Lighting Essentials Workshop

Lesson 40 of 42

Shoot: Two Subjects (Briana and Natalie)

 

Lighting Essentials Workshop

Lesson 40 of 42

Shoot: Two Subjects (Briana and Natalie)

 

Lesson Info

Shoot: Two Subjects (Briana and Natalie)

you can still fire questions I'm just me with him around okay and bree I'm gonna bring you actually would have you stay right where you are you just gonna change seats here there and now we're gonna bring you all the way up to bring you right up to this light right here good good okay and bring you stay back where you are and we're gonna bring this light back to you thank you you kind of see how natalie's kind of into her light you're gonna be kind of into your light right there good good yeah that's kind of what I want right there it's kind of fun see what we get meter wiseguys anything else one guys quiet on my answering a lot of questions or people going cole lost dio actually uh ted kord fifty one does have a question yes I'm sorry it wasn't him it was sam cox I'm sorry from loveland colorado with multiple strobes is thie effective flash duration longer than it would be with a single stroke is important when trying to freeze you're going to be your longest flash duration of multipl...

e strobes that's gonna be the one that that affects your shot yeah no there's no it's you're going tohave if one's one four hundredth of a second one's one eight hundred thin ones one twelve hundreds of one four hundred fizzle instead of that's going to be a challenge if you're doing something fast you're always gonna default to that slowest one dorian says he's explaining everything so well I don't have a question uh like that person all right you guys are too far apart bring believe where you where you are natalie when have you slide this in this way just no no not yeah sideways far apart not closeness far apart okay yeah and cross your arms this way sit and breathe side back this way just a little more no no the other way when she's slightly behind her so the jury bases are in our real close okay right there good and because they're kind of a distance from each other here I'm gonna have to make sure I've got some depth of field so see if we can get a eleven hot f nine yeah if nine should work on uh would f nine by the way they are probably three feet away with f nine be something I would choose on a two hundred millimeter lens for the shot get him both in focus yeah it's coming too shallow but if I'm on a fifty here I think I might be able to do it we're back over here to this wonderful thing what we're doing here is we're creating a light on two different uh models breathe is going to be lit from the left and we're going to well why don't we could do and now he's going to be lit from the right seeing something in my eye now leave from the right bri fromthe left and what I r question wass before the internet went out was did we have enough depth of field that f nine and we do so I did do a test shot and we're going to do it again but I need to get those guys a little bit closer together with shot there we go there we go and bree you're concentrating this side and now you're concentrating this I think we tried f nine it was a little bright right john that we move it down way haven't let's go ahead and do another one here for the internet guy yeah it is just a little bit bright I'll knock it down from here though I'm going to go from nine to nine to eleven two thirds of a stop and see what we've got here back a little bit from yes back a little bit from where I wanted now um natalie is nice and bright breeze a little bit darker can we move breeze light up just a little bit yeah right there let's try this much better much better okay I'm gonna have to like just just tell me if we tilt it flat will probably get rid of that last part now brett when I want to do is get all this light that's coming off this soft box that could be spilling on debris let's take this black card swing it straight over so it's coming straight into the shot just not too much into the shot but right past this soft box here so we cut off this life from getting back to briana all right and I'll tell you what will bring it into the shot until I tell you to stop okay come on in keep coming and the more we're good right there I'm do another test yep and I'm getting you know what I'm getting jonah that getting us a little bit of that uh that thing if we could take it yeah we can twist it out just a little bit right there good can we knock off the knock the light down from the back wall is well with my v card tell me what I'm gonna do now is to take you show and show you what we're doing here this particular card that's coming in here is keeping this part of this soft box from lighting up briana you can't see this part of soft box right from where you are right and that's the part that would slip by she's actually hiding this part of the soft box so I don't want briana to get much spillover from this box I want her to be lit buy this one and this one getting a little bit on the back of natalie's hair I believe a little bit on the back of natalie's hair yes but we're also getting a lot of light on the background and that's why I had john bring that card I think that's good john right where you have it that card in so that briana will be against something a little bit darker and let's see if we got this right yes that's what I'm wanting you know what brett let's take the same thing with another v card and put it like johns has because I like the darker background for this and also grab huh nope we're gonna add it back there and also grab brianna's hair is not shiny right put the the gloom a pro on a little mini boom we're going to take a a we're going to combine ah speed light with the pro photos why not write no reason not why not to their just lights so we take that speed light we're gonna drop it right over the top of briana and give her hair a little bit of light we've got this hair light on natalie up front but brianna's hair is just sort of flat back there because there's no light to catch it so we're going to add a third dimension to it so earlier we were talking about dimensions though now we have a light from the right a light from the left and another light from the right in the back hitting briana let's see if that that that works I don't know I think it is yeah about six inches too far good right there that's nice yes that blocks a lot of it out and you know what if we could all right breathe that's gorgeous we need to do more shots like that um I know ah how are we getting light I see what we're doing getting light off this umbrella onto that okay by creating multiple dimensions while you're playing like this it's kind of fun now this shot of taking his back a little bit farther than I would normally take it or I'm going to take it I'm actually gonna come in just like this be my shot okay and oven editorial approach of telling a story to girls looking to different ways to different light sources yes natalie's hair has has light on it from brianna's light you're going to leave that are yes yes what we're going to match it with the speed light on brianna's here now of course okay yeah we're gonna take that little speed light thing and put it right back on what we got power wise all right what were at eleven yeah we should be at one quarter power sleeve is on and it's just a nice little bear or save it pops yeah popped I think it's not hitting her hair though job I think it's coming down on her back come up higher like that try that there we go I think goes up just a quarter inch or so my half inches so here we go see the dimension light light light is that a complex lighting situation sure it is would have been much more complex on wednesday than it is today right it's basically just kind of thinking through and being deliberate where we put the lights I kind of like to tell this story okay so we've got our light right now we're gonna pose our models and make a couple shots yes so a question from become attic where is don focusing so maybe you can explain that feeling is shot I'm focusing on the back of natalie's hair because I'm gonna come forward a third of us the third of the depth of field come forward a third go back two thirds I think I'm at to save their have thirteen I'm out of thirteen so I have plenty of depth of field with this particular lens we checked it we brought bree up real close in here and checked it even with my old tired eyes she is in focus her hair is in focus how would this work with deaf one point for no not a chance we needed the f thirteen he up she is in focus eyelashes and focus it's like a black card in here and that's why when we first started I think member we were shooting it ne f nine and I had john bump it up we just needed mohr so I'm coming in for this shot okay that it questions wiser because I'm gonna take some shots shots okay all right here we go are you in the shot we see john a little little bit yeah all right way have this is this is really drama here all right they're okay back there guys good to go all right here we go good that's nice bring up in there and natalie bring bring your face back to movie just to live it right there good both eyes on me guys but don't move your faces eyes right there good like that I like that thank you hold on for a second let's so yeah that's what I'm wanting it's kind of shot I saw in my head two different girls two different planes of light we have hair light on both of them we have a really nice feeling of dimension onda really sense of drama so if I was telling a story to tell the story for a magazine or something like that this is kind of what I was thinking was two women two different stories to different mysteries too different you know things to tell us so we're lighting him two different ways they are obviously not related to each other in this photograph I don't mean I don't mean like sisters I'm talking about the two stories are unrelated because they're lit from two different sides we know when we look at the photograph that there's something different about it it doesn't look regular greg regular to us regular regular yeah thank you I had a few more here good okay both of you right it that's it that's it right there now at least there you are breathing that's the good with the eyes they're cross your arms cross your arms and look at natalie now that right there that that change the shot having brea crossed her arms and look at natalie does that change the shot watch this watch what gesture does she's back at me now she's gonna look right at the back of natalie's head and tell me that doesn't change the shot doesn't it tell a story right now take a very long knife and put it up just like all right two more shots and worked and worked and we're getting word can take some questions and get onto that's it right there I like that lean back natalie back back back right there cambridge no smile bring chin down at the writer in the little more both you guys look into the light all right thanks ladies oh yeah thank you thank you so much appreciate it all right sure we gotta have a question or two by now thank you we have a question in the audience tracy yes just went through with the difference going back to the hair light from brianna's like being okay for natalie but then you went and put us you flagged off natalie's from brianna and put a separate light on but that's just the angle it was hitting her at or was there another reason to two different light sources this light is a soft box so it's kind of it if you think water like we talked about the first day it's kind of different diffusion right right this one's doing the same thing I could block this off from natalie right but it being my shot okay so I had to accept that and I'm okay with the light being on I could separate amore pull them farther apart so that's more distance between and not worry about it but what have I done then I've really created a problem that the field wise and so it's going to start being a real serious issue with how much depth of field I have plus briana because becomes too far in the back and she becomes smaller so we had him about as far apart is it really made logical sense tow have them to do the shot so that we wouldn't be too small or too difficult focus we blocked off the light here to keep it from brianna's face because I wanted her to have a sense of lighting from the side natalie had definitely a sense of lighting from the side but she's blonde so her hair is gonna pick up everything brianna's here is they're gonna pick up anything it's very very dark so we had to give brianna's here something pick up and that's what we brought over with the stroke behind her so we have a graduated background hair light on briana affront light on briana a frontline on natalie and hair like dripping over from brianna's life to have multiple dimensions all the way through

Class Description

Learn how to light in any situation. This special 3-day workshop will introduce you to lighting by learning the basics. Don helps you start evaluating light from a subject centric approach — teaching you to identify how your light will react to your subject. Don Giannatti’s workshop is perfect for photographers working to find their vision and their own perspective. You'll learn to use this knowledge of light to create perfect photographs. This workshop is a non-stop, hands-on weekend.

Reviews

Cheryl
 

I just finished watching this course, and with teary eyes can say, without reserve, this class has been fantastic! Don's last session would be great to watch in the beginning and the end because it helps to understand his thoughts on being a photographer. The rest of the class is full of great information on lighting and Don is able to explain his thoughts and his processes with ease. I hope I will always think ahead and plan how I want my final results and how I want my subject to reflect light. Learning this was one of my "aha" moments during this class. I own over 30 Creative Live photography courses and this class is one of the top classes I own. I already plan on rewatching the whole class. Well worth the investment! I feel it is not a beginner course, but a intermediate to advanced one. Don has set a high standard in lighting...a goal to reach for...a goal that is possible for each person willing to take the time to learn and practice. Thanks Don and thanks CreativeLive!

Joanna
 

I thank very much CL that I could see the wonderful material on the light in photography, in fact everything became clearer, Don you are the great teacher, great stuff, very interesting and fantastic lecture, very helpful ! Thank you one more time !!!

Joao Alexandre Paulo
 

Great class, amazing instructor. Don's able to explain it so good that he makes it all look like very simple. I just have one comment and one request for the CreativeLive staff: When Don's commenting and analysing the pictures or explaining some features of them please keep the camera shooting at what he's commenting :) It would also be great if the way how the umbrellas and soft boxes are set up were disclosed, Ex: how the strobes and lights are mounted. Overall an amazing value for the price.