it's an ambient situation I just took my eyes so up to four hundred and in this position I can shoot at one twenty five at f four and I s o four hundred so what if it's if it's two point eight point nine nine tenths so it's f or I want twenty five that I so four hundred that gives me a great fall off this background you saw how we curled up this background to give us little draping effect it's gonna fall just a little bit out of focus the light's going to be soft on her face she's gonna look pretty gorgeous look at look at your hair I didn't even notice that because that new that's great let's mama dad hated and then looks terrible and you should never have done it just kidding alright let me get back here and take a picture and see what happens let's just for fun I want to turn you the other way yeah now to bring your shoulders back my way just a little bit yeah bring your head this way turn turn turn more more more more send down just a little bit right there you just take a quick pe...
ek at that chin down just a bit right in there good good good great holy moly is that pretty holy moly is that pretty I'm gonna make one adjustment here I'm showing a daylight there's enough daylight influence here that there's no reason not to um just for grins I'm checking my hissed a gram and I've got nothing that's white in this picture so I've got a good sized gap on the left of my of my history and I've got a good sized gap on the right side as well I've got a perfect full range image right now all the way through so let me just double check this one more time oh evan are you in there you are good good good nobody moves look at that beautiful beautiful let me just double check that yeah that's great so let me go ahead and just do a serious like this can just do this just kind of relax a little bit maybe all your weight on one foot maybe yeah yeah perfect and just crossed one foot over the other yeah yeah just hook your thumbs in your jeans just to get you comfortable and relaxed a little bit good and turn your shoulders just a tiny bit more yeah bring your head back this way more and send down a little bit right there great good good one more of those that's real pretty really pretty little sparkle in your eyes and look at that guy go I'm gonna raise this up just a little bit higher let me turn off the info there that's that's good I'll do that again look over there that's fun send down a little bit yeah that's ok I like it better here well I lost her I lost her awesome those are our best pictures right there okay look pretty good let's just bring your head around this way quite a bit there you go and for this first one I'm a back up just a little bit here uh like let's let your eye go just let's try just go right about here just look that way but you got to smile a little over here you know just a little bit you don't have to go crazy but you gotta be a little bit happy good good good chin down a tiny bit same thing same thing same thing good good good do the same the same pose everything stays the same but I want your hands in your back pockets yeah yeah yeah same thing that would turn you head back that way again perfect send down a little bit right there good good good leave your face right where doesn't let me just have your eyes were at me right there good good good good just push a little bit this hair back off your shoulder on on the side also yeah there you go perfect good same thing this is turn your head a little bit more to the side right in there right there good good good one more of those relax for just a second there's an interesting thing in photography uh there's a there's a concept of lighting called short lighting and broad lighting and with short lighting if you if you have the face turned off camera this would be a broader side of the face from the nose to the ear and the nose too they're on this side is pretty narrow because of the angle of the face if you've got somebody's wearing glasses and you are using short lighting you're exactly putting the angle of incidence equal to the angle reflect ints right toward your camera meaning that anything reflected in the glass is gonna reflect right in my lens so by turning her face that that way further I'm broad lighting her face better which means I'm getting less reflection in the glass and and it's some you know some old classic portrait photographers will say well that's a problem and that's not optimum yet eighty percent of the dutch master painters eighty percent of the italian renaissance painters they all used broad lighting and so it's kind of a misnomer a lot of people talk about you gotta have short lighting you don't uh you gotta have life that makes the face look great uh and in this case her face is pretty symmetrical and she looks great on both sides of the face so it really really doesn't matter uh but we've got we've got a pretty good looking gal here and some pretty good pictures going on so we'll just keep shooting we're just going to keep playing with the variations where we have a problem with the reflections is that glasses with this much glass are very very difficult to retouch so we want to make the reflections a cz minimizes we can at the time of shooting I don't want to try to do this in post production we just don't want to we don't spend that much time trying to retouch our swap out glasses or something so we don't want to do that but she wears them all time so she should be wearing so let's leave him on her okay okay so I'm going to re position a little bit and I'm just gonna move me a little bit to the side let me just look at that background again yeah I'm pretty happy with what's going on in this picture you guys this is looking really pretty pretty good I'm just gonna move over a little bit let's keep you turned that way a little bit feet pips everything that way just little bit more yeah yeah yeah now bring your head back around this way maybe this your left hand in this left back pocket yeah yeah yeah and I just bring your head back toward me perfect send down a tiny bit don't move don't move don't move holy toledo nice one nice one in fact bring your that's your other hand come up and maybe just let your wrist come up maybe over here closer yeah yes that's just it close to you and just turn your head a little bit further more more more that you could go a little bit more and then down just a fraction right there great great great good one more of those in fact go ahead just fold your arms together just for a second yeah like you almost did a nice little lean there and give a little art now turn your head this way more perfect don't move perfecto hey john let's grab right there good one more or less the same thing a little bit of a smile a little bit here we go good one good one okay relax for a second so by using by using the meter the way I do you can see that once again my history graham is exactly dead on I've got a gap on the right side of his program I've got a gap on the left and she's basically a full range image which what that tells me if a quick at a glance means I could hit print and I'm gonna get an amazing print without having the mess with anything I don't have I don't have toe over print under friend and try to save anything or fix a problem I just have to print and that history ram guarantees that I've got a dead on image you see the peak and them bulk of the exposure is the middle of a history ram well that's going to be the book or the exposure mostly for what you see in the fabric of her of her top which is red red's aboutthe same equipment is eighteen percent great which puts it all dead center great let's grab the silver reflector grab a clamp for it we're gonna put on that stand yeah and I won't take it up really kind of high and kind of in fact before we put it up there and let's go to that trouble hold it up there let's try it first let's see how it does if you're going to use like like right now I want to use the silver and try to get a little bit of life in her hair just a little bit from the shadow side I'll see it quicker than I will if I do it on the highlights side does that make sense so the shadow side of the face I'll see the highlight quicker because of the world of contrast so let's go ahead and go pretty high with it and then moving around a little bit until I tell you let's turn your shoulders just a little bit back and not bring your head back further more more ten down a little bit right there there you go john that's nice right there good good good a little sparkle in your eyes again come on good great that's real pretty just to one more of those good and and again I'm right now my my telephoto is at about one hundred I'm gonna back up and do the same thing at two hundred and it'll do two things as soon as I back up and zoom in now at two hundred millimetre now I'm using less of the width of the background that's the first thing and the focus of the backgrounds gonna fall off quicker so the depth of field is gonna diminish give me more of that out of focus look on the on the fabric and I think it's going really good and I'm pretty tight on her face right here still so let's just go in and turn your head again this way just a bit right in there awesomeness awesome little sparkle don't be mad at me come on great that's real pretty holy moly know it's great that looks really good let's do one more of those okay relax for just a second
Tony has been a photographer, an educator, and an author. His photographic works have been featured in publications throughout the world. While he has worked for some of the most discerning clients in the world, he is most proud of being acknowledged and included in more than twenty-five photographic books by other photographers. Tony has photographed three U.S. presidents, The Millennium Summit Meeting of World Leaders at the United Nations, sports celebrities, almost 800 brides and grooms, and a handful of NASA astronauts.
Another great course by Tony Corbell. I loved this course. Tony is a great teacher, great photographer and great business man. He's enjoyable to listen to and a great teacher. He holds nothing back and shows how to shoot great pictures even in small shooting environments or on a low budget. I would buy again Tony's courses.
Wow! Tony is fantastic! So many hints and tips, crammed into this great course. I shoot portraits out of a small converted garage, about 9 ft high, 9 feet wide, and about 19 feet long. Tony has shown me so many ways to make this small space work for me, for which I am eternally grateful. What this course highlights is that whatever small space you have, there are ways of making it work. You need to buy this course and watch it over and over because, every time I watch it, I gain more and more info that I missed the first time around. Brilliant!
Absolutely wonderful, I cannot praise the content enough. I value Tony's stories as much as the information he is giving away, because it puts the data in the perspective and practical context of the actions we take. Thank you for this class!