Fashion Lighting Tips

Lesson 1/3 - Fashion Lighting Tips

 

Fashion Lighting Tips

 

Lesson Info

Fashion Lighting Tips

I'm really excited to bring on our presenter who is going to talk and teach some fashion lighting tips her name is dixie dixon she is a wonderful wonderful just all around human being but she's also a fashion and commercial photographer doing advertising an editorial work around the world and we are really, really honored to have her here on creative lives dixie come on up s so excited to have you how you're feeling doing great, you know, just super excited that's what I like to hear so I want to let you take it away all right, thank you how's it going guys doing well, it s so welcome to our set today today we're going to be talking about my all time favorite subject lighting and we're going to basically go through some of my all time favorite lighting setup that I use on a normal basis and so first we're going to talk about the setups and they were gonna actually do the set ups with we have gorgeous models here today mary over there and chris is somewhere hiding in the background so a...

nyway let's go ahead and get started is my power point live? Oh perfect so let's go ahead and get started we're going to start with natural light basically and I love natural light the light here is beautiful in the studio, so I'm actually going to take advantage of that today and you know, natural light is super very it's super super soft it's very very very flattering to shoot head shots and so most of the time when I'm shooting head shots I'm shooting and natural lighting because it's going to be most flattering to the subjects and you know, I usually shoot wide open I'm shooting of two point eight f two and then you know, focusing on their eyes and then the rest of their face will go out of focus so it's nice because there they're on skin will be a little bit softer and their eyes will be super tax sharp so it's really flattering way to shoot and it's gonna look really good I'm like trying to manage all these cameras I'm gonna focus on you guys the rest of that also so I love shooting through windows we can't do that today because these windows they're super glossy but it's a really cool way to shoot this was actually shot through windows you get that kind of flare at the bottom and you get sort of this sort of haze over the image so I love shooting on what through windows when I can and it's sort of that beautiful soft romantic lighting that I love definitely my favorite so all in all just don't be intimidated by lighting when you get into it that's the main thing when I got into a studio lighting into tryingto figure out lighting and photography I was really intimidated because I thought that there was a right and a wrong way to do it. The thing is, is there's not really a right or wrong way to do it? You really just have to find the type of lighting that if it's your vision for the images and then that's the type of thing that you need to go with. So we're going to give you guys some good tools, some good options to use today so you can figure out what mood best fits the type of subject you have and the best type of mood that you're going for. So, you know, the bigger the light source, the softer it's going to be so that's why window light is really beautiful. We have five windows here, it's going to be really, really soft access a diffuser in the images and, you know, direct light can be really cool. We don't have any direct light coming through its seattle, so we don't get that tar sunlight coming through the window, but it's going to be really cool. This was shot with a reflector on the right side to get that sort of almost rembrandt lighting on his face, can you see the power born okay, so to make sure, okay, cool deal. This was done for a tv show called get out and basically I was hired to shoot all the swimsuit models for the show. We travel worldwide and go to different locations and shoot the models and locations. The thing was shooting swim is that you want to shoot during magic hour whenever you have time, so we would get up at six a, m in the morning, go to the beach and literally get that beautiful, soft, warm light on their subjects. Um, the only thing is that sometimes we end up having to shoot, not during those magic hours. So what do you do when you can't shoot the magic hour? Basically, you just either find shade. We put her under a palm tree and it's that soft all over lighting. Or you can bring a beach umbrella with you that's a really good option. They're like fifty dollars to rent in the studio and you just have your assistant hold the beach umbrella over the model and it works out. So you gotta make do with what you're given, but always trying to shoot doing magic hour if you can. So, like I said, the bigger the light source, the softer it will be very, very simple you guys got that awesomeness. So I like to shoot back with a lot it's a really flattering way to shoot and so this is backlit by the sun and in front lit with a reflector do you guys use reflectors a lot in your work? Awesome it can take your images up to that next level I think so definitely grab your assistant have them hold the reflector you'll know what it hits the subject perfectly because you'll get that great catch light in their eyes when you're shooting backlit so this was shot the exact same way super super simple magic hour I love lynn swear I try to put winds flare in my work and I can remember when I was shooting for a wedding photographer when I was starting out I would take the flash off the camera and shoot directly at the sun and uv like dixie what are you doing? You're crazy thing is I love that lens flare like I'm always trying to get it in my images and actually I use a lot of the older lenses sometimes when I'm trying to accomplish that because the thing is is the older and icon lenses they don't have the nano coding and so you're going to get more flare which actually love um so actually use a lot of the older lenses from when I started I had a film camera back in the day at the nikon ft camera and so I'm still using the same lenses with my new, you know, deep or d three x cameras because you get that cools romantic ones flare look to it so just keep that in mind if you're looking for that sort of look so this is super soft it was a very cloudy day was actually snowing this day sometimes you can't predict the weather obviously in photography, so you've got to make do super moody, you know, with with lighting you want to just create that mood overcast lighting was really great for this shot and the thing is, is I had brought strobes with me, but I thought it looked too overly lit. I wanted to more moody look, so I ended up just going with the natural light, you kind of got to make decisions as you go maybe bring all the gear you have and sometimes you don't end up using it all so and another cloudy day um, I will say that when you're shooting and getting started in photography stuff happens that you not you can't quite plan I was doing a shoot for an airplane company this actually this is the image from that shoot I just showed it was an airplane, but I was doing a shoot for airplane company once and I was perfectly prepared for that day and, um, I can remember walking on set and the client all of a sudden says dixie, we want to do the first shot we want tio basically throw you out there on the runway and they were gonna have an airplane fly directly over me in the middle of the runway I was not prepared for that shot um I thought I was just going to be shooting the basic you know, here's the airplane on the runway were going to shoot it very calmly so they put me out in the middle of the runway and I'm literally you know, I'm I'm pretty I'm keeping it cool, keeping it cool and you know, there's something about when an airplane flies over you going three hundred fifty miles an hour it's kind of a shocking experience, so I missed the shot the airplane went over me and my hat flew off, I just froze I totally totally missed the shot and, you know, sometimes photography you have to live and learn I didn't put my camera on the continuous shot setting stupidly I think I was so surprised and shocked by that they added that shot in the day and they end up having to fly the airplane over once again just so that I could get that shot so sometimes that's gonna happen and you just gotta learn from it and do it better the next time photographer you're gonna learn so you're just gonna learn as you go I've made so many mistakes on dh just the more mistakes you you make I feel like you learn even more and more and you're able tio do it better the next time so just don't don't be too hard on yourself it's all I'm going to say so just I wanted to bring up this quick concept before we get into the live shooting is that when you're shooting subjects you know this is actually a wall in my condo and I side let it right you see all the texture in that that wall so if you're suited shooting subjects with rough skin you might not want to use side lighting so I always try to shoot you know subjects with rough skin indirect lighting see how the texture kind of goes away in that image it's really really harsh and unflattering here so just think of people skin like that you really want to ultimately flatter your subjects nobody goes into a photo shoot saying I don't want to look horrible my pictures ultimately you want to make your subject like really beautiful and that is the main things so definitely try to light your subject to make them look their best so let's go ahead and get into some live shooting shoots a natural light that's awesome so you can come up here it's you and camera off perfect thank you all right so let's go ahead actually you guys they're going to stand over here we're gonna start out natural light on and you can actually stand to the side to start out with and you can stand right here yes, that is perfect. Scoot this way. Oh, you're super tall. I love it I need to stand on an apple box so I'm like too short grab the apple box here. Okay, perfect. So it's going to meet her the light we okay? Could you get the light meter? Awesome it's what's right here it was a question people dio every show every every set up. I mean, not every set up a lot of time I'll get the lighting set ups, but since I'm shooting tether today, I want to kind of nail it right for let me see we don't want the scrubs on that let's see yeah going turn the strips off let's see here and so when I meet her in the light, I'll usually meter it right on their face here perfect. So I'm getting at one point four one one twenty fifth and I so one hundred I'm gonna bump the I s o up to four hundred perfects very go gorgeous so we're getting two point one, two hundred fiftieth of a second that would be great and it's perfect it's very soft lighting in here which is great for shooting headshot um so we'll go ahead and do you guys have any questions at all so far a question about reflector do you prefer white silver gold what's your what's your teller joint pains on this on what it is I would say I prefer the silver and studio now when I'm trying to match sunlight make it look warmer all use the gold and then white to make it super soft very nice already that looks beautiful and it's actually kind of go like this gorges that's great girly perfect great guests so let's see what that's at can I see the images all right that's a good starting point so when I'm shooting natural light I usually like to overexpose just a little bit to take out some of the texture of the skin kind of blow it out just a little bit so I don't have to as much retouching that's always good that's beautiful perfect great we'll see how that looks a little smudge on my lens here so right now I'm shooting literally one six two hundred with one, two hundred fiftieth of a second and just kind of blurring out the background actually could you stop for a little bit for me perfect and the closer she gets to this window those softer it's going to get basically that's beautiful great that's gorgeous perfect gorgeous and when you shoot I shoot a lot of frames I'm normally not just shooting one picture I'm usually shooting a bunch to really get that mood that we're looking for and it's really good to do that I think we can shoot so much more with digital you can shoot a lot more frames that looks great cool gorgeous you're super easy to shoot you look gorgeous and all the shots so let's do a little test have you guys what's lenses you guys use for your headshots? Usually yeah, fifty because it's fast oh, are back up and use the seventeen, two hundred cool. Awesome! I used to use the fifty a lot of my headshots and I started using the longer lenses like the two hundred millimeter lens is a really great one eighty because it's gonna end up flattening, have a flattening effect and make their facebook even more more beautiful. So I'm just gonna do a quick linds test to show you guys that let's try one with a thirty five millimetre oh, we're gonna have you here. So so we talk just briefly I know that this is primarily a letting course, actually. So b h riggio key please teach the technique of getting perfect lens flares that something you planning to talk about her? You know, perfect then we can totally talk about that right but I think the older winds is they're going to help you achieve that lens flare even more because they don't have that nano coding so if you can kind of find older lenses on ebay and stuff like that's going to really increase your lens flare just keep that in mind you get ok we'll give you are awesome. All right, so you could come forward a little bit more I'm gonna get you clothes for this window so I was actually even better light here and kids they're still practice it on my chance we can make that leave you you having fun yet? Perfect that will work a little more comfortable, right? We know you're in a crazy little tiny dress that's super cute beautiful okay, so this is what the thirty five millimetre lens so you can see what it's gonna look like? This isn't my ideal head shot, linds and you will see why. All right that's perfect. All right, so she's gorgeous. So she's going to look good no matter what lindsay use just fyi. But do you see how it kind of makes her nose look bigger? What this lens it's not nearly as flattering as when you see the next ones is that I'm gonna use so it's kind of got that distorted look to it it's going to actually make her forehead look a little bit bigger too so normally you don't want to use a wide angle lens for headshots all right, let's try the eighty five millimeter just just a test it's thank you her fits all right so the eighty five gonna look pretty good that's beautiful great jess great's gonna look a lot better I think of course I didn't choose my settings let's try this on actually beautiful can you meet a light one more time so it's changed a little bit since we came to a lot closer than you know that's a little blown out perfect. All right, perfect great. Okay, now we're good and one, two, three and going close your eyes and head down just a little bit perfect and one, two, three open really? Talk to the camera gorgeous that looks great always on the look at the back of my camera let's see how that looks okay that's a little bit to do one more and one two, three open beautiful that looks great and notice that when she opens her mouth and closes her mouth it's a very different look so try one with it closed. Yeah, that looks great in one, two, three beautiful well looks gorgeous. You look great and all these shots left in eighty five wins so let's do one with the one eighty then we're gonna compare them all right, okay you have to get back a little bit further when you use the longer lenses I don't want to use such a long lens that I lose the connection with the model though so I'm not going to use like a forty four four hundred millimeter lens because they're not going to be able to hear what I'm saying so I think there's a happy medium in there I really like this land is the one eighty and everybody's like what wins is that's a really old wind but it provides really pretty head shots and I use it a lot in my work all right that's beautiful see here let's try that and one two three beautiful good and maybe kind of turned towards me a little bit yes turn all the way this yet that's gorgeous and then maybe kind of put the jacket off your shoulder just a little little sauce iness there we go that's gorgeous perfect love that shot and close your eyes it's and close your lips and one two three open beautiful that looks gorgeous I love that shot let's see? Look, can we compare that and the eighty five of the thirty five shots just to see how they all look you're going to notice that there's a big difference between thirty five and the one eighty it's gonna look a lot more flattering with that one eighty millimeter lens we talk what is your approach when you are starting issue? What makes you choose natural light versus aim? Or versus strove what what's your thought process when you're designing the shoot? I think you're really depends on the client and where we're shooting. Sometimes the client wants that more commercial or really lit book and that's when I'll go with strobes, but then some clients more want more that lifestyle look with winds flare, just real natural type of looks, so that's, when I'll go with natural light, it really just depends on the client. Now, if I'm shooting for myself, I'm really just goes along with my vision, I would say, depending on depending on what lighting it isthe, and sometimes I don't really know what type of lighting I'm going to use for the shoot. When I get in there, I'll have a sort of idea, but the thing is, is the light is different everywhere you go, so you really have to just sometimes will spend two hours setting up lighting, literally for one shot in commercial tired because you really want to get it perfected and perfect before you take the images and usually hair makeup takes two hours, and so you have that two hours to set up all the lights, so I'm really, really I guess a lot about my life, so I like everything perfect that's good and when you are planning it out, do you do diagram out your lights to you? Do all the testing something beforehand is that way? I do try to do test it beforehand. I don't do a bunch of diagrams stuff like that. I'm so not technical. I shoot more with the feeling in the connection with people is more what I focus on in the lighting, just accents that so, you know, I really tend to try to set up the lights the night before and just get them basically how I like them. And then when the subject arrives, I'll move the lights around, depending on how tall they are, for instance, or, you know, the different face shapes that they have and what not so you not get overwhelmed with the numbers when you're talking about lighting with her breast stroke because I feel like I'm I'm pretty confident our speed lights, but when it comes to strobes, I mean there's so much data there's so much like there's, so many numbers there, that is that is that why the light meter is, like, really kind of european there, yeah, I would stroke, I definitely enjoy using the light meter. Because it gives you a basic starting point now usually all meat of the light, and I'll end up shooting a little bit more blown out in the light meter says so you don't have to actually listen to what the light meter's saying it's just like a starting point on where to go from there, so I tend to try to use the light meter and really just getting in there and playing with them I mean, what? I was starting out, I rented a studio by my house and it was fifty dollars an hour to go in the studio, I would play with all the different lights, I'd ask the studio and other questions, just getting in there and playing with the lights and seeing what modifier does, what is definitely the way to go. So even if you're technically challenged, you would encourage just keep playing this, keep trying it and eventually, like just modifying this is how exactly, ok, and I was intimidated, I call myself a natural light shooter for two years because I was so intimidated by the lighting, I feel like a lot of a lot of people do that right just chase the light instead of creating it when they need it, so what eventually got to step in to do that, okay, I like those were all the same winds, okay, pull so the middle one is a thirty five that's not what you're looking for do you see how it's kind of unflattering her nose looks a little bit bigger thie one eighty looks really nice I probably should have cropped a little closer with the eighty five eighty five looks pretty decent but you can see the difference in linz choice here makes a huge difference on using the longer longer lenses for head shop so just keep that in mind yeah pull up let's shoot a couple more I wanted just to do just have fun fun shots and can you scoot even closer this window thing's gonna look even better um chair is good yes because then I don't have a cent on an apple box very nice that was really great yeah actually stand there on the stand up we see yeah like it down yeah sometimes lighting from above it's always gonna look more flattering you don't want a light from below because it's going have you know when you put a flashlight underneath your chin you get that monster effects you never want a light from below so just keep that in mind let's do that off the shoulder one one more time and I would probably turn these black and white after the fact it's got that cool moodiness to it she has become moody styling goes on along with that that sort of style do you have a fan awesome so the fan with girl models it's always going to make them feel more glamorous so I always try to use a fan and my images because they get the whole effect yes ok sounds good there we gol this is gonna look great ok perfect beautiful and one two three opens gorgeous and you can get a little more fan I like that look beautiful screen garden and in turn a little bit towards the family yet valid screech and back up just a smidgen perfect that looks great gordon good job girly close your eyes and one two three opens beautiful you a great so far this by the way you never want to give negative feedback when you're shooting people you never want tio say that looks horrible that doesn't look good try to get around that and just shoot through those moments because when you give negative feedback and certainly takes people's confidence down so I always try to just shoot through those moments stay positive and just cabin keep changing different things so you get the shot you need instead of barking out orders some kind of very under spoken when I shoot and just kind of it's almost like a flow and you shoot you know what I'm saying so no negative negative feedback we don't want that that's beautiful you look great and you see how it kind of the lighting from above brings out her cheekbones a little bit awesome great gorgeous perfect good job girl beautiful and let's do one more from the side yes that's great and then head down just a little bit awesome and then thin one two three opens beautiful you okay school lets out a hair light we have the eye flight awesome so if you want to make the natural light look even better you can add a constant light for a hair light which is going to look really beautiful yeah delight balance which is nice you can use tongues into it just gonna look a little bit more warm so that looks really good beautiful can you kind of put it right above and down a little more actually back aereo right about there will be good perfect that's beautiful nice. That was great on let's. See here perfect. Yeah, maybe off the shoulder of the great beautiful that's great one two three also gorgeous and close your eyes will soft and romantic one two three open beautiful ballads gorgeous. You can see the little bit of hair light accent in those shots. Look, larry king I have ah, assistant helpful quick can you hold a nice light on this side and then you hold on on the other side who actually try it from from the front looks really good so sometimes you'll see things when you're shooting and you just got a go with it maybe a little bit above with one of them so and had a little bit now it's really pretty right there actually yeah and then let's do that one of the hair light perfect cold that's beautiful and a little bit closer to her yet right there that's really gorgeous and one two three opens her boots how we should re metered that looks pretty great I think there ended up being more highlights on your cheeks that you're going to see in the shot very glowy way bruce r that's beautiful and go and turn to the side again that's great and then yes when you take jackets off the shoulders the shoulders air very sensual and beautiful so I always try to do that when I shoot romantic type shots that's great beautiful pool and lean towards me a little bit more her bags one to think and actually now we're doing shot of um bring yes you got it perfect I'm kind of funky and directing my sisters I'm like uh oh guarda ok cool so let's have you in here she's from some shots of you so what guy malls you can get a little bit more created with the lighting so you can actually step out from what you did great really so I might try shooting him side lit and you have a great jawline we can definitely bring that out so step this way just a little bit and stand right here and facing that was a nice profile actually let's see what that looks great her facts what is it at perfect it's one one twenty fifth two point oh, so it's time to switch to the eighty five you guys have any questions? Yeah what's that well you asked the model to close and open eyes what's the purpose behind them it creates a more fresher expression I feel like sometimes when people are just staring at the camera they get this glaze over their eyes and so when I have them close their eyes and open them it's like oh, I gotta be ready and I tell them to really connect with the camera when they open their eyes this looks like this fresh expression of deep connection so I found that to work when I shoot um so it's a it's a cool way to really get that fresh expression question yeah use thiss light stick along with the window light did you want this to be a different value different ratio did you or you just going by feel or I don't like the ratio a doll really uncle I just look at it and if it looks I mean it's not going to that much over exposed in the window light so if it's a good balance I kind of like the hair light to be a little overexposed so that's a ratio then that makes it cool so just look at it and go with what you're looking for all right I need a couple walks talk about balancing daylight and the ice light now is the eyesight balance for daylight do you have any considerations when you're when you're doing that balancing yeah I mean that I signed it's produced a like balance if you're shooting with tungsten light then you might want to gel it to balance out the tongue sent in the daylight however you should if you're wanting to make it black and white it doesn't really matter so much so sometimes I'll use constant lights and they're not daylight balance and I'll do story in black and white but I think it's great because it's daylight balanced I don't have to worry about all that stuff so and actually fashion tv from singapore was wondering when you when you are shooting for black and white would you just convert a color image we opposed or do you light it differently on set when you're shooting for black and white you know I love it when um with black and white if you have a lot of different colors like white and black a lot of if you have a lot of black on the image is not gonna look right so black clothes you know dark background but if there's like a white background and dark clothes it's gonna look a lot better in black or white but I'm usually doing it in post unless I'm shooting film which is very rare now we're all digital now but I usually use the ca botha actions for the black and whites which is really great and the bronze goddess is a really nice action and then all go through and make my own customize actions from those actions and photo shop so I'm really really intense about my black and whites I'll spend hours figuring out the right black and white for his image so really just depends on the subject this skin tones I'm looking at all those things way to go okay way we'll take one more question actually before we keep shooting way have one from the audience here not you talk carmen says can you talk one more time about why you meet her with the handheld versus just using the meter in the camera you know sometimes a natural idol just meter in camera today I just thought it was good toe show the light meter and how to use it um so basic yeah I think the lightning is really nice though really good tears cool cool and you're able to meet or different parts of the person as opposed to just one spot which is nice all right can I do a test that was awesome perfect great thinking with the right setting is tethering working you know that looks great good look right at the window perfects good thinks so tethering takes a little while I'm not yet actually could you uh, face me straight on that looks really good and then let's see? So why don't you cross your arms? Mm, right hand in the pocket I don't want to make your suit look all bulky all right? Awesome. That looks great and then let's fix your tie a little bit when you were shooting the head shots uh, what's your camera position while shooting do you go slightly above eye level eye level what's your thought process there so I usually go above eye level just a little bit, especially if people have a little bit of a double chin and stuff like that the above eye level is going to end up taking that away and even have people can I lean towards the camera a little bit that's really helpful? And, uh, who is it? I think it's peter hurley that has that great video about having people lean forward a little bit it's going to take out that that double chen so usually all sheets slightly above. I don't usually shoot from below when shooting head shots because you get that ugly, ugly angle and you see it there knows that's not what I'm going for well, you're not going to let you know it seems natural to make that awesome so this is constant light this is actually shot was the sun was going down and I wanted the natural light to make it look like it was coming from that headlight and so I ended up putting a constant light just straight on her you get that beautiful rembrandt light in the side I'm shooting wide open usually when I'm sorry natural light or constant light I'm shooting pretty wide open of two point eight and whatnot so get that cool look black and white always is going to add more mood with black and white I feel like you get more to the soul of an image of a person because when you shoot in color you're more distracted by the close so what? I'm really trying to get a great impactful you know portrait of someone I usually change it to black and white because people really get to the soul of the image and fashion no everyone wants color because they want to see the clothes and stuff like that so a lot of times the client will want and in color so how many of you guys do vision boards? Yea that's awesome I do one for every shoot and really creates a great start great starting point for the shoot so literally I will scour google image search and pinterest and I'm looking for images that really show the kind of vision that I'm going for because let's face it tow one person natural makeup can be a totally different thing to one other person because you never know what they're thinking in their head until they see it in an image so I'm not looking to copy these images I'm just looking to create a starting point for the hair for the makeup for the wardrobes I'm looking at different elements to add into the image so the top one is actually on the mood that we were going for in this shoot you kind of get the idea for the lighting the clothes in the styling and then the middle one is obviously for makeup that was the selling makeup but I was looking for and the bottom one is actually sell of hair that we went for so that's pretty basic do you guys understand vision boards do one for every every shoot even when I was shooting portrait's I would have them go get their makeup done it like the mat counter when I was first starting and they would buy makeup they get their makeup done for free so it was really really great because then I saved me so much time and retouching because even when I shouldn't portrait I really wanted to have that fashion edge tio so I was able to charge a little bit higher prices for my porch it's so then I ended up getting into the fashion side so let's see here this is also constantly and again wide opens the audrey hepburn style editorial I'd never seen audrey hepburn before s o I literally had to watch the movie and really get an idea for what she was all about and we tried to create that in these images and mind you I couldn't smoke in the bar so I ended up having to add that post and did I know how to add smoke to a picture? I had no idea so I googled how to add smoke to picture and there was a tutorial that that showed me how to do that so we have so many resource is these days in order to make these but you images happened we just have to go out of our way to use them this is shot the same way and I out of the smoke in post very, very simple one light and I'm taking in all the ambient shooting pretty pretty wide open um I was I believe I was on a tripod so sometimes I'm shooting really low light I'll end up using a tripod I hate using try bodies sometimes you got to do what you gotta do to get the images I like being more candid with my subjects normally so I try to stay away from the trifon but sometimes you got to got to use it when it's a really low light just a fun technique that I wanted to bring up is how many of you guys have ever put gasoline on your lens? You ever tried that? Nice? I love it. Okay, we're going to do that really fast today and shoot the natural light so you kind of see the effect that it get so basically do not put it straight on your land. That's all I have to say you will never get it off. So definitely use a filter, put it on your lens and I literally just glob it on the bottom of the filter and you're gonna get a really cool effect. Does anyone have a paper towel? Know this stuff gets everywhere. It's really kind of gross. People always wonder why have gasoline and my camera bag that is just one of those things. Two cool effect. Actually, I did a shoot for virgin a couple days ago when you used gasoline on the lens during the whole shoot because they wanted a lot of winds, flare and rest that brings up. Another point is when they were asking how to create winds flare where when you don't really have natural light. If you put vast wing at the bottom, the bottom of the linens and you back, light it with this throw it's going to bounce off that bass line and create more flair. So it's a really good way to shoot and I used it a lot when I'm trying to create not re elin's flare but artificial so yeah it's a really great way much of that are you putting on their way we can get a shot of that I'll bring it to you all right so it looks really weird going just hold it up yes, like this perfect perfect so you can see it's a lot vasselin and then you need to shift it to where you want it to be so I wanted to be at the bottom of the image so it's going to be here tell him because I shoot wrong I shoot opposite than most people so don't shoot like I shoot it right not the right way but it works so I usually put it there and then let's have you get in the same spot scoot over and it's going to give it that old film look because I love film and I love the look that you get and it's going to basically make everything out of focus where the vast lane is so kind of looks similar to linz baby it's a little more controllable though um all right so let's do this perfect and maybe kind of perfect you got it that's great gorgeous and one actually some things here that we've got one tio beautiful let's see what that looks like and then you can add more or take away whatever you need to d'oh that's way blown out so I mean just my setting a little bit all right that's perfect and let's do one off the shoulder and we do fan a little bit awesome fan really adds a lot of movement two images even if they're standing still it's gonna look like they're some movement some energy going on awesome yes that's good and put all your hair on this side yes that's gorgeous and beautiful and lean for just a little bit carpet you lost her fan there you perfects that's big o awesome can you flip your head forward and back? I like the messy hair look a little bit I always think it kind of looks more effortless and then put it all on this side great. You can actually put your hand up on that side just keep it just like that you got it that's beautiful great pose love it that's guard us sweet those gorgeous perfectly do one last one and in hand down actually there you go hair everywhere you've got great hair that's beautiful and perfect actually dropped that hands there you go gorgeous and actually just moved straight towards me yes, but here on both sides so what I'm shooting I'm just looking at the different angles and then flip your head the other way just whatever looks good to you that's what you shoot I mean that's a beautify like how your hair's falling there and just kind of rough side up a little bit yes and most of time I'm having a hair salis come in and fix her hair in between shots so it's really helpful to have that but sometimes you don't have that luxury garza that's great had done a little bit and perfect beautiful they're great gorgeous so you kind of see how that vast wing gives it that haze of the bottom and I could add a little bit more and make it even more hazy so if I had a light shining from this way actually can try that once you add the ice like kind of towards my limbs I'm not sure if it's going to be powerful enough to bring out moreland square but we'll try it out probably should try that before now so beautiful and actually put it right even further behind her yes that's great beautiful and close your eyes one two three beautiful grates and put him on both sides yes okay so look pretty much saying that way awesome and one last one greatest and head down one to the perfects cool that's right shall we get into studio? Do you guys understand gasoline I used on a ton of my images live ululu is why bring it up but it works colin studio all right so let's get into power point if we can the screen actually looks a little bit different I normally go less contrast e with the natural light and make it more romantic in studio I'm usually bumping up the contrast a lot ok so let's go to studio light so in dallas actually have a studio and um I usually end up I share with six people it sounds crazy but it works out really well because we have an online calendar and it's called five hundred x studios in dallas and I literally pay three hundred dollars a month which is nothing when you have a two thousand square foot space to use so it's a really great way to keep your overhead low so that I'm able to travel and do these gigs and keep that overhead low um it's nice because I feel like it keeps us all more creative when we're all able to collaborate and bounce ideas off of people but the key I think is to always have different niches when you share spaces so that you're not really competing for clients does that make sense so if you're all competing for the same clients and you're in the same studio space it might be a little bit troublesome so just maybe different niches you can always collaborate with people there's even a web designer in our studio space and it's all creatives and it all makes us more creative so it's a good good options I'm not there all the time I'm on ly there when I shoot studio stuff I do all my editing from home usually just kind of more convenient so I just wanted to go over my gear really fast I use all nikon cameras and lenses I have since I was twelve so I use g technology hard drives you have to back up your work I think it's photographers we all sometimes have to learn the hard way I lost a hard drive um once when I was buying all the cheap stuff and so that's when I upgraded all of my hard drives to the better drives so g text grade I used the pocket wizards from that group pro proto strobes and printing I use all the black river imaging products I love their loft line which is really nice but really thick business cards they look really good and really create that presentation um westcott ice lights really great I just showed and then the graphic studio portfolio books how many of you guys actually printed portfolio book any of you I haven't right now I'm going to be within the next week here cool I'm getting good it's definitely makes a statement because I go into all my meetings with this portfolio book this is all my swim work and it's a really nice presentation because in photography you can take amazing pictures but if you don't show your work and a beautiful presentation it's not going to have the same effect so they go in there and most of time in fashion they don't usually have bound books so this kind of makes a really nice statement in commercial photography in the wedding industry is saturated and most everyone orders these type of books but graphic does really nice ones they're all bounds and it really makes a statement when I go into meetings and then when I leave the meeting to leave a lasting impression with my clients I'll leave them with these many books x so they can't forget about me and most the time it's funny because I'll go back for a meeting maybe two three years later and they'll still have it on their desk because it's really cute and it shows all it's all the same images in my portfolio in this tiny little book they have been different small sizes so it's really cool option I always try to do that with clients so that they remember me and think of because sometimes in photography you may meet a client one time like three years ago and then it may be for five years before they think of a gig or something comes up they may be ableto worked with you for least in fashion that isthe what is important for a little bit different it's a little more urgent so that's always a great great tool we good for wedding clients to yeah what's that how long did it take you to get in advertising? But what did you do the beginning and then how long was it before you were shooting in the advertising world is tricky it's tricky it takes a little while to break into and so in the beginning I was shooting everything I was shooting porcher, it's weddings everything I could get my hands on to pay the bills basically so the wind that I broke into the fashion industry was too shoot test shoots what that is is everyone on the team is working for free so it would be hair makeup wardrobe I found my team actually a model mayhem originally so you know it's a great sight for doing tests shoots not really for paid work so we would put together these cool test use that really expressed my vision and I would start posting those online on my website but I was on ly posting that work I wasn't posting any my porch it work so that end up attracting the right clients because it's the law of attraction because what you put out there, what you show is going to bring that back to you it's a really cool effect so you really only want to show the type of work do you want to shoot so if you want to shoot porcher, it's only show your portrait work. Don't show your wedding work on your website because people are going to still ask like I still had friends wanted me to do their head shots and stuff, even though they were seeing my portrait works, I was still able to pay the bills, and I was starting out so ultimately to break into the fashion industry, I would say probably out, two years to three years to start, really get getting good clients and everything, so it takes a little while, but I've been getting about five years. Go ahead. What? Um, what did you dio? Did you have a daily process? That's what I want to ask you, like, how would you get up? What was your daily process? This is what I'm going to do today to cause this in personal meetings. I mean, personal meetings interprets s so basically, I would be cold calling and try to get an in person meeting because they can see your work online all the time. But until they actually meet you in person and realized, hey, I really connect with this person. I want to work with this person, that's, what's really going to get you the jobs when you're just sending e mails and stuff like that it's not going to have the same effect, so I'm usually when I'm trying to get new clients and I'll go travel to l a or something like that I will cold call and say, hey, I would love to show you my new work and then if they don't answer, I'll follow up with an email you literally probably ought to call about twenty people to get one meeting so it's a lot of work a lot, a lot of work but anyways so we get back to light it all good questions so very cool so we're going to do someone might set ups and I know a little pressed for time someone has speed through the powerpoint cool so this is butterfly lighting it's very direct all over beautiful, we're going to start with that today and then, like I said, I had talked about lin choice this is even better explanation of it, so you can see how the wide angle lenses are a lot more unflattering and then you get into the one hundred millimeter off and then it's obviously a lot more beautiful so you guys understand that concept great, this is also one light rembrandt lighting it's off to the side just a little bit we're going to do that today as well and then another version of rembrandt lighting this is a for a tv show called don't any models we shot this in l a and they wanted that calvin klein look so we were able to do that we put baby oil on the model and it gives it that sort of sheen and highlights it's on her skin I love black and white I would make every image black and white but ultimately light is all about creating a mood and that's the main thing another version of rembrandt lighting and when you're working with sunglasses a lot of times you have to move the light to the side or you have to move it behind or anything to avoid that glares he really just gotta work with the light in order to get that glare out of there and a lot of times when you're shooting just normal eye glasses you can actually take the winds is out which is very helpful in this case we weren't able to do that you can also use beauty dishes outside this was shot recently for a calendar and we had the beauty dish up here and this biting diagram is actually in the pdf that comes with the class so just f y I if you want to look at the set up we had a big umbrella over her and then just boom that light and I'm to create that beautiful highlight on her cheek with beauty dishes which I use almost gosh fifty percent of time in my work because that's you dishes or everything in fashion photography they have a sweet spot where you get that speculum highlight on their cheek so that's what I'm always going for creates those different different depth of your images and ultimately you really just want to experiment and figure out what you love because there's no right or wrong way the light when I was starting out I would get in there and try all different kinds of setups and just figure out what really spoke to me that's the main thing with light and you're just getting in there in the process of doing it you're going to figure out different trip takes trips and your tongue twister different tips and tricks along the way so we're going to do this as well this is close think flash about a tongue twisters today have you guys ever use that it's a really cool effect yeah nice so let's go ahead and get into it these were the vasselin shots but I was showing earlier but in studio so I love using vastly it kind of makes her fade away into the image all right let's get into studio are we can we go to tether awesome let's do it e want to run out of time all right why don't we start with you since we haven't shot yet really all right so you can actually step yet you're good and perfects can we raise the light up so when I'm shooting people I like to see their perspective so I will probably walk over here and see the light and I look at how the light is going to fall on him and what beauty dishes you usually want tohave the middle of the light point directly at him so I'm really short I have the light too low because I was kind of looking at with my perspective would be so he's a lot taller obviously and s o that looks like about the right height for him also let's turn it you gotta turn the flash let's see then I sorry on channel two perfect it's gonna s o I'm usually in studio shoot I s o one hundred or two hundred just my my preference perfect thirty five six eight sets on most def eat and work and go with that sorry one second way try one more time okay so what eight I had the I s o changed that's okay right let's do this I need an apple box so I don't like shooting up on models usually like I said earlier so I usually have seen an apple box and so darn short just one of those things all right let's see here that looks perfect head down just a little bit and close your eyes and one two three open perfect cool looks great you have a great jawline you see yes ok so it looks pretty much all over maybe we even raise the light a lot more I want to bring out his jaw line even more so the higher you raised the light it's going to bring out that jaw line have you guys ever used a mullah beauty dish a mola? They're really great beauty dishes to use if you want on this is a little bit more contrast in there a little bit softer so you might try that kind of beauty just so you can also put a sheet over this they usually this huge ish comes with the fabric that you can put over it it's going to make it more soft but I love the contrast t harshness of these unique dishes it's like soft but contrast e so I use it a lot in my in my work that looks great perfect one to three awesome very cool let's see what that looks like that's a lot better so you can see his job and comes out a lot more when you raise that light can you guys see the difference in that often and head down just a little bit perfect great so but you don't want to go so high that you miss the catch lights that's kind of the key going to kind of get it right in the middle that's a really great look really intense love it ok so let's d'oh when we go ahead and add a hair light in there so why don't you turn on that back light that's basic it's all basic headshot aa lot of the times all use either to lights and back or one light and back why don't we actually go ahead and do both of them yeah, I can picture that with this image so I want to create separation between his suit and the backgrounds so we're going to add to rim lights and I actually use this set up probably in fifty percent of my commercial work because it's like that it's sort of remind through the audio ads for they over exposed the edges and it kind of gives it that edge edge light look um and sometimes we'll be blown out but it doesn't bother me because in fashion anything goes which is really nice is not really any rules so a lot of times I like to break the rules and blow out my highlights a little bit such is my style yeah, awesome we turn that modeling lamp on too it's okay to be meter so when you're meeting by the way you want to meet her one light at a time so I'll meet her this light first and then this light and this light you turned this one off while your meter each one so that allows you get the more effective idea of the meter but see but right now we're just gonna make shift it ok perfect we're good to go okay that looks perfect and see where we're at here great and go ahead and keep having this dream pocket yeah you got it this is kind of that madman look so I really like that's great perfect see what that looks like see we're way blown on that right side so you know tone that down a little bit maybe just back it up a little okay maybe yeah well because perfect and let's bring you off the background a little bit more can we move this light back a little bit so like I said with lighting you got to mess around with it until you get it perfect so you know we had a pretty much a starting point when we had to break down the studio last night so you know we've got to figure out and make it perfect camera and then let's actually have you know what I think I know what it is we need to back this light a little more so ok I should be good yeah I wanted to meet her that do you have any questions? I think we're good at that moment that I say let's keep shooting okay I would do it alex perfect very nice great. See where that's at you stopped at a little more there you go that's getting better yes, you got it so the highlight on the right side of a little bit more bright and all over so you can kind of just pushed the light back a little bit maybe not that much out there I think it's probably good yeah, you got it that's perfect fairness looks really good. Perfect that's great right there. So you get a nice separation between his suit in the background do you want to do that giorgio armani type look, you could be kind of fun do we have a chair with a back? Yeah, we could be that way so if you can you just straddle the chair like face the chair this way yeah, I know it sounds awkward, but I'm gonna crop it. Okay, wait that's here might be sort of a magnet uh maybe kind of just back up and then I just want something frito lead on maybe that's better yeah e that might have been a lot. Ok, so but now we need to bring down our light since he is sitting down so you just have to bring this down a little bit, actually that one's ok, I think yeah let's just bring down this guy. It might not be familiar with the campaign that you're specifically referring to what what sort of look we're going for here it's basically going to just have that moodiness where he's gonna have room lights blown out on the edges and then so the edge lights going be brighter than the main light makes it yeah so that's basically basically it I'm gonna change lenses I'm gonna use my one eighty awesome thank you sorry I'm d I y just asking questions all right out of state all right so do you know the pose so basically you're going to go like this well you can take your jacket off if you want actually this this shot you know only shoot shirtless but that's ok we could just do the shirt we'll make you get shirtless on creative life awesome alex kid and then you're going to be kind of yet you got it and you're kind of just kind of looked down then all three go look at the camera and just lasted like really connect with the camera you at it just like that that's perfect and one two three open also him you got it perfect let's see what that looks like I'm even tougher light yet okay so you're kind of covering up that highlight on that side can you actually scoop for just a little bit so see that kind of bright highlight on the right of his nose I want to avoid that so let's do this move this light a little bit more closer there we go perfect battle of grain ok let's do that and perfect okay, you ready? It was really intense look ok one two three perfect great and maybe even take your hand a little higher yeah looks great that's perfect you look really great and one teo the open perfect great and then can you sit up just a little bit more yeah maybe try somewhere you're not so leaning forward yeah and one two three perfect that's good you could even tell your head just a little bit other way hey maybe even just with both hands down yeah perfect that looks really good love that and head up just a little bit more close your eyes and one two three open awesome cool looks great we should see the room light more on this on this hand isn't covering it yeah so it's a really nice all over look to it um can we scare you a little bit more forward awesome and can we move this light down a little bit great try to get rid of the highlight on his nose it doesn't really bother me that much but I mean if you want to make it perfect perfect we can keep working it to get it out of there and can you face that light a little bit more back towards the background and you see the black background since we have the lights back there it's not totally dark blacks you get a little bit of light on the background which is kind of nice actually maybe not that quite that much like there yeah perfects that looks great and close your ex and one two three open nice her perfect looks really great. See that looks and camera still here turn this or just a little bit yeah you got it perfect that looks great and look towards you know with your eyes very nice great. See how that looks must look scared looks good there like that you could turn down a tiny bit on look right here and turn your head a little bit more of this where it looks great so normally if it was a real shoot I would just keep working at it and keep getting that light over there but we only have fifteen minutes left today so I want to go and move on to the next one that looks pretty decent it's great for commercial shots usually in commercial photography a lot of advertising clients like that overly lit look on and then you can even heightened that post bring out those highlights even more through dodging and burning so it's a really great starting point for commercial images so let's dio maybe do that slow sink shutter shot because it's kind of a cool effect yeah yeah let's do that let's bring you out here because the hat on you looks awesome good job it was really great nice and let's just use the one lights all right so you get to move in this in this shots tio like kind of walking shots it's actually let's do one quick shot of her with this lighting and then we'll do that blue thing so since he's standing I'm raising the light a little bit everything today has been pretty much butterfly light I usually keep the beauty dish fairly close you don't want to have to have your strobes like way across the room because it's gonna be really harsh so it seem to keep my lighting pretty close and within like sixty eight feet usually the harsh light is not good I like soft beautiful light thank you and eighty five lin so great I'm notorious for putting hats on everyone so I got this jacket on ebay and I got this hat it have been to sore so it's like minus we'll bring them and use them today kind of creates a fun look we don't have a stylist so I was a makeshift palace for the shoot all right extremes you have something in your there are already people searching for the same coat so I think I don't know it was about three years ago that I got it google ebay perfects that looks great right there all right let's try this out so see wherever ats that's suitable coming at the fan going gorgeous way away blown out can you meet her I think I was wrong what was that? You know when I was at four under icea okay okay all right let's try this that's beautiful very nice to know that that great head down perfect beautiful see where that one's at their radio that's look we're looking for so see how you get the bright light in the back on her hair and her hair is actually kind of covering those room lights a little bit so you don't get those really bright highlights on her cheeks so if you wanted to bring out those highlights he would put her hair up so but I kind of like that look actually so we just hold the coat exactly kind of lean that's beautiful gorgeous sorry and close your eyes one two, three open your fall and then maybe just do one real strong exactly may put your hands underneath there that's beautiful perfect. I love that gorges dogs great. You look gorgeous with awesome so it would be a great commercial marshall image and they're going to hold the coach is a little bit and have a lots of man is there? Well the hat that looks really cute beautiful if it's gorgeous and let's do a quick head shot like this the switch to the other lands the one eighty all right, that was beautiful and that may put one hand up that super cute, beautiful gorgeous maybe turned aside a little bit that's purpose very nice well where did I was settings go here sorry bump the settings on that all right look right at me that's beautiful gorgeous and drill straight front forward perfect just like that that looks good perfect dark scored us hand down just a little bit nice beautiful good look really cool very nice we might have wanted to bring if I had more time I'd probably bring the light lower so that we don't get that shadow a little bit on her head so just fyi flow through that slow sink shop so let's move our light over just a little bit and actually we could probably do it with this let's just turn those back lights down just just they're just totally off this yeah, her eyes look a little bit to shadow there you can also add a reflector underneath her face to bounce a light back in there so we could do that as well publishes showed that but I don't think we have time what do you think um I think I'm gonna have her holding the hat so I think it's okay yeah, it looks really great. So did you see the shot example earlier with close to think she was just kind of like moving walking yeah, exactly we're going to try it and see if it works I need the eighty five winds and can you meet her form a while some stranger thank you while you're shooting these are you concerned at all about white balance or even thinking about it or is that just something that you take care of in post you know I like to have a basic starting point I use a lot of the auto white bounces in here so outside a usually use daylight bounce like the auto setting in the nikon settings in here I'm using flash so it's pretty basic you can all see the great card sometimes with big commercial shoots always has a great card in the beginning just so we can take her eyedropper and so everything looks perfect and then I'll take it either direction to paying on the vision so it just depends on what type of shoot really okay let's see actually is my fifty millimeter lens in my bag somewhere sorry, sorry guys can invade your space over here all right, so with closing flash you're going to want to take your shutter speed down to what like one one twenty fifth of a second because we're going to catch the ambient movement and then it's going to freeze the motion at the very end of the flash so you just put rear sink on your camera so let's try one and see how it looks until I get the other lives I'm just going to use this one and crop it so are you ready to kind of do a little jump actually just kind of walk in the first one and one two three that may be too fast maybe one one fifteenth of a second let's see? Yeah there's not enough blair there we want more blur okay? Is that okay that work just use your lin's work okay, good to go that's much better okay, so with your legs I want your legs to be really yeah, exactly. So you can start there and really do a lot big motion with your arm too soon and bring out that color and one two three let's see if it works so the flashes actually shooting at that end so maybe start back this way and then they afford this really? Yeah, straight movement and may we get the fan and they're well kind of blur that too. So this works really well have long dresses normally because you're going with the flow of the dress in the shot but you kind of get the idea it's freezing emotion maybe not take such a huge step. Yeah e one two three fit that looked mmm it's not quite quite there yet we do a little faster motion. Yeah, you got it. And one, two, three that even john actually a long time start back this way yeah, do a little jump and one two three load as a double flash I don't know if that worked or not that's almost too much motion but you see you get the blur which is kind of cool actually the one just facing me and try just moving the hat like back and forth yeah exactly so it cool and start maybe a little bit morning yeah and one two three and kind of face it towards me yeah you got it perfects and want to get the kind of cool blur and then I think you got to get the right motion on it to get just enough but not too much to get warmer time and one tio perfect let's try the walkie one more time yeah perfects and one two three go cool maybe even try one like this just a slight movement like yes exactly and then can you take it a little bit off your shoulder yeah cool about school all right and one two three and let's do it one more time you have to shoot like fifty of these to get the right movement on take a little while alex great and one two three her fits maybe try a little hop and one two three cool that was a good one and sometimes when I'm shooting full body I'll get a little bit lower angle on it let's try one more and really use your arms a lot yeah exactly and one two and one more time and one two three all right. Sorry one less time. One, two, three that was a cool on a drink, so that's kind of cool, it's not quite there yet, but it's it's the effect just one more. If you could talk really quickly about the changes that you made, we slowed the shutter speed down and did you, uh, rear curtain sink, or what was your sink for the rear curtain? Think, yeah, well, can do front curtains, think as well, but like I said, that's, not the way the image exact image ending image, I take a lot of shots to get the perfect shot takes a little while. Well, thank you so much for this session has been a lot of fun. Everyone in the chat room was big fan of yours and really enjoy this. So thank you again for coming and sharing your knowledge and having some fun with us. Cool, absolutely appreciate it enjoyed being here.

Class Description

Lighting is integral to successful fashion photography. It’s not the props or the clothes that make fashion editorials pop; it’s the placement, quality, and quantity of the light illuminating your subject. Learn fashion lighting basics from GraphiStudio’s 2013 Emerging Photographer of the Year, Dixie Dixon.

In this 90-minute workshop, Dixie will cover how to work with natural light, constant light, strobe light, and how to experiment to find your distinct style. You will understand the basics of making your images pop, placing hair or rim lights, and using beauty dishes to create Mad Men-esque mood fashion lighting.

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