Lightweight Location Lighting

Lesson 22 of 28

Shoot: Classic Bridals (Lightbox Setup)

 

Lightweight Location Lighting

Lesson 22 of 28

Shoot: Classic Bridals (Lightbox Setup)

 

Lesson Info

Shoot: Classic Bridals (Lightbox Setup)

we're gonna go through uh I'm gonna show you one of my favorite lighting setups and I have shown you little variations of this before and alicia will need your help out here in a second and this is again it's something you can use the d I y panel and make your own or you can buy the photo flex panels or from other vendors they make him a cz well and I've got several from photo flex I've got some old ones from way back from other companies and I've got my new d I y ones uh I need to just use them all together interchanging we're making on yourself but this little set up alicia please help me let's pull this out here I got the front I got back from kevin yes ma'am just wanted you to know that your flashlight is completely sold out oh yeah she was my flashlight you know what I mean youse you really sold out oh no that is the power that is the power yeah seriously that was funny good well I'm glad you guys found a good useful tool so let's save I turned this around here this looks kind of ...

rickety but once you got it set up that works pretty good basically it's three panels and these are some old rickety ones there's the photo flex one in front the front panel is just translucent fabric the insides I have the white reflective and their black on the other side but they're white on the inside and I'm basically creating a box so my window which we've done before we did this with the model on the first day eyes great light but sometimes you don't want it to spill all over you wanted more contained a little more directional and that's one thing nice about a light box is that it contains the light and just boom shoots out the front doesn't spill around the edges or wherever okay so this little step right here uh actually worked beautifully as a nice little window light and I just put my arms on the side that we use the other day to connect to a pole to hold my speed light today I'm going to use this battery booster it's next not a battery booster it's an a c connection for the speed light so that I can use speed lights when I haven't see connection and I just want to shoot you shoot all day long not worry about the batteries ah this is a great little tool to have I don't use it all the time because you see him out where I don't need to worry about plugging into something but if you do want to shoot in a studio in your home and you just plug this in save yourself your batteries and then I just clamp this onto a vertical pvc and it's so it's self supporting and well we need to do is to find out what zoom setting to set the flash head on so that it fills this face as much as possible so let's go out and just do that quick check we'll see what zoom setting we need you guys can see how that works I want to set the power don't really matter with powers to start off we should be able to see if I turned my things on I'm using the pocket was there plus three transceivers for this setup here this is a nice universal set up the plus threes are very affordable and they're not tl controllable but they sometimes you don't need thio zooms setting you see what I'm going for here that zoom setting I've got a pretty a tight circle on I want to try to fillmore of this panel so I need to zoom my head a little wider and right now I'm at thirty five so I'm gonna go too twenty eight or twenty for let's go to twenty four take one more shot and see that we're covering that completely and this is something you'll need to do yourself too depending on how far away your flashes which flash you're using how about your panel is and help you determine how much space you need all right so now we're starting to get more coverage there more coverage little wider spread and enough that when we put those side panels in there it's going to create a nice even light so we're going to finish it off the ship we can plug this in get that boosted close these panels up yeah we'll turn it around and get ready to put it in position all right so start with it there they don't want to make sure is that you don't have any leakage like the cracks here if you rotate these have little clips on him that we've used to clip the frames together you could even use use duct tape which I've done many times you can tell by this frame has duct tape all over it but you won't have it behind it so there's no light leaking out through the cracks just rotate that around a little bit and there you're set up ok so here's your window light our model's gonna be in here for starter okay and this becomes your nice soft window now we may or may not put phil from this side to pay on how dramatic you want that light to be if you don't put any phil then it's gonna have a nice really shadow a dramatic light which is great for dramatic portrait ce or it could be softer by just putting a little bit of phil on this side so let's start off I want to do just a clean portrait and we have ah teo what's your name young lady well this uh this is melissa and young man what's your name riley listen riley and they actually are married recently right month and a half ago so listen riley we're going to come in and really gonna hang somewhere out here for a minute there is going to do some shots of melissa so you can admire as you normally do just stand and stare yes yeah well so let's have you come in and just kind of sit kind of this way okay well let your uh dress thing go that way and alicia will help you with that the dress thing kevin dressy thing yeah yeah you know what let's leave the veil out for sure andi um okay so we're gonna start with this and listen gonna point your knees towards that thing there and what you just lean forward you look great riley even yeah that's a cool perfect so what we want to do with our light sources to bring it remember what we talked what are what's one of our silly rules that we talked about the other day don't knock over your things that was the first rule of silly rule have it strapped to something okay so that rule was from here to here so if we want to do a little headshot or three quarter right here we want to kind of start the light maybe from her ear and the angle is coming right towards my lens if I'm shooting here that's about right I should basically see or not see the face of that and if I was to look at the face through my camera it should be us a slice of the face of this device or the diffuser and that's a good starting point now it's not ah hard fast rule of course somebody go well I like to have my light up here instead that makes no sense that's not your here that's fine now this is just one thing to try all right so let's take a look I have no power to power setting we had back there all right who's gonna throw out a power number for me today um sixteen sixteen okay well started sixteen you know melissa why you need to be nervous about here bites okay so you're going to kind of turn your face a little bit happier that way there yeah we're just taking our lights you don't have to worry about anything just yet sassy so were the sixteenth power is that what he said pretty good guess but wow if we had light meter that we'd still be meeting that yeah all right okay I'm not bashing light meter so please world I always give it a right teach people somebody's twitter's me kevin says never use a light meter that they're stupid and you know bashing all traditional wisdom or something you know it's it's really not it's whatever works for you and to me and you did a awesome job just guesstimating and getting us actually perfect but we could you know if we had to tweak this a half stop one stop either direction there be one more adjustment and boom then we're shooting I was thinking about what you said on the first day about like the amount of light and how light your ambient it is so then because we were shooting it kind of starting at that point and it was too bright yesterday in a space that was much darker I don't know in my head and made sense yeah in the space yesterday we were using there is actually a lot of those in a machine lights and overhead ambient light something like that and those actually read pretty brightly and I was shot a lot of that in high rise those four hundred eight hundred in order to capture that now this scene right here if I didn't have a flash on it would be almost completely dark so I'm not really getting any much ambien here in actual turn it off so just so you can see what it looks like without flash at all we'll have some light on her butt not very much so here's good that way this is with no flash this is how much how much room light we actually have in here alright so very very littleton to nothing inmate that's going to add some to the ambient to the phil but it's not a dominant light source it also in this case I don't really want to capture any of this room like I wantto capture as little as possible actually so that it's all me all this light so if we turn the flash back on now we can question kevin yeah this is from linda photo in long island new york uh linda would like to know if you can describe why you would sometimes use the light box set up and why you would sometimes he's just the panel as you did yesterday I don't know if you just explain that yeah that's a really good question um the reason I'm using this box up right here is I don't want any of it just the panel a lot of my light would spill around the back and hit that wall and in this situation I don't want that I want just the light coming this direction whatever light it's the wall I wanted to be just soft spill from this that's all natural looks like one light and you can actually we could see if we pulled that side panel open alicia again it's something that's not always a bad because sometimes you want to feather and this is a technique that also we talked about a little bit but to feather your light so that one light can actually serve the purpose of too so maybe that you want light through here but also feathering it so some light falls and illuminates the background as well so that may be something you want but it may not in this case I want to control it all and have a look just like one simple light beautiful on let's just see what that ad by opening it up so it opens up the background makes it brighter and there's less contrast being heard buck and I wanted a little darker grey background like that so that she pops out okay so get is not bad if you like it better that way with more light in the background then use that technique feather it opened it up and let let the light spill onto background um the other thing that could happen is you could have light flaring back to their lens if you're shooting real close to the flash here and that definitely is not good because that'll just kill your contrast okay so when you want it nice and controlled we use that we really want to soften the light even mohr although it this one right here I just got should only want to soften it love those shadows they're shaping on her then we've used ah multi disk or a reflector like another panel just like this single one on this side as a film really simple but we'll just use that for someone I touch your hair a little bit okay it's a little sticky apart about pre here were all jealous don't get the wrong idea about me guys it's not like I want to be a girl with long red hair or anything but if I were a girl if I could switch back and forth that sounds weird not a switch hitter not good just uh turn your shoulders toward me just a little melissa and relax this left shoulders a bit and again we're just playing with the light here beautiful so now we have some field going on and we close that side panel backup we did right and you can see the difference now we're really kind of removes that becomes pretty much a three to one two and a half to one light ratio which is yeah to me it's boring I like more shadows like more shaping and which is why I'm generally a fan of one light because one light when used properly from here to here can create enough of phil so that you don't have just like a hard dark side of her face there's enough phil that it shapes and still reveals the detail and looks great so if you can light with one go with one I think so let's pull this out okay so let's play with another variation of this issue's femoral head shots we were gonna go back to our original lighting set up and melissa is just gonna work it work it you can drop your flowers I like that smile is beautiful relax your left shoulder and kind of turn your whole torso towards me just a wee little bit yeah nice chin to the right just a little bit and tilt the top your head to your left your right your right my left that you beautiful and awesome kevin can I ask you another question please this from gary from bc who says there there will be light spill out of the top of this setup are there times when you also cover the top of the three screens if you were in a yeah you're in a very small room with white ceiling and you thought that that might affect your shot you could just lay a black fabric over the top or one of these extra black pieces here and seal it off the top generally it doesn't make much of a difference the light that actually bounces up to the ceiling and then bounces and returns is so little compared to what's coming out it just you could do it both ways and you probably won't even see the difference unless you're a really small white room okay so this is all fun and games but then we want to do something mohr sassy right here so we're gonna do like a little artsy thing so let's set it up so let's just kind of move around and let's try taking the same set up here but I want to bring in some prop ege here not talking about the groom we're talking about this little table and I kind of was thinking about having this as just a uh put the green apple down there just something on the side of the frame some kind of picturing this frame she's art you know she is really art so we wanna have a little almost like little artistic composition here a little still life bride with apples so I'm calling this right and her apples these are actually really good apples they come from right down the street with trying you could take a bite so help me move this just grab the other side we're gonna slide this ward way back just a little bit towards you act towards you okay right there just give her room to lean forward there so we're gonna widen our composition up a little bit so you guys may be in the shops could you over this a little bit hang on for the ride booth so now we move the light slightly further away so what do you think is gonna happen it's not a tough one a little bit harsher but it's still pretty big is also going to be a little less exposure um we were kind of on the cusp of on off on her face as faras exposure wise so I think we'll probably okay but if I needed to I could crank that up maybe a third of a stop let's see where we are you guys here I'm gonna go across the street and uh I need a walkie talkie well don't you turn your face to the right and tilt your top your head that way just a little bit okay now just kind of relax and kind of shake it out so that they're like that right there lifter ten ever so slightly okay we'll just start with that see where exposure is that the fire did right mmm saucy think I need a little more want a little more on her face let's go third and I'm gonna want something on her hair I really want her hair to have a little more glow from the back so let's put in our grid with us a light amber sticky filter jail question kevin from alley cat um does the follow her nose guideline not applied to window ask lighting yeah that's a really good question when you're having window escalating it's less important to follow the nose because you have play soft shadows the father knows really was most important when you're using that direct spotlight grid spot like we did with the fashion things or even a beauty dish anything that has really directional shadows that's when you definitely want to follow her nose but this one you know you still generally want to it's why try to keep her faces when we talk about short light in broad light so what we have now on her face that's short light right because the light's coming for what the camera sees from the smaller side of her face and the abroad or cider of faces into the shadow that just helps to slim the face so uh if I was following her nose with this broad light he would tend to actually flatten her out it's just it's too much light don't stab her we'll bring that we're bringing up high like a hair light right just one more life this is a hair light now you can bring it down lower like your your eye level might work straight what's the power sitting on that one might give me a number for that uh sixty four sixty fourth okay we'll start with that and they should pull a little back see the light stand in the shot there just a wee little bit okay that's good okay and that someone have you lean forward again I kind of liked you more relaxed and you can your apple just kind of let it hang in your hand yeah there we go that's cute like that there you go all right we already go leash turn your chin towards me just a little bit there for that grow bridged fire thought it did but yeah we got a little twinkle on the chair it's not quite on her hair though you said it's on the chair so lifted up a little bit yeah see little speculate on the corner of the chair and this bring it up one stop alright que nous right here tilt your head ever so slightly to the to the right shoulder there you go okay let's start to hit her a little bit you see it you're speculators in the apples and in the top of the red chair there but it's not quite getting her I wanted to get her so it might have to come a little bit more right where melissa sitting let's bring it up gently put those on a bendy adapter so that you have the key do you want me to switch it out real quick or you know we get time let's just hold it pointed at the back of her head yeah melissa if you have any other like things poses you want to stretch into our move yourself around that's till the awesome there you go love that that's cute very cute way firing off there on that good nice beautiful uh you know she'd get into another that's nice right there hold it and come on over here so she can stare atyou it's always good to have ah someone that they like they could stare at besides the photographer there see how she lights up she likes him okay let's see that was keeping that one right before that I love that expression there that's when I had riley came as soon as riley comes in is like there it isthe that's a super cute love her expression her smile on that her hands look natural body position looks very natural and we've got just a little bit of glowing going on from that of the light so good let's change it up so now we're gonna bring riley in there you can see we're doing black lagoon creature no definitely not kevin emcee pch would like to know if you use this set about an actual wedding and if you do how often do you bring this set up two weddings you have use it at weddings when I can I know ahead of time that I'm gonna have like a space in the reception area that I'm gonna do portrait ce sometimes I'll talk to the bride and groom and also we want to do photo booth or we want to do pictures of the guests and whatever and they'll actually say here's a corner of the reception you can set this up so I always bring the stuff with me I don't always take it out if I find there's a good opportunity and I could use a nice portrait and I have a few minutes to set up and do it then yeah the nice thing is that it is pretty compact on easy to set up but I don't bring it to every wedding me I do bring it but I don't use it on every waiting but another question for you and that is from matthew koontz who is in cedar rapids iowa hey matthew um how do you decide what type of gel to use when all and he says when all the light is based on the flash uh it'sjust mood that I want like for this shot here I wanted to have a little bit of warm jail on that one just to create the sense of a soft warm sunlight kind of on the back of her hair and plaster it since you're here being warm and red I want to enhance that color a little bit so that's what I'd use it warm joe but in the box itself I don't have any jail just to keep that a real clean daylight balance light on her face I think the colors you are a natural okay any others good okay you gonna hide behind her no that's actually cute like that like that so you can kind of lean just like you did then for on the side of her and she could just kind of in there I want you to kind of relax this elbows like see your hands so doesn't like you're going somewhere you shouldn't be going in public all right and then you put your hand on top of hers that was great just right on her I'm there demonstrate you up just a little bit more so you're you're nice and straight riley's gonna be kind of leaning and peek in there who looks like that was it right there that was it that's exactly it don't move stay okay boo I'm excited yeah I'm gonna get a little closer so why don't you just kind of don't move I'm gonna shoot one guy move you're here after I shoot more great expression like right before a bit tighter there ok don't move don't know you would you like a little butterfly pin right there we're here like something like that you know the little girls do that thing when they pull their hair back around the side and hold their other hairs I called magic princess pan yet princess bride pinning superglue we need super glue awesome sauce nice so a lot of times this is a perfect example of what I'm working with couples they may do something on their own but I never even thought of but you have to catch it and it's okay to say go back go back do that stop some I'm often watching because what I one thing I talked about when I do talk about posing and again I'm I'm not a great opposer I'm a really good poser as faras posing as a poser but I've never studied traditional posing other than watching like monty and my friend doug and soup rice and experts like that uh what you learn a lot but what my style opposing it is body language posing and so the way I describe body language posing is to watch my subjects see what they naturally do and then work from there so if they didn't actually went there and he did that he went on her cheek it was only for a second he was there and then he started go away because he's all shy were watching the whole world's watching him naked with her and at that moment that was like a great little vignette and all I did was just notice it and ask them to re create it so I could I could go in there and tell them you know lean in put your face over here do that all that that would work fine but why not just going to go with it wait to see her a little bit you can give him a big smile your teeth are actually kind of straight he's got a lead on real close they're like nose you know that it's gonna snuggling with their there good he can pull her hair back with your left hand can you reach over pull it back just a wee bit could reveal her neck there you go right there I don't know I like that there you go look at those cute noses my gosh my wife has a cute nose too do you want to see her toes she has a cute little nose is like a little like a little healthy no that's so cute there you go that's beautiful right there this one's all about riley notice he didn't shave this morning I told him go shave do and he's like no way I'm not shaving ah just kidding but he would have said he was like do you want me to shave not let's go rough okay so let's do this how about uh let's see I'm gonna have a compass to go behind him and write it so you're gonna sit now in the chair and just kind of find yourself a comfortable spot and what I want you just to kind of go around his neck and kind of snuggle up from him a little bear hug and cheek to cheek you don't have to have all the stuff you could feed him an apple if you want to you mean whatever hey there ugo uh you could uh you could like munch on his ear or something while we do that you owe somebody push your hair back in the back just a little bit no movement on the top of her head top of her head that's it right there that's good yeah e got bite there a little okay so what we're just kind of showing here is the versatility of this this sim same lights set up we could move them through move them around quite a bit uh lose our losing her exposure a little bit because he moved further away from the light but the nice thing about of course shooting rods that weaken I can adjust right now or I could just leave it there's enough there that right here in light room we can just open up our shadows and be a little bit and our exposure we a little bit we got plenty more light same as really the same thing as if I'd gone with her and changed it a half stop I can do that with no loss in quality right there in light room and don't have toe go back and forth a lot times again lighting is also knowing what you have to control here and have to adjust here versus what you can do later and get the same result and be faster and that's ah you know that's again another person thing that I sometimes have contention with photographers like get it right in camera and I absolutely believe you should get it right on camera right enough in camera I also believe that I know I'm always gonna goto light room I'm always gonna be tweaking enhancing it doing something so if I know I can do it faster by just put one little slider here then why do I need to go there and change that just a half stop or two thirds of a stop so again right in camera is when it's right enough camera love that I love you that's that's my opinion again I'm gonna have people yell at me for that but I like her standing too let's do that listen you stay right there we'll do one more and we're going through a backdrop in here and try some little different I'm gonna scoot you come on you guys stay here what's this oh yes I am so used to doing everything myself e forget you guys are here to help that's awesome and you know what to do with this sexually just let this kind of dangle in your hand would you hold it you hold it this way just kind of let it fall here you know what hold up everyone feels good for you the other kind of like it upon his shoulder there and you know I think it's kind of cool is there something we want to show the world right there yeah okay yeah you're like no that was my ex boyfriend put it on there harley and I don't talk this is not your story it it no it was in all of our all right his name oh riley one you bark like a dog okay see you then I went ok no you're good over there like that I'm just gonna pull this one little loopy thing there I would love to shoot like hair hair stylist catalog and stuff like love playing with hair and making a goal over the place do weird things they're ugo cute kind of lead for just a wee little bit so your little more cash just kind of want you need there okay all right so let's change this up we're gonna switch in a little backdrop will take us a little break ethical question while you're doing that from a woman on the verge thank you who says um does it from jupiter doesn't matter wear a prettier woman on the birds from jupiter uh does it matter where the light is placed inside the light panel on the back corner towards the front close to the share white panel it's directly as far back as you can practically get it towards the back of the triangle and pretty much in the centre and slightly higher in centre and main reason is that is that my hot spot if there is a hot spot will be kind of here kind of high level although we were having pretty even elimination all the way across even if you had someone sitting on the floor which we might actually do next the fact that it's here is actually better because then it comes down a little bit and across and that was jupiter florida not the planet okay it's a little more sun alright kevin have another question this's from uh and w photos and a couple people had asked this would you ever block the light at the bottom of the light panel to create more direct light more on their face and less on the bottom yeah sure you could put a black piece of foam core or the bottom or tapes and black fabric and actually we we've done that before just take fabric and you can make this into a strip box by taking some black fabric and just draping it here draping it there and then leave a single strip so if you like strip box lighting that's ah really easy thing to do or take the fabric and cut it off here that would take it off of his legs and keep it more in their face but it's going to be not as soft as the more you cut this down the less soft it is so just keep that in mind if you really want that soft wrapping light the more you have of this the better so yeah it would be more dramatic more like a square soft box if you blocked off the bottom and that something we've told he done and really ok to do you know what let's go with the let's go green and whether green share green against her red would be awesome one of the things we couldn't d'oh while you guys were stringing that up let's let's do one quick thing I gotta scoot you guys for so before you guys would you put that on the pipe that just leave it on the ground and I just wanna demonstrate something dropped the dollar I found money for money million the floor's mine now it's maman and no it's not yours money you gotta dance if you want my money back you get your own studio right here e I got your dollar right here oh yeah you don't wanna dance with me I think claire is the only one that can keep up yeah she worked me okay so before he hang that uh I wanted to show one thing where is the little table amusing things as cookies thank you so let's just stand this put it put that in down there things as cookies so sometimes you have a plant you might have um fingers you may have things you cut out a car board we talk about shooting through thing there's a bamboo tree over there we might use but things that you can fly if you want to cast some shadows it's ah look for stuff that you could just shoot stuff through and I found like old junkie pieces of metal and have things in our stone we had a studio where I just have a stash of odd things to shoot light through and create shadows or patterns so we could just do a real quick shot we're going to shine a beam through this because we just saw this and claire was like wow what if we shine a light through that like perfect for a cookie one of the one of things to know about lighting for with cookies this is a it's a big cookie and uh is that the further the light is away from the object sorry guys we're we're gonna shoot the shadows that way the further your light is away more distinct these shadows will be on the wall all right that makes sense so we could probably will demonstrate that but if I was right here and shooting this it would look different the more I pull it away the more distinct the shadows become why remember why from our first day of technical information yeah because three d the closer it is the harsher the shadows the further away the softer the shadows so it's the same mean closer is this object is the further away the heart of this out of I'm gonna read my own handouts one these days okay so that's something to keep in mind if you want to cast shadows on that wall over there and they're not coming out the way you want you may need to pull your light source further and focus this a bit more to create a little more um defined shadows in other words so let's just play with that power setting regina throw me a number from one to a million eleven eleven eleven so that means if that means like one eight power ok so well you just have a seat right here we're just going to really kind of demonstrate the shadow of things we don't have to worry too much you khun b is caches you want hiss okay you ready that speedo my test fire and aim it kind of up so because I'm gonna shoot you right I'm gonna scoot you it's just gonna crouch down because I want to sew the background so you could be in there but you just kind of scooted next to her there okay you guys aren't even really gonna have much light on you because you're facing the other direction we're gonna look at the effect of the thingamajig on the background all right so there's our little light pattern coming through we can see it starts add some texture to the walls there uh if you want to angle it just angrier object and uh let's crank that up one stop alicia and then put back about a foot all right okay so now we have a pretty cool little pattern going on they're so that's pulled back now you seek and see how much more distinguished the lines become when you pull the thing actually back versus the previous where the shadows were softer all right that's a pretty cool little light pattern going on back there and we still have the little glowy hot spot from the flash itself is good aiming alicia I don't know if you think you practice all week okay so just just to give you another idea think about use your speed light with a grid on it to focus it through plants objects whatever it is that you want to uses a cookie all right you guys we're going to set up one last quick shots so come on and pop up here we're gonna hang the green behind her use this I'm gonna bring this up a little closer now hang our green backdrop and this green backdrop is kind of busy when we competitive but it's really cool so the thing about busy backgrounds is what how could make it less busy throat out of focus a little bit it's going to raise it all the upgrades so this is a white house custom color w c c backdrop again they have these amazing beautiful backdrops and this would look awesome in focus or out said it's it's just touching the floor if you would please just barely touching the floor yeah there we go perfect and so if we have a busy background and a busy foreground chair and we want to just kind of make that more of just a green interesting ish thing bring your subject further away from the back drop I'm gonna bring her up here and I'm gonna have to go back there to shoot all right and we'll bring our light forward as well they should probably gonna need a little bit of ah let's have a hair light on her and we may need one light onto the back drop on from the florida grilled cheese that works who this chair is not very sturdy by the way careful and let me get my helpers over here but you have to keep disappearing just you gotta hold that could it comes apart so okay so you want this structure just slide towards me and give that another stop a power okay and while I'll shoot one shot here and then we'll do one or with a light on the background another speed lights we have our one speed light in the box one on her hair willis can use half half a foot this way just scoot your chair and everything yes did you say just for the background so why don't you that's awesome feeling forward this way but then turn your face back towards this way just like that that's nice go long I'm gonna go too late we'll test our life we were at a little bit hot a lot of hot she's hot but we're really close that was nice super cute look all right so let's bring this down you know just the power on that bring that down two thirds and can someone bring down that power one stop you know the backgrounds finalise we're gonna we're gonna leave the background as is I don't need any more light on it is going to bring the power of that stro which is hitting her nicely one stop down you know what sorry maybe I don't know okay that would be fairly intuitive but I'm sorry how is it just me now don't worry about it it's just scooted back a little bit shoot ok put back so I just figured it out way right there like I can extend my computer it's just about perfect so I like it exact same thing less that was looking good good chin up just a touch there and tend towards me just a little bit I'm sorry this way towards me yeah and stay out of this a little way go beautiful and kind of lift up your chin and look that way is if there's something riley's up there hanging from the ceiling like a monkey and then I said to me and somebody go and play with your hair a little bit kind of fluid around her shoulder let it drape over let's be like still hot ticket you know what way down how much uh two thirds and one stop more down on that leash your eyes right here nice smooth where's riley I knew it had to be behind me beautiful uh okay cool let's see where we're at here we're gonna be one more fooling and riley you can step on in there with her you guys stand up we'll just do a little huggy stuff that's that's good we're gonna rotate the sides change sides so we're changing sides because where is the most important person in this shot nomi oh yeah so if I if I'm not in the shot and the bride is the most important person in the shot and so we always make sure that the light on her face is going to be coming across short lighting her right so we want to have her facing the light and the groom he's got a nice angular face he could hold light from this direction or straight or whatever and so it's not as critical and also if we have more of a split light on him that's fine because he's a dude and weaken you know weigh like these strong dramatic lighting looks but brides generally don't want like harsh masculine light on your face so that's what we'll kind of set them up like that and you guys kind of screwed you over both look right there okay and you just grab onto her however you want to grab onto her and once you guys are comfortable just have you just kind of looked towards me but the however you guys wantto touch each other it's just fine within within reason well then reason within reason way we'll start with that then that's cute what do you get it through your arms up around his neck there and grab on and close there I wrote a little bit so I can see your face here good hold on you made a funny face right before this great all right so a little bit hot on the back light but we could tweak with that and uh the main thing is throwing out that background but putting it out of focus it doesn't matter that's so crazy busy and that color contrast really nicely with their hair on duh question time anyone question before we move on why yes we do have a way have any questions from the studio audience you guys are all good let's get to questions alright so question a lot of people are running questions about the set up in the dimensions of the room and things like that so woman on the verge from jupiter florida I would like to know how do you direct how much distance between the subject in the back or how much how did you decide how much distance between the background on this subject it depends on how out of focus you want the background of course how much room you actually have to work with if you're a small little uh living room space you may not have the opportunity to move further behind but right now we've got about twelve feet twelve to fifteen feet from subject to background and that's because I wanted to shoot with a long lens and make that there's much out of focus is possible if I was to put them closer the background I would have mohr of this light affecting the background because it would hit it and I also would uh have the background which is very busy very much and focus sometimes that's okay if I didn't have the chair and there it was just them and that was like their grandmother's quilt that had on this busy pattern they loved it and they wanted it put them closer to the background and shoot it it's like more and focus

Class Description

Learn to create studio quality lighting under almost any condition! With lightweight, affordable, and portable lighting tools, Kevin Kubota will teach you to create beautiful portrait lighting in a variety of environments from typical urban locations to more challenging situations. He'll teach you how to do it using speedlights and smaller, battery-powered lights with simple and affordable accessories to modify and control the light. And after every shoot, Kevin will download and show how he quickly processes and enhances his images in Lightroom and Photoshop before even leaving the scene!

Reviews

Karen Witter
 

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.

a Creativelive Student
 

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!