I'll set a base exposure for my ambient light so while at least is getting that uh just set up there well kind of get see what the background like you look like and I want to open that up just a little bit mohr so uh maybe I don't know a little bit I'm gonna go like a half stop two thirds of a stop open in the background and they will bring a nice light on her face was that ready to go with the slightly warm jail okay and let's bring in she didn't come right over here okay lighting her up I was close is you can without light is that yeah we're going to soft wrapping light I'm gonna change the power of this down from a core to quite a bit lower I'm gonna started out of sixteen thirty two and see where that is because we're going to be closest possible because when we want ah beautiful light we needs also bring it is close when we talked about that on our first day bring it soft bring from here to here so we're going to bring it from the ear to their roughly okay and you could turn your ...
changes and gently this way until the top your head that way and we still can't have something going on with this we could be cute little you still hold that we're not gonna be as goofy as well before this is nice you put your hand right over the middle the bottle there and they should can you scoot back just live this way ok nice and then you can smile let's see what power level we're at here is not even for sale what do you see two for using channel c two which is the standard trigger okay and we'll test fire that well quick ok it's fine and you're looking this up to your chin that way and I can help two hands on the ball or one hand on the straw one on the bottom only getting head and shoulders right here so turn your chin to the right good more to the right now I feel like that right there just like that that light was even write good our lights looking pretty close we're just gonna get a little a little relaxed smile right here okay beautiful turn it in to the left just a little yeah right there like that and look right into that light box that's staring at you and give it a nice little smile way go okay so a little more of a classic uh fifty style beauty like portrait um we could ever looking at the camera but I like kind of that way opens up a rise in that light shapes her face nicely there so having that light box up close now if we only thing we could do different and let's try this roof ecstasy is at a little phil and let's get one the reflectors real quick and two two more shots just a five and one with the reflector just open up this the shadow side of her face white hey any day hold that up and just like that you might have to kind of even given go behind her mike that's flying because we're gonna be and bring that forward from this side here uh okay so we're gonna again just like we were the following decline of the cone of the lens stay with reflectors when I kind of have this into the cone and we want to bring it forward sorry about the camera there that right there that's good it's good had a nice little phil to open up that side of her face and she's looking right at camera for these nice smile you blinked a little bit let's try that again right when we're time think hold on wait here we go so we can see how the phil opened up the shadow side of her face is a little bit and the closer we bring it the more we open it up so we'll do our last shot big happy smile look at the light bring the phil disc in nice and close we're going to give it a really soft beauty light look or an angle that's just a little bit towards air there right like that okay and they're ugo and look directly at that right the light now hey this relax yourself your smile is feel like getting worn out so just relax close your eyes close your smile chin down just a little there and I started the box okay hopes got the thing the shot and wilmore way kid so now we got a nice soft light like the one before okay bring it in close opened up the shadows we got directional it's soft everything's looking pretty pretty okay so let's finish off uh take a couple questions I also want to just go through a few images in tweet them oh and of course I didn't mention this earlier but at the end of the night I will finish up enhance the image is put them up on the block um and have them in the morning so we'll review in the morning I'm going to show you what we did or what I would do to the images and I'll save a couple of them to show you guys is well but uh good and if you have any questions out there timeto fireman okay quick comment from patrick robinson who says woo hoo I'm getting this lighting stuff I like to hear that thank you for that yeah I'm also just let you know we have about fifteen minutes left ok I think that um let's see a lot of these questions that are coming in now and things that we've already covered okay so let's okay so let's do a little bit of ah ah little bit of work on these images here I'll just move this right here yeah and just a reminder to everyone at home if we didn't ask her question please re watch today's workshop we will do a free live uh re washing will be live so if you have any questions that were not answered that means they probably were already answered either earlier today or in yesterday's class all right so this one here I tried criminal a cream on it so that before and the after with creme de la creme and again a nice way to then smooth out the skin pretty quickly without time to go into do any retouching not that she needs and because she's sorry got beautiful skin but just kind of add sort of a smooth creaminess to it it adds contrast and it also boost the color's quite a bit adds a vignette down in the bottom now most of you already know this but in photoshopped uh one of the quick ways now this is totally my fault as we had her arm pushed back so it makes a little bump in her arms she's not heavy but if you had a heavy girl and they were concerned about the bumps in their arms we use digital liposuction to to fix things they wanted to fix now this is a whole another topic of conversation which is what do you fix without the client asking I get this all the time people say well if the client doesn't ask do you go ahead and retouch and sometimes I do and sometimes I don't so this is a little tiny tiny thing here right here on the side here this we could push that in ok don't feel bad your arms are nice beautiful okay so I'll take my push push tool which is this one right here and raise the brush size up something like that so generally I wanna brush size that's about the size if you imagine this was in here and this is the lump about the size of something that would be pushing that out and I start outside of the arm and push it in so I'm a brush pressure down fairly low twenty eight or so not as low as you can go but twenty eight or so and the brush size really just depends on again the area working on and then we just grab it and he'll pull it in ok so we just grab a little bit there pull it in little there and pull it in so few show before and after one hundred percent you can kind of see what we did so just a small thing that was a little bit distracting because we had her arm push tight against her body it pushes the little biceps triceps out so we pushed it in and we're good to go then we can send that back to light room with command w so I was using the liquefy tool and I guess I'm assuming that most photographers know about this invaluable tool but if you don't liquefy tools what I was using in photo shop to streamline that little tricep there okay when I close it it says you want to save it say yep and it goes back into light room okay and then let's look at another image we can play with I'm gonna just scroll back to the beginning of this siri's here and we'll get one of our be bop a soda yeah like that and I'm gonna go down and one of the nice things about the presets of course is you just in light room hover over your presets until you see something you like okay said he sees something kind of dreamy on there click on that if the highlights seem a little hot I go to my highlights on the right side of my developed panel over here and I'll just bring the highlights down okay so bring him down just a wee little bit uh if the brightest brights whites are a little hot I could bring them down with this slider here and my shadows need opening a little bit I can open them with this slider here it almost gives it a hd are kind of feel when you open your shadows and bring your highlights down at the same time so we're feeling pretty good there I like that I like the focus on her face like the creaminess the field to that so I'm gonna go ahead mark that one with the three star so anything that I've enhanced I will give it three stars so where's our last one that we worked on here okay and let's go back and see you another one to tweak out crazy girl crazy girl let's pick another one here cute couple outside cute when she's a gi to go back to grid and these air when we shot with the neutral density filter outside and I like that one or he's kissing I think okay so a neutral density filter with the octo box shining light on her face kind of creating that shaping the existing light being one stop underexposed was the shadows and everything else in the background that from the existing light so that was our phil okay as we go through our our pre sets here will kind of roll over supernatural is kind of cool to reality is kind of cool let's see if there's anything in our vintage set we can play with then delicious is kind of nice takedown my highlights and my exposure we little bit my whites were looking pretty good now one of things we can do in light room or photo shop is to paint light in so say we wanted to bring a little more light just on him because he is darker skin we may want to try to open that up so there's not as much contrast you may want to just leave it the way it is but again this is a hypothetical situation if you wanted to use your selective brush I'm gonna move that away the k on the keyboard k for kevin's favorite tool if you ever forget okay goes to the adjustment brush and I've created pre set for a digital phil flash and the digital phil flash basically involves cranking the exposure slider all the way up here on the right and dropping my brush flow down low twenty or so notice I like that flow of twenty whether it's on the digital phil flash or the liquefy a low flow helps you apply and effect slowly and let it build up density of one hundred flow down low size my brush like this or so and I'll just do a couple of little swipes right over his face so just adds a little bit of light right in there okay so we can see if I turned that offer on adds a little bored depth to the shadows there in that up and now it's looking pretty cute all right groovy like that one so label it with the three for three stars meaning I've enhanced it it's gonna be a keeper let's try and find something else here from this set these are cute when they're playing now over here that was cute don't go with that take that whoa hello oh I like those two wait a minute I want to go with that one to start with yeah let's go the crispy color thing yes in my regular workflow collection I've got one that I think might work really nice just a punch that keep it kind of kind of normal but give it a punch there's one there's hawaiian eyes but there's also snapdragon snapdragon there it gives it a nice little punch and I'll use my k brush my digital phil flash again come on in and lighten up that shadow side of his face so case I didn't have a perfect reflector right in there now we've now opened it up okay so here is what it would be before and after opened it up balance it out got it crispy looks good label that one with three stars we've tweaked it now where is the other one I was gonna do one of these ones right here was it oh the hair kind of blowing off everything this cute kid only one more three stars and let's find one for this maybe something kind of been to gie here on this one let's find bye mckay that's got a nice but I need something maur vintage feeling to go with this whole feeling of the uh trailer park and let's go back up old film one like that k brush at a little fill on them and were feeling groovy okay I'm gonna open this one into photo shop and I want to just blur my edges a little bit on this so I'm gonna use the edge blur tool if I type that into my dashboard ej blur modified hit enter it's gonna tell me to reshape position it where I want soft shaping their and hit enter and again sometimes I use this just to kind of minimized distracting things make it feel more like a tilt shift kind of a feel so here's before and after and this is a lot of things going on the edges I love the metal of the trailer behind them the little rivets and things but the chair in the bottom I just wanted to make a little more dreamy feel to it so apply that and while we're at it through a texture for a border on the edges let's use this thin one like that and invert the border with commander control I give it a little frame and send that back to light room as done man w and enter to save it so back in light room once it's there a type s oh my keyboard to stack with that photo underneath the original and there it is in light room now there's been enhanced okay that was cute like that not that oh sorry that was keep we're gonna go with that one switch to my develop mode and look for something to enhance that with now what time's the question comes up if you're doing this siri's for the client would you put all kinds of different looks on it like some vintage some poppy some normal not if this is seriously all for the same client I probably would not kind of pick one that I felt worked for and stick with it for that client maybe be all sixty five mustang allvine delicious all papa licious whatever and kind of find one that fits the theme in the chute and kind of stick with it because I don't want it to be all over the place but I would mix up some color in black and white maybe so if I had a black and white that I wanted to go with I might put that on there so let's say black and white mocha uh hit mike a brush at a little phil and we could go with the black and white version of that image go back here and let's find another one to see these playful ones look like that was cute like that okay so I'm gonna go with that one give it three stars take it to develop mode and let's pick something for that sixties film I tend to like that looks good on there so you guys were asking we're outside what was that edge light you can see that the edge on the back of his neck right here a little crispy light there and highlight in the back of his head that's what that grid spot that alicia was holding was doing and basically what that that does is to add a little bit of snap and it also helps to separate him from the darker background um so it doesn't do much to the bright shirt because the shirt is already bright here that we talked about yesterday if something's already very very highly exposed it's not going to do whole lot teo so that's what that little edge light was so it's a very subtle thing and again it's like a safety light if it doesn't go off who cares it also adds a little bit mohr edge to her as well so we've got a we've got that one set up like it looks cute and I'm gonna do my k brush and hit him up just a wee little bit with my digital phil here and light room since he was kind of shadow not getting the like that she was and we're good make sure that's rated three that's cute too oh I like that one so I'm going to like a little cross process thing here make it real uh sixty seventies feel to it and the cross process does punch up the contrast so I'm gonna bring my highlights down on that my whites down a little bit on that um maybe the exposure but then I opened my shadows all right hit my k brush dab it there and we've got a nice cora quirky seventies cross process field to the thing and of course if there's different variations you want to try right click into a virtual copy and maybe try something else then you could go back and forth and see so in our virtual copy I'll return it back to the original and then we'll try something else maybe the vintage one two or three it's good vintage three uh that's a nice one I'll still do mike a brush on it and we done
American Photo Magazine named Kevin Kubota one of the "Top 10 Wedding Photographers in the World". His photos have been featured on the covers and within the pages of countless popular magazines and photography books. Kevin has been a featured
I LOVED this class and I don't hesitate to recommend it! Kevin did a great job explaining how to incorporate additional lighting for on-location shoots and what those items would be. Then he illustrated those ideas for the class in various types of shoots. I loved the gear he recommended and especially his DIY suggestions. He has a great sense of humor and I felt like I was right there in the class. I would highly recommend this class to anyone who shoots on location and wants to make sure they're not only using the best lighting options but also the best lightweight lighting options.
I am enjoying this course so much!!! I am 100% happy with it.
I just became a big fan of Kevin ! Great personality!
Makes the use of flash a breeze. I just want to go outside with my gear and have fun now! thank you.
This workshop is fantastic! Kevin goes over every little detail you need to know for Lightweight Location Lighting. He shoots during the workshop, instantly shows the image and talks through how to see the light and make the proper adjustments for a fantastic image. He includes details about all his gear and post-processing tips, too! Kevin is incredibly inspiring! The course is easy to follow, fun and worth every penny!