Lighting Essentials Workshop


Lighting Essentials Workshop


Lesson Info

Shoot: What We've Covered

what I'm gonna do with claudie and we're gonna light her from one side and we're going to create a different light on the background we're going to that light dark light dark okay we're in this case dark light dark light dark light dark light so we're gonna make it brighter on this side of claudine than it is on this side but we're going to light her from this side and we'll just stay with soft box and we'll bring that this guy claudia let's put you right about here and john well private bring that pack out this way sowing interests on the other side already what I'm looking at is I wanna like this wall so that it gets bright over here and sweeps to a darker texture on this side but I'm going to separate her by lighting her from this side because she's got this great leather white leather jacket on and the ones that peach injury tangerine thing so she's really going toe pop from the background all right on so I could bring this guy over here I also want to get some texture to that back...

was that up can't I not plugged in yet okay I can move it though yeah uh john I'm gonna sweep this down across the back right kind of dramatic back here I want to see the texture in the wall when did this three quarters up I don't like shooting floors unless their floors I hate shooting carpet you know saying just something icky about shooting carpet hate it and mice in my studio the one I rented that actually had carpet I couldn't anything about it landlords really get very upset when you're going rip out the brand new carpet they put in for you so I built a false for just two by twos frame and put a floor on and put that right up against my wall at a brick wall to was really cool um now I have a studio that does not have uh any bricks or anything it's it's a big giant cove and it's like everybody you always wanted a co you know like when you're growing up the end of time for like a really cold now I got one hand like I want my brick wall back all right so and we'll bring you out just a little bit more good right about there and general bring that box a bit ahead of her there so this is kind of going to be kind of this shot here we're going to get something going with this background um and yep first we're going to meet her the background because that's gonna be the one that's going to take the longest to uh to deal with and john let's get one from on this side of her right about there he even ate five six it's a stop okay can we turn it to the wall just a little bit more and what what I'm trying to do is to squeeze it off squeeze that light off he has tried about there just just compress that light ok five six and a half four and a half so still stop okay we'll deal with this stuff let's bring this uh ahn's so where would you where would you place this exposure would you shoot this in five six would you shoot it it for exactly and I'm gonna put her in the middle so that that's brighter than her and darker than her if if she was you know middle great so you want her to be five right half drunk around here so that's a cz at full steam ahead let's try it at quarter four and a half four point five and that's what you got back on the back wall is well about here this is for even okay so we're going to shoot her in four point five or four and half yeah okay so that's uh and we're busy that's the tethering theater swing for the tether okay on the screen you understand what we're doing we let the background b a different than her because we want her white jacket to be something we see good okay so we said uh he said four and a half yeah your fiftieth of a second of that way back here and we're still using the hundred yep caught ing let's bring claudine forward to me one or two feet right there good and we'll bring that other light up and I'm actually going to come back up like a little bit more background on the shot so we're trying to create something a little bit more dramatic than just the flat back all right clubbing fortunes in your pocket there there you go that's nice bring the chin up a little bit towards me right there good yeah yeah so we have a bit of a bright light coming this way to the back and this other shot pops up there we go you see what we're doing create dimension there's dimension to the photograph shadow side of her jackets against the lit side of the brick wall on the left side of the jackets against the darker side of brick walls a nice simple shot that works so far but claudine doesn't look as good as she can look right so let's bring in the big one you should have spring in the big one you want to bring in the let's bring in that one okay claudine is falling off so dramatically this side of the jacket is nice and bright this side of the jacket looks like it's a dark gray jacket it's not a dark grey jackets a white jacket we want to look like a white jacket I will bring it right up in front of her as much as possible so sorry there we go now I'll see if we can get that jacket to light up a little bit there and that's nice there we go twist back to me right there no the other way other way right there that's good bring the face back to me beautiful hold on just for a second I need to do something my glasses it's a monumental waste of a few moments of television something here real quick this is why I shoot monochrome most of the time notice when the shot comes up in monochrome we're going to see so muchmore oh you're shooting raw so it's going so what isthe so you go to j peg if you switch a j peg it'll come up in black and white on chiana I'm gonna put you on j peg ok don't be upset alright I should remember how to put it on j peg uh that's it here we go j peg l know what I want large pickets that is large okay I thought that would be low so often I used jake but I would use j here we go now you can see contrast you khun see lights and darks and you're not fooled by the peach or the tangerine you're not fooled by the darkness of her hair you can see that her face is is not quite bright enough right toe what we want to do so let's bring this light that's bring that main light forward a little bit and we'll cheat it in a little bit okay yeah that's it that's it now that's beautiful now a nice smile I love that hair chin up a little bit right there good come back to me a little bit this way right they're beautiful love that okay now we can see how the grayscale you actually see her face see how much brighter her face is so much easier it is to see in great skill we're not fooled by anything when you were in gray scale we're not looking at color or anything we're looking at what that photographs tones are going to bay okay so let me do a couple shots of you now we were all tested you in here okay this is just you in may these people and the eight million people watching on tv are not watching it because otherwise they're gonna be recorded in black and white no um mmm yeah yeah I want him yeah thanks thea what happens is the I see black and white on here when I'm shooting raw but I guess when it goes in the light room it just basically pulls it up because the color shot there we go it's black and white here what should come get solar on the screen yeah yeah all right here we go couple shots here that's nice you know what when I'm shooting this way right here and take it off how was that this right here is a little mock first okay thank you john us the freedom huh us just ask you why you're using a tripod do you normally use a tripod um I do but what I do when I'm doing workshops because I don't want the image to change so when I'm on it on the tripod the image remains the same distance away all the time and the angle stays the same song doing those you know shots in a row you can see the distant the difference you're not seeing me move because every time I move I change something to the photograph yorgos model shoots and someone will set up you know those where there's like one girl in a bikini and eight thousand guys going toe cool great lighting and one guy like set it up and then they'll be guys everywhere trying to get shots you know why I never care about that first of all I never do it never do it if I set up the light it's mine I'm really arrogant about that kind of stuff I'm uppity you know what I'm saying I earned that you're back so I don't do that but the guy who set up the light shouldn't really worry about it because that guy over there taking the shot it's not getting the light you set up here getting salt melts maybe it's good maybe it's not all right a little freedom here to move around all right come in for some head shots that's nice chin up a little bit I like that come back come back come back come back come back that's it beautiful like them coming in real tight for these face shots this is beautiful like this you're an actress right now you'll like these that's good I like that turn this way a little bit and come drop the shoulder down doesn't come back to me limit right there shit up a little bit just kind of right there part the lips good come back here come back to smile right there that right there was one more well smile smile here we go one more area go thank you chloe thank you so much appreciate it lovely all right and where is our other modell alright would you speed light with her okay like sir you do a speed light with you one speed like let's get this we're gonna do let's uh let's take a let's take this disk john take this disk and put it on the a reflector stand we're gonna drive a speed light through this okay and we'll actually use the road meter for this way we can see how that I'm gonna put you against that wall just leaning right up against it okay yeah what I want to do with this is to create a very dramatic pool of light that still soft so I'm gonna use a speed light close to the back of this diffuser and to try to get a hot spot of it and I'm going to feather this light across the wall so it's kind of dramatic how write another whenever I think of a photograph um I start to see this picture in my head and the picture I'm seeing in my head now is her some my black and white the light's going to be very focused on here it's going to kind of drop off this way I'm going to put some space around him and change lenses put some space around her and get something kind of dramatic and fun okay using the texture of that wall in this kind of focus little light here meanwhile I will try to remember where I put my cameras cameras on the tripod where is the fifty fifty's believing you're banging my bag okay um okay thank you see how slinky she is part of the shot I want shadow definitely want shadow I want this to be a shot that's kind of mysterious so I bring this up spring is really tighter to john wrap it gets a little right about here then open it up this way towards you look ah nice the fifty is going to get me a little more room toe one side of of the shot and that's what I want I want isolate her and this uh this dark area tomorrow we're going to do a beauty shot with four sheets of cardboard that'll be all the light and we're going to have the beauty shot be as pretty as any beauty shot you've ever seen unless of course it snows no chance of it's snowing uh one eighth has just started in a nathan's safe we'll go from there and let's bring it in a little bit closer to that thing because right now what I want yep yep as I want a hot spot on her okay hoops many times yeah let's see what that leads all you'll see how small that flashes on the back of that diffuser okay it's a little bump of light their meter uh right there two eight point eight good now where is it on her tummy two eight point to honor les or thigh hoops and what flat one twice two point oh so it's fallen off all right right there like that that's that's nice yes now yes to drama but even though that lights close we've got some kind of fun highlights going on there with the shadow we still have a soft light on her face look at the break of her nose there it's a gradual break from the dark shadow to her face because we're defusing it this isn't a soft box this's a diffuser at this point let's sum john with a flag like what do you want to let go I want to flag this off right here what we're going to be so bright it is in the corner don't cut that down more of a sense of mystery to the picture thank you sir somewhere around here yes let's see what we got right here make good up a little higher john can almost come at an angle like that you see that doesn't that doesn't but this is coming into the shot so if you could get this out of the shot we're good yeah all right right there good beautiful chin up a little bit way go the long soft shoe that's it you're doing just providing a little pool of light were flagging it off here and kind of making something kind of fun and interesting there you're gonna work your face towards the light just a little bit there like that john that like that the things perfect we got it good back to me a little bit there we go right there good chin up a little bit good right there like that like the lot good chin up a little bit more good can you give me even more of a s curve no otherway yeah that's it that's it shake their shake there just get a little loose good bring it up just right there this corner still in yeah if you can pull it out just six inches right there we go beautiful wonderful good shit a little bit right there and all right like that kind of dramatic look you like that shot you back against that wall yesterday right there good come up a little bit should I put it right there now what I want you to do john take that light and you and come one step forward both of you delight and ah here's a light and the diffuser and come one step forward right there right there indelible so now I moved her away from the background and what happens now is the light goes actually sweeps behind her she'll say here in the second light sweeping behind her and creating a whole different feel to the shot we got this card in it into it here but that's so what when I when I'm working on a location I'll cut things down I will grab stuff and make it I'll make a uh snoot out of a pringles can okay the difference between a do it yourself photographers and me is I don't think the pringles can with me it serves its purpose and then it's in the garbage I don't builds I buy stuff I like stuff that purchased a couple more here and we're good right there good you know like that yeah bring the face right over this way they're more right there good good good and up alright thank you thank you very much appreciate and so that's that's kind of how I take a shot from not ever seeing what they were wearing we kind of picked it we never saw him but just kind of a fun little way of creating some shots

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.