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Lightweight Location Lighting

Lesson 24 of 28

Student Shoot: Steampunk (Mecca)

 

Lightweight Location Lighting

Lesson 24 of 28

Student Shoot: Steampunk (Mecca)

 

Lesson Info

Student Shoot: Steampunk (Mecca)

all right so we have this reset we have an octo the two speed lights and one sixteenth plus two thirds each we have a little bit of a spotlight here for a grid on the back of her hair should actually pointing out her here on dh meth should be ready to shoot carefully we have to go further back if you want to get her full length or clear the wall the pressure's on hold my camera works I've rigged it so it only fires tonight fingerprint I d on the trigger what she's never going tio okay so if I can have you jump up like you were before but just just throw your hands out faced on towards me and just throw your hands at when you you look great it has a power like english all right do you like the weight of that may be it but I need it hot on the side I don't know actually if that matters since I think you said we can yeah I think I was going through your clothes all right keep your hands in a little tighter mecca and if you can uh I don't know if beth thinks but when I look at that thing l...

ike she used extend one foot so looks like she has legs right okay so when you jump don't bring your legs up quite so high just sort of let them come up naturally without pulling him up too high and then the arms look great at that sort of like different angles but pull him in a little bit that was close that was pretty cool god yeah that's good get do couple more like that great trainer yeah there you go he pants kind of opening this way so you don't have a way don't have your hands going like this one or something yeah well I like this with the one arm and one down no one's great yeah your hair is lupin right just right yeah nice thing about traveling when they're in the air we look you know she gets um cool of her hair just kind of flew finish she's coming down okay you feel their leg in there okay report your your lower leg just a little bit and your upper leg same as you were so you know I mean so like so it's not like super straight because they're not getting you're not getting the bottom of your foot quite in there is that what you want but just a little bit higher on the lower leg yet it's a lot to think about when you're in the air that was cool and that was great when I hear this great one before that was I want to do one more where I'm actually going to do from about the waist up so go ahead and bring both arms a little bit higher up great julio what else don't try to get a few more minutes up your hair falling apart kevin can I ask you a couple of questions you have the internet fire away so one that that always comes up when folks are jumping eyes about focus on what kind of focusing here using how you doing that and mike wanted to know if your pre focusing the spot where she's going to jump or are you just shooting yeah uh sister like this I'm definitely pre focusing on dh since she's only jumping vertical pre focus is fine so I don't need to focus on her face and and follow it because it's in the same plane of focus all right if she was gonna be jumping towards me that's a whole another crazy hard thing to do and you try it with the tracking focus but that would be something totally different side I really wouldn't put myself in that situation unless I needed to but when they're jumping straight up and down as long as you're locked on this plane she could jump straight up and down and if she moves a little bit for him back then you if your two eight two for your private okay but if you're really worried about it shooted five six or f ate but then your backgrounds will look totally different unless its way back and way bigger than we get the same effect so yeah I am pre focusing on her face and just kind of locking it there and since she's only going vertical it's not an issue you still want her in the trampoline can we do something more dramatic and are sitting on the bench again yeah get the red lights down maybe uh maybe the keys what were you doing she wants to do something a little more dramatic like maybe did you want to use the grid as the main light is that what you're saying or twenty more dramatic kind of like what we did in the kitchen yesterday okay yeah so like yeah little here greater speed or use this this actually will be may be too hot the strike strike great on a speed light okay maybe we'll like her doing awesome I'll grab that relationship back up I'm just up a bit and then over to the right just back that way right there thank you you just sit on the end again yes please you know what they say great light crispy light is the perfect way this is uh relatively tight grid spot it may my guess is gonna cover kind of head and shoulders here they sent this for you somebody shout out a number power setting for a speed light with the grid and what do you think twenty one eight okay will start at one eight that's what isthe u guys are reading my mind awesome sauce okay mac is that you get your face all right we're good still a little test on that all right you guys see this one far way but you're looking right up at the light really seriously when he said down alicia that like they're pretty close it's a little hot but we can uh I'll dial it down so we're gonna go down about two thirds of a stop here from an eighth to an eighth minus two thirds which is also the same sixteen and a third okay I need a fan when you're a little blower thing way come from this side here that's a load off of your face already we do have a key maybe something else too maybe the hat so you kind of just dangle okay gangland keys to you just like let me know when you're ready and also it's like she just broke out of jail she's on her way yeah well that's up to you I mean that the grid spot doesn't contain and that's kind of the focus of it but it's more dramatic that way for sure yeah okay shoot a few more and get get what you want you just to turn this statement yet perfect you just lean forward a bit more can you maybe rest your elbows even on your knees her fix let me know when you're ready I am ready teo that's cool you want any more you think you got to let somebody else if they're gonna go time for one more person to shoot something you might wanna try shoot something regina she's just running another problem a question well dorcas all right water on the trampoline writing that here is there something we can use to cover I'm going to meet a fan girls can't just wider angle okay I mean if you want fifty millimeters okay I've got a fifty millimeter okay work it don't drop my camera okay you can change the the controls to polish if you want okay okay so can you just stand like you enjoy the ride and oh my gosh I'm so excited just teo come on give you some like that point at your face there uh okay sure yeah yeah just keep it just like he's definitely been here with you I just want to see the curves just changing teo down no don't roll away and can you show me their keys you want white my side my side to side okay but are not that much off perfect and oh no I don't know k o k let me okay uh no I can't make her take off this rights okay I think we need their something from there like heroic and light like some kind of big lights back life turned out one on there so we need them or their second assistant tow the we'd jump on in I know that receiver is still on there so we're adding in she wants to add in a little more backlight a little edge light here we have someone's gonna fan we've got this one here going on her face because it's ah ah grid spot a tight spot it does create kind of some speculator highlights on the face but very dramatic more like sunlight coming down on her face through a window or something and uh that looks like is it all on everything good okay so you're kind of smart just show me gorgeous I do not see you there okay and uh area double manners now okay it could look just above the lens but left okay just looking r a hand keep print like this and just look just give me and already can you take the hand with the hat more oh no no no keep it just a little bit just lead with to the back or gang gorgeous and this look okay we're ready oh awesome sauce that's cute looks like her hair is blowing in the right direction everything too yeah you're good you're good okay cool yeah she's already for a studio shot all right any questions before lunch we're gonna break for lunch is a minute so if you have any more questions out there fireman well the internet loves that really enjoyed all of that we have more questions coming about about focusing I'll just take one question because it just keeps coming up about the neutral neutral density filter this's from m walton who would like to know if you would consider using an andy filter indoors to get sing speed down in line with the camera sink speed limit yes definitely if it's too bright indoors and you you need to bring that sixteen down uh for example in here with the natural light that we have if I wanted to shoot it at one point four which is uh two stops wider than what I was actually shooting at I was already at the limits of my sink speed already would have to put a neutral density filter probably people to shoot two four and keep the ambient the way it is

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!