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Shoot: Editorial/Fashion

Lesson 10 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in Photography

Joe McNally

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Lesson Info

10. Shoot: Editorial/Fashion

Lesson Info

Shoot: Editorial/Fashion

we actually bring a chair with her. And, um, Gentlemen, let's help her get up in this neighborhood on the bar. Good. And she doesn't need any help. Okay. All right. Maybe put your feet up on that and kind of Yeah, sort of. Sort of do the kind of. Yeah. Beautiful. Kind of. Do you want this locked in? Yeah. Yeah. Um, Well, no, no, it's fine. Where It's okay. It's all right. Yeah, that's nice. That's nice. It's a really one of the thing, working with a professional model, you know, because they make your job easier. That's what they're supposed to do. I mean, there there's been times I've been at a loss, and I just look at a wonderful model and say, Well, do something interesting, you know? Or you know, or he or she just starts moving. And it's It's lovely, you know? It's nice. So all right, so that's pretty now. Big problem. Hi. I'm in the mirror. Okay. That's an issue. One of the reasons I do use a tripod. Even if I'm using a fast enough shutter speed to be confident is repetition of fr...

ame. Right? If I've got lines, I'm trying to keep straight if I just want a reference point. If the art director wants me to be very exacting about where the edges of the picture are, Tripod comes into play. That's very pretty. Very pretty. This is not anywheres near framed properly, but, you know, it's it's good enough. Um, Teoh just kind of take a look at what you guys think. Frame wise. Reasonable. Got a couple of design elements. Hot light in the background, All that sort of stuff. Now, um, I have Let's see. Oh, that's you and me. Okay, back in here, Karina's there. There's, um that Let's bring that. That's what I'm picking up. Let's put it on the mini boom. See? Stand over here. Let's come from camera. Right. Please, guys. So I'm backing off a little bit here. I'm backing off further than I really need to. I can always come in, but, you know, cool. Cool. All right. Nice. Cool. Now those damn televisions, I swear to God, they've been a problem all day long. Too big black rectangles in the back of my pictures all day long. It really sucks, But there's not a heck of a lot. I can do about it without causing some damage. And so we're not going to anything at all about it. We're just gonna accept the fact that they're there and kind of work around them. Um, so All right, so now I've got two flashes in this. This is a large last light Octa it except, um, like some, uh uh, smaller, smaller, bigger flashes. What? You know, like, accepts what is except pro photo Cuadra. But it also accept to speed lights. That's kind of what I'm trying to articulate here. So I've got them on group A. I am hot. I am connected. It looks a little Seidlin to me. So this is still aperture priority. Um, did I get flashed on that? You know, you while they're doing that, I'm not going to stay an aperture priority. So my rough readout here is 1/ of a second and F four. So let's do this. Let's get out of aperture. Priority escape Rapid. And I don't know, I'm gonna throw a dart at the wall and go to 1/60 of a second. All right, so we're cool guys turning nice. Good luck. All right. So it's kind of pretty light. You know? I mean, if you were really hard pressed for time, you could almost sort of kinda stop right there if you wanted to. You know? You know, you already know. I'm not going to Do you know, I have a well established track record of beating this to death. So, um, I'm gonna come in a little tighter. Um, could we? Well, I'm gonna be tighter, so we might not have that glass in the picture anyway. Now, all sorts of stuff going on here, that's you know, Miley, you know, it's It's okay. It is what it is. I have to kind of deal with it. I have to be careful to not get too close to her because that mirror up there and that side of that wall is kicked a 45 degrees. If I go too close, I'm gonna get picked up in the mirror. Um, you know, it's just, you know, it's kind of one of those dances you're doing, you know, um, now it's pretty light. Do you think I need anything else in terms of a portrait light for her? I think I'm going to stay right there. for now, I think I'll stay right there. Um, can I see? Um, it's too much. It's gonna be too much lens, but can I see 105? Alright, Andrew, would you mind? Get rid of that for now. Thanks. All right. Well, I just lost the design element to the chairs. So it's two title ends. It's a nice portrait lens, but I got nothing going on in the background. There's no indication of where we are or who we are. Could I try 24 please? Nice. That's super pretty. Super pretty. That's awesome. Um, OK, guys, pain in the butt thing to do. Let's reverse the Octa. Let's put the C stand behind the bar and project the mini boom out. Trina, I'd like you to stay pretty much kind of Or remember that post cause it looks very nice. You know, a bit of a crew move here. Right? So kind of, you know, the bigger the light source, the more of a pain in the butt. It is to move. Let's face it right. The little lights are great. Hold him in your hand. Move him around. Gangbusters. This is a beautiful light source. But it's also, you know, it's got its issues in the sense that you have to position it properly and the pitch. What we're using here is not the extension arm on the C stand, and we can go over more gear as we go forward. It's called a mini boom. The mini boom goes on to the C stand and it gives you more reach its a heavier duty extension than the C stand actual extension arm. So it gives you more projection. And that could be very handy when you want to take a light from a distance like behind the bar and still get it close to your model moving. All right, now we got to get a close, close, close. This is not completely properly framed either. Like that, huh? I like that. It's got a nice feel to it. It's got a kind of ah bistro in 19 fifties Paris feel or she does anyway, all right? I don't know. Sometimes I just say stuff, You know what I mean is, um all right, let me do this. I'm going to go to F four. I'm going to go to 2/ of a second course, I'm square in the mirror. But I'm going to see if I can minimize that. Cool. I'm gonna, um, give a little more power to that light plus 0.7. Okay. So you can kind of see where I'm going with this. There's more of, Ah, portrait kind of a light. And I like the design element of the chairs. Now, the problems are the windows kind of, you know, sort of killing me in the background there a little bit. Okay. And let's take, um, Let's put a full CTO on the pro photo. Let's put a reflector pan on the pro photo and let's put the pro photo outside again. All right? So while they're doing that, let's take a look here. Just tell him to watch their eyes out there, Get your okay smoking. You know, I don't think they even have the light position properly. Um, I wouldn't even let it. Yeah, I'm not gonna get done, and I think it's kind of nice, right? Oh, yeah. Get so who knew? You know, I didn't know what would happen. I felt like I sort of knew what could happen. A little bit of warmth coming through the window. All that sort of stuff. I can maybe pick up on that. I might be able to now take a little power out of it. Might be able to do that. Okay, um, now, here's the thing. If I try to dumb down the exposure with less power, arm or F stop. This is this stuff here, like this is OK here because so out of focus, if I start to pick up more focused, that becomes not okay. So see what I said At the very beginning of the day, you gain one thing, you lose three others very pretty. OK, do me a favor on that light. Andrew, pan it that way, please. I must say, Joe, I think I prefer the head of the window. You like the head in the window was already down. Nice. That's a pretty nice picture. You know, um, it doesn't say much about this bar, but it's a certainly kind of a sweet portrait of her. Can I just check? Yeah, Yeah. Please maybe have a little bit more towards the line. So what I'm gonna do now is I'm gonna talk to that light outside. That's my a group light I'm gonna take just to experiment. I'm gonna take four stops out of it. I'm a to 58 f four. These air t TL. I'm gonna go to 50th 56 Let's see what happens. That's nice. Sweet. All right, I lose my back light, so go back up. Three stops. Very pretty. Sweet. Very, pretty. Nice. Okay, here we go. Now, the camera is not like in this. So well, autofocus wise, We're doing okay, but it's really backlit. Really? Seriously backlit. Um, let me try this. Yeah, We're gonna do a little focus assist light. It's really nice your chin towards the life. Really good angle coming here with light. Sorry. Great job. Good. And hold nice. Now, Andrew, would you mind closing that door? Thank you, man. All right, let's see what happens. Cool. Good. Yeah. Now I have you guys as patrons, but you're so out of focus. It doesn't really matter now to Nick's point. If I went to let's call it F two, let's call it 1000. Okay, let's go back up. Power wise. So, Nick, what do you think? That's 1.4. Okay, now my problems with the background are almost non existent. Oh, yeah, Colors. Really nice. I've had to go back up on the pro photo power because of the high speed sink. But the nice thing is, the both systems work in high speed sink. So All right, so let me do this. Let me do a little vertical kind of a deal. Here, take Callie. Come on in. Good. All right. Good. Nice. Very pretty. But you know what I've lost? I've lost that golden glow in her hair, you know? So I'm going to get out of Go back down to 2 50 and be at F four. Very pretty. Sweet. Very pretty. Ok, here we go. Nice. That has a has a better feel to me. The lighter and her hair is definitely helpful. Okay. And you start to keep doing this to you. Can you, feather? Now back towards me, please. Thank you. I think for a couple of you, maybe see if you can clear some of those guys out of the background. Yeah. Could we lose some folks in the corner there? Danny Josh, Mike Ili. Just for a couple of minutes. You guys grabbing your water bottles too. Thanks. So can we pray? Replace the water bottles with discarded Dom Perignon bottles, please. Let's prop this in accordance to the mood and feel. Thanks. Thank you, gang. Thank you. All right, here we go. Beautiful. Sweet, beautiful. Nice. Okay. Kelly. No, I stay with me. Stay with I'll come back in. Really Quick. Come on. Okay, good. Good, good. Nice. Look. Nice. Look. Very pretty again, Kelly. Good, good, nice. Very pretty. All right. So what do you guys think of that? I mean, it alters the mood of the place. Um, and it it That's what the setting sun would do through a window like that. It would blow out, and we definitely blowout. And no, no, it feels okay to me. So can you fire off a couple more? Yeah, sure, we'll do. Just a couple more. Because current has been so patient with us all day long, and I want her to make sure that she goes home with some photographs. Um, then maybe we'll just try it. I'll do a wide shot just to see what that light is doing to the bar. I know what it's doing to her hair, but let's see what it does to the bar. Okay.

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