going to be kind of our general overhead. Phil, um, I'm gonna have this beauty this higher power that everything could well say that she's our lead singer right now. And this is her supporting cast. Um, I'm Mike. Actually put you on a stool in her against the wall. I'm gonna grab a stool or something of the sort. Thank you. It's perfect. Um, CIA Craig, let's put it over here. Jeremy. Right now, You I set up? Yeah. Right now I've got four lights and, um, what's that? Okay, um, I think that's getting again. And this kind of said I just like Teoh. I'm just trying to play with Killer in general. I'm gonna also put some color on Becca back there. Although charity has some coming from behind that it might be cool. Teoh, trust something else on her. You can tell how well we take care of our jails here. Um, trying to think what color when he is. No, I think I'm gonna leave it since you ready? Has a warm light coming from minder theme. Gonna leave it as is, um, And this He said, John, that this is all the way down. Okay, um, and this is pretty cranked. The greatest pretty crank. Do we have one more grid we can use? More Good. Set on under the light. Basic. Basically, what I'm trying to do is I'm trying to make all their faces pop a lot. Oh, it is. No, no, I think you're seeing when that secrets One outside and one there. Here. Okay, well, let me go ahead and take a look overall, because I have no idea where we're gonna be it right now. Um, let me switch lenses as well. How many? You now go to my 16 to 35. Um, wide angle. That was it. Not jelled. Yeah. Yeah, I'm sorry. Um, that's right. Yeah. Let's do the Where was that orange ish paper? Had it was on the bottom of the pile to go. Thanks. Obviously, I'm using a wide angle lens because we have a wider set. Um, the bummer. Here's therefore ours. Our floor doesn't extend out, so I only have so much floor to work with, which actually is very applicability toe. Because a lot of times when I'm doing a job for client, you know, you only have this kind of Florida. I mean, it only extends far, so again, trying to make, make do with what you have. Um, I'm gonna come off the tripod now because I don't really need this thing anymore. It gives me more room to play, so I'm letting the Internet know that I have no idea what this first shot is gonna look like. No clue. This is what we would be doing before the talent arrived. Like, this is what me and my assistants do on the pre lighting day or on the hour before the sheet. We just sit here and play with the lights, and I'd get it doubt in until I like it. And then we'll tell the client Hey, we're ready. Bring the talent and then in the first shot Looks amazing. So but you're getting to see the full the full test. So, uh, that was just a random stab in the dark. So who knows what this will so being? I had my previous settings dot n c l ignore that. Um, so it's not It's not a terrible start. Um, one of things that's bothering me is that I'm close and I'm zoomed out, which is never a good idea. If you're using a zoom lens, you want to scoot back as far as you can and then zoom in so that everything is nice and compressed. And it doesn't make your your subject look weird or anything. So I'm gonna skate you a little bit with your chair as well, in a little bit. Um, let's see. Craig is catching a little bit of beauty dish on camera. See, Overall, I want things darker. So we're, um Let me see it. Excuse me, hairball. Um, just kidding. Can we close these blinds guys from in it? Water might be good. Can I get a water? Anybody? Where? A stroke. You're blind. That was probably may. I'm sorry about that, but I like a that somebody. You didn't directly blame me. That's good. Three, Joe. Thank you. Did you get that on camera of them Water all over a massive. I heard you on time. Three o'clock. Sweet. So I'm, um Tighten everything in a bit. Let's have you scoot and a little it. Craig, you can cheat in just a hair. Um, I'm gonna get lower, skewed back some more. See, as you can see on camera, I think, um, still looks a little bit wonky cause of my wanting Len, that I'm so close. But, um, I don't know that I'm loving that green. If you can run outside again and turn that, um, let's get the haze air going to you already. Give me, uh, take it down. A couple stops on the outside light. Yeah, I think so. Um, let's go. Let's go lower with this one. And I might take my take this green because we already have green on the walkers. Don't like how it's making it super extra green. So we're still down it in. Everybody trying to get it to where and this is Actually even there were only doing this in 30 minutes. Usually have most of time. I have more time to Dallas, that fan, like, a lot of times, you know, we'll get a few hours toe delight, something hopefully and then other times you get 30 minutes. So this is this is more on the shorter side. I'm trying to rest to get the the shot dot n Siocon. See the full process. Um, go ahead and give it a couple. Don't leave it going consistently. Kind. Like what you did before. We just left it running for a minute. We're getting the Heyzer. Kneel down again. Here comes. Can you get the little puffs of smoke coming out? Then there, then can you, John King Agrippa flag and kind of, ah, use a flight to evenly disperse it. So once you get smoke going, it's good to have a little are Uh huh. The real trick is we want to get it back on that corner where Beckett is. Yep. Can you can you scoop back with your chair a good two feet away from me and Craig you skip back to That's good, get you a bit tighter? Yeah. So you you might be able to see on camera. It's just a nice It's even that which I like. I don't want to see the physical elect smoke texture. I just like that general smoky bar. Hazy kind of look. So I think that's enough smoke, and we'll just ah well, let it even out for a minute. Um, yeah, it's true. That and I haven't even started posing or working with my subjects. Really? At your doing. Good. Yeah, that's really not there yet. Um, my goodness, people are tuning in right now. The amend coward. The terrible photographer. Um, so yeah, let's let's, uh, doubt let's first, we'll go higher. I really am trying to get more skewed up a little more even may become, put this light over there and rake it across her face. Sad way. So we're not blasting the whole the whole set. Also, when I'm shooting in a client walks on set, we try to hide all these test shots because, I mean, this is what you have to do. You have to you have to dial it in. And you know, if a client walks in and this is all they see, they're probably not gonna be too excited. So we wait and try to show them the very final test shot that I'm happy with. And obviously I'm not happy yet. So, um, and right now even have this beauty dish with the grid aimed a little bit away from our subject, which I kind of like is it just kind of fades off into her face. And I think sometimes that can be a nicer, nicer looks. So let me try again. Scoot a little bit. This way. Now you're good. Let me see your arms. Don't let him disappear, and then just drop your left arm. There you go. Maybe turn your body to that opposite wall. Becca, if you can. And then put your put your left foot down your right knee out. See what? Our movement of the beauty Discreet. Yeah. There. Right now we're talking. We're getting closer. We're still not there yet. That what? You're what you're concedes. I'm trying to really highlight our front person and kind of make her our star and let the other guys just a little bit fall off into the background. Um, And what you're seeing it too, is that Craig is really, um make sure my vignette ing has turned off. Yeah, I've been getting was still on a little bit, and I don't want that. That's a little bit better. Um, so let's go down half stop on the beauty dish and let's get that. We had another grid available, right? Yeah, that one right there. Let's, um, put that one back in the corner, and I actually know what I'm gonna put it on for. We're gonna put that about. Think right here. Tell me again. Louisiana. Okay. Cool. It's a great name. Um, but now I know. I know that we're getting pretty close. I'm digging this, then seeping in aimed those blinds back at me a little bit. So see a little bit of the texture of the extra window. Um, that's possible. And then can you grab those gels? And this time, uh, this blue green mix and put it across half of the beauty dish. Can I know? I keep asking this, but I have to ask, is he was everybody digging this, Enjoying it? Yeah. Go. All right. Yes. And people are coming up with all kinds of experimental questions themselves. I have a question. Yes. Is that fretted light? Uh, up there That you're you, the seven or what's that? Doesn't have an orange gel on earth. No, it actually does not have a job on, but it's We're trying to just put that spot right on Becket's face. Okay. And then we've covered half of this beauty dish with green and blue because I like that color kind of. But I don't want flooding the whole set, so I'm just using it a little bit of it. And then Louisiana right here and then, if anything cheat a little bit to the right. Actually, you know what? I'm sorry, Cheetah. Love it to the left. We just want to see what that looks like. The other thing I'm really conscious of when I look to the camera is really keeping on my line straight. I hate more than anything to see, you know, crooked line. So you'll notice that I'm trying to get all my lines pretty straight vertically in the shot from the green locker to the, you know, to the blinds and everything. Um, so here we go, guys. See where In the in contrast to cranes, John, Push that. Did that one fire meet the test button? It is fine. Yes, sir. I got I I love the window window. It's cool. Um, so still want Yeah, Let's just turn the power to get it in on a warm it up a little bit, be saturated a little bit. Stay here. One thing that's bothering me right now is all the crazy shadows on the ladder. It's a bit distracting. Um, and I think that's mostly coming from the grid. Right. Let me Can we kill that great for minute, Kazbek? It's already getting lit from the outside window. Um, let's see what that looks like without it. And one of things we also have on this image is too much floor. So I'm probably just gonna go ahead and we have it on the 11 ratio. Um, unconstrained in a re crop, this image, maybe about their that fills better to me. So right now, the biggest distraction is the shadows on the ladder Over here. Craig is still pretty dark, but in this case, I don't I don't mind. I kind of like I don't want everybody evenly exposed. I'm purposely leaving him in the dark a little bit. We are trying to light up Lucy on a bit more, so let's take another look. Um, I'm scooting over just a hair more this way. Yeah, there and then really kind of leaned back into the cool and Craig scooch up just about a foot. Maybe so. Yeah. Now you can tell the Becker really is getting Ah. So let's let's split split that in half. This this light the grid on Becca. It's looking pretty cool that I'm getting. I'm getting pretty close here. What did you mean by splitting that in half? Well, splitting difference between it being completely off and what we had a few minutes ago. Just kind of full power. Um, one more time. Here we go. Okay. See, I want their several things I could do, and that actually is looking pretty good. Um, you know, legally ours. They're tired. Uh huh. Um, what is that back here? There. That's it. And it's just reflections. Can John Assembly still outside? Tell him the dalit down a little more. Maybe you've stopped. Um, And then, uh, can we bring this grid, Rebecca also over here and really keep a high. I'm just gonna tryto kill those shadows on the letter. Questions. I said a clarifying question from someone in the chat room, which was Could you talk again? About what gel? There is, um, outside on the stroke. I mean, I know all these jobs. Have official just have official names, official name, but just was there. And did you know there was an orange. It's like it warned us yellow. And then we have greenest blue on our beauty discredit. Um, and actually, I think this I think this locker is a bit distracting. Can we? Where are set? Guys, go. Um okay. We had a set around here earlier. Is he gone? Anybody okay? I want to move these green lockers towards you this way. And I want to really highlight that other. Yeah, that's that's about good, John. Just keep yelling that way to you. Yeah, just maybe right here next to this one was fun and really Just try to hit Becca and Becca. You're gonna have to tell her when that light looks like it's hitting you right in the face. Um, where That grid and go in there. And I turned that modeling light on so she'll be able to see it once It's aimed right at her face. And I hope this will eliminate those latter shadows. That right on you. Cool. It looks like it is. Let's try that. Yeah, um, push your feet again. A very long getting kind of straight out. Craig, pour that right foot back in so she can Yeah, I like your knee pulled over like that. That's good. I could just let that left hand hang down just straight. You had two straight down and put your right arm over your stomach. Kind of drift across your stomach. Yeah, maybe lower and even further around. Reach around, Reach around to me together. Yeah. Good. And then you can scoot out just a little bit and lean. Can you lean up, Even fake. Lean against that silver thing. Nice. Yeah. Yeah. Um, cross your right leg tight over your left leg. Yeah, that's good. And then same thing. Let me see your right arm a little more. That's good. And then can we kai this court or pull this pack over? So this court isn't before ground. That'll work. What's that? Yeah, let's get some more folks. More fog. One shot that prematurely before fog was really ready. But yeah, it's like and it's like I mean, you know, the ratios of light on all our subjects aren't the same, but we moved Luciano out of that grid. So let's three range fix that again, and the smoke is going. I think we're basically there. I mean, we could This is the kind of thing that you really can spend hours and hours on. But hopefully you have seen me make use of the different lighting modifiers. You've seen me, um, use color gels. Um, we've played with the IPhone color. Um, my, um So let's spend another couple minutes on this and we begin. Is that hitting her? Yeah. Craig, you're getting left out. You don't have your own spotlight, man. All right, everybody give me very, like, you know, very dramatic and not looking camera. Just you're all just hanging out. Just looking away. Actually, you look towards this light right here. Yeah. Um, Beckett to look up towards the light on your face. Yeah, that's really nice. No, that's really nice. So I get Yeah, it's actually pretty great. I would if we had another light and another grid. I would put it on Craig because everybody said nicely lit on their faces. We do have one more. Could be dio the paper, cellophane or the snoot. What about just the black cellophane work? Um, while they're doing that, let's process an image real quick and play. And Photoshopped? How does that sound? Everybody. People love that? Yes. So whether doing that, I'm gonna fix up in imagery. Quit? They're saying my screen. Right. Um, always you're wrong. Processing and capture one. I do. Yes, sure. Is it just speed or is it you like that output? It's tonal qualities that I'm a fan of. So I'm gonna go ahead and export that. So, as you all can see right now that Craig is definitely the missing the missing piece of this of this puzzle because he's just too dark because he doesn't have a light on him. Um, I'm gonna go in, process this image on, we will open up and Photoshopped. Um, it's the first thing I would do. I know everybody has their various ways of dodging and burning. There's literally probably, you know, 200 ways to do it. Um, I just hit my layers. One of my layers go. Um, there's a history here that here we go. Um, go and duplicate this image. Then I'm going Teoh option. Click on that, and I'm going to create overlay layer, which this basically just makes a great layer that I can now paint on. So this is kind of the poor, The poor man. Quick way. Whatever you wanna call it. Way of dodging and burning. I'm gonna create a brush. I'm gonna make it a soft as possible. I'm going to do about 20% capacity. And for now, I'm going to just I like Craig a little bit, you know, just just to hear. And this again, This is very quick down and dirty, but it But it helps a little bit, you know, toe almost make it look like he had some kind of That's a little bit overdone, but the good The good thing is you can change. Once you create that capacity layer, you can take your A pass. It e and G O that looks better. You know, you can always play with your You're a passive these with your lighting. So now at this point, where lighting in photo shop, you know, beck us a little bit too bright up here again. This is a very quick way of doing this. Um, gonna add pain a little bit of black over her face. Um, can add a little bit of been getting down here on the corners. Going to get a 30%. You can't dark in these edges A little bit. Um, we could try. Here's a little quick effect. Do pick late duplicate layer. I'm gonna make it defect. Rated completely. It's not black and white, and then I'm going Teoh go too soft, light layer, and it's obviously way too dramatic. But if I take it down to you 20% it adds a little bit of a little bit more contrast and snap. Um, I have 11 him out sweet. So, you know, we're getting there. Let me go back and take one more image. I see how this looks. You were now lit, Craig. How does it feel? All right. So we have, uh, cellophane right on Craig Craig Still really high trying to get your head into that window. And let's ah, tweet those blinds back to where I don't see the big, big yellow light like there. So the end story guys is that I'm using very tight modifiers to light my subjects faces directly and that that's the way I'm creating more music. So their faces their really bright and lit, and the rest of the set kind of goes more dark and more moody. So that's what we're essentially trying to create. Playing with some color in there. Three things off. A little more. Little more. That's good. Strong. So let's see what this looks like. Hopefully we're Yeah, more more, more smoke going Fan it a little bit. Let's just let it sit for a minute. Okay, guys, here we go. Well, what happened? Something. Lots of things did not fire. Welcome to the world of photography, folks. Where equipment stops working. Yep. 1 25th Everything's fine, right? I don't think the beauty dish is fine. Okay, This is really fun when you have, like, somebody really famous on set and you're ready to go and they walk on. And all sudden your life suffering. It's really pain. And it's fun when you have a world of people watching on the Internet. But I had to get for you. Gotta see this stuff. Give this is reality. Here. Should be good. Okay. No. Okay. All right. So we're good, aren't won t three. No, I usually don't count the 31 on one set, but just letting my civics innocents or cis sporadic right now. What's going on? So yeah, we're definitely pretty pretty dot in what I don't like is Becca shadow on the wall. Some maybe cheat that even a little more. Maybe just on the other side of this life said towards me, Although that's gonna be hard to, because it might be on the shot. So maybe come back here. But in general, I'm liking where right now? Uh, you see, I'm not skewed more towards the latter. Yeah, just right there. That's good. You actually, like being able to see your reflection in the mirror to That's kinda cool. Um, one more shot and we will call this. We will call us done, and they sink and somebody closes curtains just a little more. I'm seeing this crack and the curtain. That's kind of bothering me. Jeremy, would you mind shouting at your settings? You get a chance? Actually, if they're looking at screen, they can see all my settings down there at the bottom. Sweet. Yeah, I think that'll be better. All right, Here we go. One. Why my counting? You guys, they're not kids. All right, here we go. I get a little bit lower. Yeah, Yeah. See where? Getting pretty close to think her face her face in the front of still a little bit hot. But overall, you know, this is this is pretty close to where I wanted. There's some blacks that I'm seeing that are too dark, you know. Too rich. Too thick. Um, so I can always but down the contrast, Weaken Go warmer with it. I mean, colder overall, down the saturation. Um, And again, I could go in photo shop and kind of dodge and burn them to death and then really pull out some of the details. But I'm pretty happy with this. This, at least, is a get start. And this is probably where we would then bring in. I would go tell the art director. Hey, we've got our light ready. And again, some of these things do take this long toe light. And that's why they give me a full on pre daylight a pre pre day light so we can spend eight hours, 10 hours doing this all day with just me and my assistance. I mean, if you've got 5 to heads or lights on every set, there's no way you can just, you know, running their set him up and be ready to go. I mean, there's gonna be always experimenting with this, um, seeing what you like the best, and especially when you have 8 to 10 sets toe light. Um, which I mean, most of you won't be in that scenario, because you're either shooting senior portrait sor weddings. But I'm just telling you, my experience on the some of the bigger entertainment stuff I do. Um, So you saw we get with one light earlier, and now we're using six lights? Yeah, six lights right now. Um, and with the using grid modifiers, it's pretty cool. We do. I want to share one last quick thing with you before we break again. Uh, glitter. He's no more glitter. Thankfully, uh, I remember my first job I ever did for ABC, the TV channel. They hard me to shoot a show called the Nine, and that was a very high pressure job. You had about 10. Pretty famous, you know, celebrities you had Ah, a massive set ahead ahead about 10 sets. We had a massive crew. Everybody's public publicists and agents. I mean, it's very high pressure gig. And so, um, again, I was experimenting so we had all our lights just like this. And I said, You know what? I'm gonna, um, just shoot, aim it like I'm gonna kill all the strobes and just shoot natural light. And so I could do it right now, It's all of our malting lights, which I'll do very quickly. And then we'll even kill our modeling lights and turn back on the outside lights. And I'm gonna give you three very quick, very variations of the same shot. Um, So you do if you can do whatever you did last time. Yep. Just mauling lights. So we're gonna goto s 0 800 I'm gonna go to to eight. So now, obviously, because I'm 1 to 8, my front person is gonna be in focus, and everybody else is gonna be a little more with that. Yes, I will change white balance. I'll probably get Teoh. Well, I don't know. I'm gonna start a auto auto white balance. I'm just go from there. So which is actually looks pretty good to the naked eye. In terms of the modeling lights, I'm in 1/60 to 8. Still too dark. Um, it's amazing that in camera meter can Dio Uh, yeah, this is I'm in 1/30 of a second. So all of you guys have to stay really still. So do us. So let's see. Um, obviously a very, very different looking image. Um, again, I'm just gonna kind of doll in a couple things. Maybe a hair more just to hear more vignette ing, hear more d saturation, maybe, Um and this is 1600. We just went from 100 I so to I so And said there's gonna be much grainier image. But, you know, some clients, some people like this kind of thing. They'd like even the digital grain. So we've got that dot And now let's kill all the modeling lights and open all the blinds. Yep. No, I don't want any. Yeah, he's done for now. Complete is open as we can get it as much natural light flooding in here as possible. And, uh, and you can probably see on camera that it already looks pretty awesome. As if you open that up. Yeah, let's take a look at that much, much darker. But I think it's John. Can you tell him to just move that light out completely right foot. Go and cheated, though, so you'll give me the same I didn't pick up. They're gives. So now we just ticket with only natural way. Um, warm this one out, bring more saturation and make it much less green. Turn moving. Getting off. I don't like it with this natural image, so obviously could keep massaging that image. But you guys just saw in just what? Less than five minutes we went from that to this with are mulling lights to that with natural light. Three completely different lighting looks in just a couple minutes. Um, just by experimenting and, you know, trying with our mauling lights in our natural life. So when I did this for ABC, they're very pleased to see just boom, boom, boom three different looks with just tweaking things around. So that concludes this part. We have any questions, you know, we dio Jeremy, as a matter of fact. See, one question was, um from Jesse James, do you hold your breath when you're shooting? Yeah, It's an interesting question. I think I do. Sometimes. Especially I'm on a low shutter speed. Hold my breath to just keep the camera still. But But yeah, sometimes the interesting question pushing from RBS in the chat room. Would you normally shoot multiple shots once you're happy with set up to get a variety of facial expressions? Yes, absolutely. Again, we're kind of flying through stuff because of the nature of what we're doing, but yeah, I mean, with that shot, we just got where I landed, where I was happy I would bring in the talent and I would estimate we'd fire off 50 frames of me, even directing Mawr, saying, Let's try this. Let's have you stand up and we'll get into some more of that tomorrow. But yeah, I would certainly spend more time when so I'm just trying to get you all show you how I get to general look and how I think through that process. But sure, I would certainly shoot more images, wants to get the final final look down

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.

Ratings and Reviews

Student Work

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Lisa Carney

This guy is FANTASTIC. Creative and thinks outside the box. Totally had me rethink my shooting style. LOVE LOVE

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.