Fashion Portrait Part 2


Hack Your Light


Lesson Info

Fashion Portrait Part 2

Get dragged this week called the camera. Okay, let's do this again. So that's f twenty two we're gonna knock it down. What? We're reshooting it after team sixteen, four eleven five so you know, we'll get the idea what we're talking about. You ready to have your off from that side? There has got it. All right, let's see, we've got make sure that that's looking at him getting this. Ok, ready? Three, two and I gotta get I know I'm dragon three, two, one o way fire bring it, bring it around just a little bit more like towards me. There you go yet more on her face. Got it. Ok, that's good. I'm going to shoot like this. Here we go up a little bit with the flash a little bit more and angle down at him perfect three to one school and one more like this and I'm just kind of working composition. I'm going to actually put the flash in the picture because it's in a sometimes I'll do this and just photo shop it out of the sky, but you guys and I'll show you so play and now you can see the kind of w...

ait we're doing I don't know how to go down there yeah, so it's this kind of got that look now the trick is now let's try to position it with the flash night so going same thing let's come back just a little bit maybe about right there there's so much ambient light out here that I'm not too worried about check are you firing the flash are using manual settings yes all you have to use manual seven okay, yeah oh, the foot no it's not you know so that's still eleven five eleven a that's a good position right there there we got the space needle go okay, way got that shot you guys can see it you know, leaves him out all right? Yes. So you know, let me shoot one without the flash just turn that flash off you could so we'll see what we're doing again, okay? And I can see that it's they're a little underexposed let's try anthropology so all I'm going to do is this change by aperture leave everything else the same give it a little more of a airy feel or what else could I do if I wanted to keep the aperture to the same s o or but the I s o is going to change my power on my flash in effect what's not affected by flash shutter speed shutter speed so what could I do to make a little bit brighter lower you shutter speed yeah laura my shutter so you take it off my six being let's go down to like eighty eighth of a second and it would probably brighten everything up on it but it's not going to change my power here let's do is the flash off. Turn it off key turn it off. All right, cool way we got three to one. Yeah, it's even a little bit let's get a sixteenth of a second a lot area looking photograph see? Not bad looking on them, right? But it's now we're going from the flash on how's the flash gonna look on them should look the same right? Ready and keep looking that way just a little bit. Three, two, one dot we fire you look kind of me a lotta there you go right there. Just a little bit over his head. Daniel said you know you're perfect chin up a little bit. There we go. Okay, got it. And if not fire let's look here and now her face is a little bit cleaner and one before was a little bit. Yeah, there, you know, so that was spotty and then we kind of even that even it up a little bit. Well, let's, just do this. I'm gonna kind of close up on her for sex with that without the flash a lot of looks right at me and just come around this way now this time no right here and just kind of beauty lighter right above her I'll show you you have no flash for sale and take the first one without flash and we're gonna put it to split right there okay there's no flash I'm going to go ahead and take it down like f eight so I'm working with a normal thing so here's yep lighting just changed I'm gonna take it up to you two hundredth of a second again okay there you so if you can see this it's not great on her skin she got shadows and I liken the stuff right so I'm gonna I'm in f eight I could make it look really flashy I need another one of these that's f sixteen what's gonna be really bright on her face uh yeah yeah turn it down I turned it down too much eleven five now we're starting it really bright it was way got the sun that came out eleven a let's shoot a dead I'm gonna because the sun just came out so I'm gonna raise it up because you didn't see it so here's what I'm getting like eleven and now that's good I don't want to get a word in there does and fire that time I don't think yeah probably killing the batteries there you all right? Bring it down just a little bit like turn it and turn to turn into her there you go right there way gook so check this out look at that what just flashed position does ok, so without flash got it good background with flash but the chemo business is a little bit see how the no shadow is hitting her lip I don't really want that I want the know shot or not to hit her lip in looking much better pretty cool so it might what degree of my ad? I don't have any idea because it's dependent on the subject I maybe she's got a big nose maybe she doesn't maybe, but that's what I'm looking for is that no shadow underneath her and I take this image which is pretty dramatic and I'm going to knock it down the light hell is too a thirtieth of a second and if I had a tripod even be better, same light that's right above a little bit closer, I think way oh yeah it was a little two bright they emit light so high I can't do this sunday and take a deal like eighty eight of a second I have to change the power on that look at me alone here we go some nice there, the shadows coming in cool, so let me get without because I've got really spotty shadows on her all right, so I got one within one without she's gonna look much more I'm still trying to figure out the discovery going to sea without you see the shadowing it's kind of harsh all right look like that but now I use the flash and it just touched it out even outer skin tone but does it look like it's flashed? No and no right and that's where you know there's some life in her eyes so and that's it we're just kissing her with enough flash to make it look natural but not like overly flashy and it just looks like an interesting photograph a check at the quick question pick taker has noticed that you are not defusing your speed light at all do you ever? Why? Why not? And why are you not doing it in this case? I'm not doing it because I don't have one held that for an answer that is a perfectly very yeah under normal circumstances and what we're about to get your normal circumstances. I'd asked him, do you want me to know the speed light if I just had to run and gun and this is what I got that's what I got like let me do something really quick and I'm not giving you the light meter I'm gonna step I'm going to turn this way so I'm shooting more into the sun daniel let's go ahead. Okay isn't gonna be a great shot but you know, what's the fucking getting really close to go. Okay, wait. All right? Let's just go tonto. Awesome. That some drama. Ok, can we bring that speed light? And I'm just gonna crank it and getting pretty close to him but down low like that and come up, get closer to him and bring it up so it's kind of making a beauty light on her a little bit more a little bit more not bringing over towards you a little bit higher, right? They're not that high come down a little bit. What I'm looking at is just getting the no shadow and there we go and it's probably gonna be to brighten. I'm sure enough going to way too flashy that's what? One speed light I'm shooting of twenty two okay, and turn it down there that's mooney, turn it up! But you see, I'm chip in here. I don't want to chip and we're really getting her, so bring it back just a little bit turn it like this. Like put it just set it down like ready do turn it, put the pull down on the ground, not the other way up you got it, there you go, here you go here, john knows we're talking about all right, just come on over done and just kind of light him up and that's good from bad right there a little bit closer to him just yeah, they're good. And this kind of focus that we're both on them. Good three to one c a little dark would move back. I'm going to turn it up. We're still seeing enough twenty two he's looking to know you hadn't looked this way, guys ready? Flush already and I'm gonna wait for the flash to recycle three teo, one photographer you'll get right there. Can you see what we're getting really dramatic stuff? If the sun would come out, I just shoot straight out of the sun what's actually is my fifty. Can we grab it on fifties in that may be a terrible picture. I just want to show that we can do this as the sun's coming out outside pocket. There we go. Yeah, I don't know if anyone out home khun see it, but the light is changing very, very rapidly, freddie getting closer to to them. You're just like this ready right there. Okay, I only got f sixteen on this thing, so they see what you get just kind of looked off just to make it a more interesting picture I'm gonna try to shoot right into the sand I can't focus did you turn the camera off? Yeah, it was wasn't focusing yeah don't turn the camera from you change lenses yeah thanks you together dash sorry excuse my way yeah, I can't focus now you're going to busy single now it's just gonna be peace here there we go. There it is. I'm gonna try to shoot into the sun there we go f sixteen and I'll turn it down if I had another winds that would shoot me. Ok there it's. Kind of cool, you know, let me shoot without the flash really quick. See what? It's getting back? Okay, ready? I was just working at a year that's a shooting, right? When the sun's right there, right? Right. No flash. Yeah, with a speed life would not high speed sync justin, my normal have sixteen year like and knock this thing down a thirty two and I wasn't shooting at full power, so I hope that kind of answers that question um but let's do my normal set up, which uses modifiers let's do it. All right, I kind of dig this where these clouds are pretty cool. So let's, shoot this way way we're gonna get my only boko and we're going to use this also, though, okay, so I'm gonna have you be my valve and grab that. I'm gonna keep you guys looking this way just because the sun's coming in and coming out do we have enough room to go as that the main light? I'll get another court or not now I've got more with us, he's a valuable we'll be ok watch out for life go to get this into position. I'll work. I'll do it. They see that we're going to us thinking about my camera position. It's a five. Eighty e x I have any x two it broke. I've got another yaks that broke. I haven't yet seen him into cannon. I need tio I'm down to my back up. Back up let's. Go and use the group. Don't wait too long. Candid stuffs repairing them after a while I just tried to send what's up. I just try to send a flesh in and they said we don't repair those anymore. Really? It was mine was probably maybe a five, five, forty or five years. Well, well, ok room. Why main light? This is my main set up, so I really don't have a diffuse over this because I just want to look like the sun so harsh is okay, um, I'm gonna have someone probably. John, hold this and hold it up and he's just gonna be the sun. There it is. I'm just guesstimating a distance first thing I'm going to do the same thing I always do. I'm gonna get the likely in inter. Yeah, cool. I'm gonna get my seen by some one hundred one. Sixteen of a second, my sink speed even though I could shoot above my six feet a little bit now because they emit light will kill that little line but there we go. Nice clouds. First thing I'm going to dio is I'm an f eleven for seeming to figure out what my room lights gonna be flash meter here's the cool thing about why I used the setup also is about radio poppers. I'm able to use alien bees and speed lights together and control the power on separate groups. I've got my speed light set the group might see channel so it's like a way for me and that's my room light let's meet her it that's not on yes, it is already. Why is this still firing? Oh it's not plugged into the it's plugged into a c all right, after eleven nine I was shooting enough eleven so it's about a stop over that the first thing I'm gonna do is take a digital polaroid that means chipping to see what my room lights doing well they're not it's hitting the right side of the faces of its light in the right things because they don't want like a little sun flare or right here there we go cool I'm gonna get a little bit closer john just because I'm out here okay there we go right here three two on alright is you can see now we've got a hair light if you guys and I'm looking at their face and it's not really eliminate their face you come across this way so we'll see a little bit more side on her I'm gonna rim like her a little bit and look this way I want to make sure you keep your head this like just like that three to one also ok so now we've got this side light that is a little bit brighter than what my overall exposure is because the sign I want to be a little bit brighter not too much brighter it's a little brighter it's about a stop brighter than one I'm exposing it my main life and you can turn that flash off so we're not killing the power when may light on the other hand I wanted to be just a little bit lower a little bit because I don't want to look too flashy right now it's sixteen so now I've got this on my a channels I can turn it down separately from that dump it keep going eleven, six keep telling us a little more five dumped it, teo yeah. Ok, so under it's looking like it's more there's, more light and it just looks like it's being reflected so I'm gonna turn it up a little bit bright about I just turn it up three to one and now we're starting to get a little bit of what the grid is really grilling her. So am I going to use the grid for two people? Maybe not is gonna be brighter and since I'm kind of doing a let's do this team right in two of them brighter and now that is kind of getting closer because now my room white hit the side of him. I didn't want that so yeah, we lean in, but don't look at each other looking me in your perfect chin up three, two, one chin down, alana got and there we go so that's kind of our sunlight. Look, it looks like the sun's coming in and it's being reflected by a building or something that exists over there and I'm trying to create a picture that doesn't look flashy. Chuck, get a recap on this you first exposed for the sky I don't suppose for my scene you're seeing right, right, I see what you wanted to be prominent, right and then after that was your baseline exposure set and you brought in your room light or your check my room light and get it expose correctly usually about a stop over what my scene is so if I seen was enough eleven that was being f sixteen or a half stop where some like that just a little bit brighter than you see now the sun looks brighter that's what we're looking for then I fire one check my polaroid just to make sure we're not getting any of this see what's happening with the sun right there it's got it coming across her nose so I need to make sure that its position correctly so well have that issue then I bring this in at about maybe a half stop less or on my exposure depends on the different scenes sometimes it will be too flashy sometimes it won't be but a good baseline is the shirt I'm in f eleven I'm going to meet her this it f eleven this was that eleven, five, eleven ninth and that's what my seniors and usually that will be perfect sometimes they need to take this down just a tiny bit given that smooth reflected right? Right? Because I'm trying to make things look more natural, less flashy but now because of that because I'm adding all this I'm giving him even tones and controlled situation in and a weird not controlled environment

Class Description

Hack Your Light is part of our special week-long event Lighting Toolkit.

Join award-winning photographer Chuck Arlund for an introduction to innovative lighting methods that result in breathtaking, dynamic images.

Chuck’s methods will enrich the work of a wide variety of photographers, whether you’re a natural light photographer trying to incorporate off camera lighting into your work, a studio photographer wanting to work on location, or a beginner looking to take your work to the next level.

As Chuck guides you through ways to make a photograph you’ve mentally envisioned into a reality, he’ll give you the confidence you need to fearlessly approach approach lighting not as an exact science, but as an art.



I just watched the rebroadcast of Hack Your Light with Chuck Arlund and at first wondered if I would get anything out of the class as he seemed ADD (he warns you he's scattered and a "blond"...LOL) but I stuck with class and by the end was sad it was over. I have a few years experience in photography so I could perhaps understand what he was teaching better than a true beginner. He gave some fabulous points and even demonstrated how you could overpower the sun with one speedlight something I've only seen others do with a strobe or multiple speedlights. He took some awesome pictures without thousands of dollars in camera and lighting equipment. He explained the difference between the portrait and the fashion look. He showed you could potentially go above your camera sync and still get a decently exposed pictured without high speed sync. Best of all he reminded me of the principles that it's the photographer not the camera/equipment that makes the difference, it's all about the light and most of all photography should be FUN! This was one of the most awesome demonstrations of lighting. I would love take a workshop from Mr. Arlund as he is obviously very talented and passionate about photography and knows his subject even is his explanations aren't practiced. Some found him frustrating; I found him refreshing. If you like experimental you will probably appreciate Chuck Arlund.


I have been a pro photographer for 30 years, and I loved watching Chuck and even learned quite a few things. He is creative and enthusiastic, and reminds you to think outside the box and get back to the enthusiasm you had when you first picked up your camera. He certainly knows what he is doing, and he has fun doing it...