Photo Week 2015 West Coast Tour

Lesson 14 of 20

Photo Week Bus Tour - Clip 13


Photo Week 2015 West Coast Tour

Lesson 14 of 20

Photo Week Bus Tour - Clip 13


Lesson Info

Photo Week Bus Tour - Clip 13

Thank you. Thank you, thank you. A thousand times over I'm gonna bring everybody who's watching online up to speed so I found a spot that I wanted to start the chutes and we couldn't shoot there because of the public permitting that we're at. So what I'm gonna do is I'm going to be in a safe, pretty location in nice natural light, but the thing I want to caution a lot of photographers from is she did light is not all the same. The closer you get to the base of a tree, the darker and more muddled the light will become. So what I'm looking for one hundred times is the natural if lecter and that's reflectors anything in nature that will reflect the light back onto my subjects without me having to use an artificial light source I trouble just with what I have in my bag on me for every engagement session, I don't bring anything else I do not bring flash because I don't want my client's toe ads for that option. So when people are wondering how I used the flat and aloof still flat are still l...

ight and illuminate for skin tone, I'm gonna show you exactly how I do that now the closer I get to the base of the tree, the darker will become the greener will become know one thing I want to point out in relation to natural collectors is a natural actor has to be wide enough in order for me to crop out any distracting light, so for instance, I don't want to shoot my subjects in this shaded area because behind them is a large patch of light, which will make the eye not truly understand what it wants to do. So I want to place the arctic natural factor in front of my subjects and have shade behind my subjects so given this light situation, I'm going to be shooting in the sun I set this up in shape because it is hot as all get out of in sacramento, but I'm gonna have you guys split right here and I'd like for you guys to stay on the periphery so that you guys don't end up in the behind him behind the frame, so what I'm going to do is I talked about a couple minutes ago I was talking to people that say flight and then safe slash risky like I like risky light in that I like rim light I like it there, backlit, backlit in this funky light sky I can do that because I'm gonna have a natural elector and leverage that as you progress the shoot, I will absolutely, positively be shooting at a one point two which some people think is anna fema like one point to write in sacramento yes, it will be done and can be double walking through that. I'm gonna bring my beautiful clients jessica and jeff, who just got engaged. They've been dating for five years, right? Two years of that five years ago. Both great. I'm gonna take you guys here now I know all you all want to stay in the shade, but if I'm going to join me on the hot side now what do you guys will see is I'm going to use jessica and jeff and I'm going to mold them. So you guys don't mind. I'm gonna walk you guys back. So I have great parting of the photographer seat her big win, backing up, backing up. You could say they're intimate. Great. So pause here. I'm just going to a lighting demo. Nothing is expected. You guys and hold hands and face this direction. Great. So what? You guys do their skin tones, watch their skin, toe, walk, block, great walk, walk, pause, look in their skin. Glowy. Do we? Beautiful. This is exactly the kind of stuff that we want now do you see any big patches of light directly behind my subjects? No if I were to shoot they could be in the same second section and I shot this way do we see large patches of light yes port aaron I walk I'm making you work dot okay so these are the things I'm thinking about I do understand the people are in the background I should shoot rather wide open and I can take them out in photo shop later if I need to but even if they are in the background I truly believe it is with the setting is one last thing before I actually start shooting is we say that the large trunk of the tree I want to make sure that jeffs head is not in front of it or else he looks like he's sprouting a tree so these are all the things that I have learned early on so these are the first three things that I look for if I'm in bright light natural electors not too close to this shade source and making sure that anything behind them isn't becoming a distraction now I could have my subject stand here which is nice light but it's dappled light on my face I immediately turn my subjects away from that for people I spoke to earlier we did selfies I turn us away you're in awful dappled light and then we had a nice room light so those things to take into consideration all the time and I talking too fast good because if you think ideo you listen slow okay? So I start my subjects all the time the same way because it's a company it's a comfort for me to get my feet under the ground because what I feel right now very panicked I'm nervous and it's hot and I'm sweaty and I have aton of photographers here so I'm gonna go my safety zone my safety zone nine times out of ten is to have my cup a couple simply looked at each other because then I could see the formation of their bodies I see their physical chemistry I see what they're doing and then I read that because I really believe that the best photographers are also part time psychologist, right? We're body language readers and turn you guys towards each other now one thing I'm going to change rather quickly is jessica's hair is bisecting her her face so what have you guys clip now? What happens is we have a beautiful open face no longer distraction small minor change now jessica and jeff responded to the model call yesterday they didn't know that he was for everybody here just like ok, so I'm going to give them the same talk that I would give all of my clients and I'm gonna do that right about now and I'm not gonna talk loud if you guys want if this were broadcast by the time you guys get home I'm gonna tell them what I want because I need to get their their natural defenses down. Now. Now. Many nervous. Okay, um, I just want you guys to completely relax. I need nothing from you except for you guys to enjoy. Gonna have your hands up here around his neck. Beautiful. Jeff, your hands will all be here now. I want your torsos to touch now. What I want to do is just relax your arm here. Beautiful. Great. This is the position. They start every single client because I want to get my feet underneath me. This light is just beautiful. Now, right now, I'm going to shoot this at a two point. Um, I'm gonna show this this this is my plan. I'm finishing this at a two point eight, but as I step in, I'm going to have jeff look at jessica and jessica. Look at me and I will shoot that at a one point two that's the plan. So right now, because they're in shade, I'm gonna go to fifty. I'm gonna test the light. Hey, erin what's the security guard's name. I'm sorry, sir. I'm so sorry. Can I have you step this way? Is that a possibility thank you so much, thank you, thank you, thank you. So right now. Careful and icy. Hayes in my camera. Whenever I see hayes, I will take a step forward because what I want to do is I want to use some of the branches tio bisected the nucleus of the sun the very center of the sun is what's going to cause the most trauma for my camera? Here I have hayes here. I don't. Good. Now I want you just to look at jeff beautiful. Take a deep breath. Relax at front, right shoulder. Add a girl from your foreheads. Nice and close. Beautiful, even closer touch touch. Such a beautiful, beautiful good. Now peel away from each other. I'm to drop down to a one point two I need to compensate for my light I'm gonna just take a test shot I'm at sixteen hundred of a second I'm going to twenty, five hundred of the second bring your torsos to touch relax that front, right shoulder look here it means just I'm already abbreviating your name like we're homeys. Good. Now, jeff, can you lean down and kiss jessica wherever you're let's land good. Nice, great that's great that's great. Do you guys say so it could be a defense mechanism, but I'm especially beginning, I talk they don't know what they're doing when the last time they had a professional photo shoot, right? So then he kind of, like, blipped the kiss and I could have stopped shooting, but after the clip of the kiss, she, like, laughed her real last shoot, you just continue she because that way you get natural, you don't get natural proposing, you get natural for the stuff that happens on the in between, so that was just something to keep in consideration. I see a lot of photographers talking, they're like, oh, well, that's, great! And then you miss all of it camera or your eye, the majority, the majority of the shoot. So now what I'm going to do is I'm going tio keep them in the same position because this is a safe flight and all I'm going to switch my lens, I'm going to go from the fifty two, the eighty five, and I'm going to individual portrait's without them looking at me because I don't think that they're warmed up yet in a way that I like him too. You warmed up so there's, no pressure, I'm going to flip, I'm gonna get jeff looking at jessica, I'm gonna flip, get jessica looking at just and my settings will probably be the same unless I'm shooting this way in his sure it takes a majority of the photo which might make a darker and then it was this way in the west might be take a lightening of the photo and my going too fast okay, so at one point two I don't have to change my settings necessarily I'm still getting hayes so because I mean in eighty five of them close what I'm going to do is I'm going to use my hands now there is this subject in the background eating lunch so all I have to do is pop my body over and he's completely cropped out a photo and it's less photo photo shop for me I'm gonna hold my hand up nice that's great just there so if you guys watch the thirty day course I use my hand instead of a lens hood it's a personal preference because I don't like to pull my lenses out with their hoods on and sometimes the hood if I'm standing at a business wouldn't even be enough so with my hands I can go as far as they want and it works every time all the time good girl beautiful jeff can you look here good jessica can you get on your tippy toes and kiss jeff nice? Well that's actually on the cheek of night good now relax come down nice good now but I want you to do is just can you look out towards katherine nice and just I want you to get up under to be those in kiss him on the cheek tonight, jeff eyes here. Thanks. Good. Now a news pause now that was the same shot right now. I want to get something a little bit a little bit more fun going to talk him through that. I wouldn't tell them I want you to something. We're fun. Ok, that was great. Guys, I love what you did. Let's try to slightly different way. Sorry you make this uncomfortable for you guys. Great. So I want your hands up here now this is where I want him to start, but I'm going to put them where I want them to end. I'm gonna peel them away from each other and then they work back into it. Working backwards allows a client understand truly what you want to do, so just get on your tippy toes you're going jeff eyes hurt my hands you're going to kiss him beautiful, sweeter and squeeze aaron and just lean back lean back, lean back, lean back here we come forward so you make her work for that kiss that's what you end up so peel away so we start like one tio three got it ok, pause you guys are like, determined I love this is great so these photos that they're just laughing on the in between will likely make the edit because that just just them so I am ready for you in three two in one tonight's lean back lean back lean back I would get a cyclist oh god is like a nice good good now what I want you to d'oh that was actually really stinking good now we want to do same thing one two, three but jeff you're going to looking back out that way good and I'm ready for you in three to all you guys jump the gun nice good great now I'm just gonna put the script I'm gonna go this way okay but what just happened my light source behind them is skewed so I'm going to do is I'm going to flip just I'm gonna keep it the same so I mean have you guys just rotate but this time instead of shooting murder climb issued a horizontal so in case I put them in their gallery or in a slide show it looks slightly different cool great I'm sorry I left so I'm so sorry I mean he's in a haney at the end of this year the security guard is just like good, beautiful so what I'm going to do when I'm thinking about strategically is there somebody eating lunch behind the couple I will put just in front of the guy who's eating lunch then I don't have to worry about it now there's a couple things on this seven frame behind jessica but I actually think it can work it I'm at a one point two so what's going on in the background will eventually turn into boca I'm okay with that so I'm going to pause here for a sec I'm gonna get my settings right where I want them to be able to bring it my homemade good good see she's just like doing everything perfectly right now so I don't wantto good beautiful now anyway did you is yes right there darlin jeff can you lean down and I'm sorry excuse me that's lovely beautiful can you look out towards that street behind me right over there? Oh, great good question I tell my clients when it comes to smiling I want a full variation I want a small half full and silly now a lot of times if you say I want a small half full and silly they're kind of like what? So then I do it so I'm gonna mere what I want my client to do because if you feel awkward she feels awkward but by you being awkward given her the permission to totally do what you wanted to do get ok so I kind of want um I kind of want like the kind of slight smile you kind of maybe due for a selfie just like that kind of like that look I know don't worry I'll walk you through it I have my own just slightly turned up with the edges I'm sorry start zero just flat half full and then have people that will play a limit you got it professionally okay no no no don't worry and so what? I want you to do it I'll be calling out what I want you to do don't overthink it I will be shooting as well all when we see the good stuff so I'm gonna pause hang out one second beautiful eyes you're gorgeous garland that someone going I love it. Look out towards the street a little. Okay, guys, back here. Turn that turn. That's my web nice. Good. Now we want to do is to get your ring for you because I want to work in the ring without doing like a boring ring shot, right? I'm gonna have the cue ball braver in your hand up under gestion keep these two fingers together, princess fingers and lightly bring his chin up underneath as you as you kiss so not yet, not yet. I wasn't ready. I wasn't ready. Oh, you're practicing okay, where you valedictorian hey, good night nice, good and I'm ready for you in three, two and one beautiful, so whether or not I keep that kissing shot fifteen, fifteen minutes whether or not to keep that kissing shot, it may or may not happen because it was light dissecting her face, but you know what happened? She had her hand here and she went, huh? That one's getting the edit? So I'm I'm okay with this. So now that we've done like this safe, the same shot, what I'm going to do is I'm gonna create rim light within the same, uh, face I'm gonna have you guys walk closer to me, okay? So see how the sun is hitting the top of jessica's hair that's the most prettiest, stinking like that you can get? So I'm gonna have you step up a little bit more towards me. Beautiful. Now, the tricky thing is we're going to get light bisecting probably jeff shoulder, and I let it choose am I going to be okay with that? And the answer is yes, I don't think my clients looking at me like, you know, my shirt is slightly overexposed, I'm going to switch back to the sea, the fifty and I could shoot this with thirty five thirty five would be my preference for this type of lens, but this given this particular situation there's too much stuff going on in the background so I want to get to white I'm still gonna shoot it at one point too because my focus will be on each person individually so I want you to take a beautiful great so because I brought them closer to my light source I have to compensate with my shutter speed back there I was at twenty five hundred of a second about here all likely be it for thousands of a second which is where I am right now so come in nice and close just yes yeah I'm gonna keep it going keep it at four thousand the second two fifty is so one point two um aperture take a deep breath relax nice beautiful now what I want you to do is to put your hands I mean are you guys things like because it's really, really, really pretty so what I want you to do now is I want you to put your hands underneath jeffs chin hang on there somebody walking in the background and then once you get mnuchin I want you to lean back and you come work for that kiss good. Now come back up come back up nice put your hands over yet just and then relax the elbow beautiful now what I wanted to do so lean back jeff kinney kiss her on the side yes on the sivaji got a slight smile, darling nice ok, perfect. Okay so now what I want to do is let's just try shooting something and really, really, really difficult like to prove that we can so I'm going to do is I'm going to shoot in bright light, but what? How I can do this is simply by getting my subject to have their backs to the sun and this will be the strongest former feel like will it be the type of photos I really want to be sharing and posting? Probably not, but I want to show you how it done I'm bringing my cup, my subjects into the heat. I don't want my client in the heat because it makes it the experience, not as great as I would like. We'll pause here, great friend. Great! So now what I'm seeing if that if my subject can you guys will care of me, both of you guys. I'm talking to no state that's, not there because they're square your shoulders towards me. You guys gonna hold hands? Fantastic now it is hot and it is bright. What do you see? How good their skin looks now? As long as she doesn't get just can you look at my hands? See what we're having here? We have a little bit of hot spots in her shoulder. I'm gonna be okay with that. I'm gonna have my subjects walked towards me. I will not shoot this at a one point two because it's a necessary although I could, but I because of the height difference I'm gonna shoot this at all at a two point five but I'm not gonna have in both quick stop! I can shoot at really wide apertures it's what I do, however, due to the height difference between my subjects there there are focal planes, there's, the ex focal plane and there's the uae focal plane. If my subjects eyes are both along the x focal plane, I could shoot wide open because they will both be in focus if, for instance, jessica was standing on jeff shoulders, they would both be on the white board a plane and I guess you wide open, but because they're not on the same focal plane, their eyes or not, I need to compensate for that. Now I'm gonna shoot a two point five, which probably there one person's eyes to be fuzzy, but what I'm going to, I'm going to cue them to be looking at each other, so you can't really tell one person slightly out of focus, but they're not looking directly the camera and then I will shoot it down at an f two, and I will have just look at me. Jessica, look at him. I will have just look at jessica. Jessica looks at me and in those situations I could shoot wide open. Cool. Okay, so bring your bodies look closer together. Just can I have one leg over the other? Yeah, but then getting closer to jeff. Bring your hips quickly. It and then what I want to do is do you see how just his hand is there? Can you get your left hand and slightly touched your dress? Just kind of grab a little bit of the material there it is. So now what we had, we had a dangling appendage and we gave her something to do. So now we're tightening up the photo. So about two point five. I am at one twenty five years, so I'm going to take a test shot at four thousand of a second. Jeff, can I have your right hand in your pocket? Nice. Great. So I'm at two point five twelve fifty's of a second one twenty five s o and this is likely where I'm going to be. I have all of her skin, I've highlights in her hair. This is just beautiful. So I'm gonna have them here now what I wanted to do tonight to have you guys turn your profiles towards each other nice and then lean in for a kiss at your hips nights now what I'm gonna do is I'm going to walk with you but before I tell my clients that I want them to walk with me I need to set the cadence because people want to know how do you stay in focus so often your clients are walking towards you I keep the same distance between my clients one hundred percent of the time if you do not your focal point will always have to be shifting so I would probably say like they're going to say now is I want you to keep a cadence of one two three we're in no rush so I want you guys to start with your left foot first you will be holding your dress you guys will be looking at me and when I called for you jeff I want you looking at jessica and when I call for jeff jessica I want you looking at jeff so we're cool I'm sorry you are gonna be yes the question was should she be smiling and yes if you're happily engaged the answer is always yes hang on one sec now I'm gonna drop this toe too because ultimately I do not gonna want the voters of them walking at me um necessarily I'm gonna want the ones looking at each other because to me to give a little bit more candidate natural uh look so I'm gonna start with a focal point on my gorgeous bride judy I say my I'm sorry I'm not taking ownership that I'm not sixteen hundreds of a second I'm oh these are pretty ok now you're walking and we're starting with your left foot suggest you can unwrap your legs you can wrap your like speed of what where is that with your left foot in three two one one two three just guys here jeff at nice yeah you now I'm such a focal point jeff eyes here jessica's again jeff nights nights good peeling on back killing on back now what I would do is I might have a little bit of fun about having walk closer to me I'm gonna bring jessica one step ahead of just jeff jeff will be out of focus in these frames and I don't care because we're going I'm going walking through what I want them to do so jessica take one step towards me beautiful can you look down at your left hand take a going on there's something walking the background to get in a second one honey second eyes here just look down at your hand beautiful jeff can you look out towards up that way over there? I'm loving this hang on and people now the president walking that same cadence. Just idea. Jeff at jessica in three. Jessica jumping on girl good. See the lap? I didn't say anything that will one hundred percent making edit and three, two and one beautiful. Oh, I like your hair. Your hand in your hair, your hair. Your hair was great. You kind of adjusted your hair with your you adjusted your left hand to your hair like this. You kind of walk like that. Love them. That was and I'm ready for you in three, two, one. And here. Here. Good. That was it. That was it. That was it. Hang on one second double. Have you here? I have not five minutes what's. Kind of. So we have classic safe in the shade we have moving. Coming here now for my brain in words I would if I could get something fun. This is the hardest one and it's hot but let's see if we can get something that's just truly done. So what I'm going to do first is jeff will have you hear both hands in your pockets for some I prefer sometimes some something for all hands you feel most comfortable? Good, he said it was better says a good call. They're comfortable with me and we're shooting in high broadside we're gonna see how difficult we can make this I'm gonna have jessica stand here and I'm gonna call it the summer camp hug this is what you would give your friend at summer camp in walk right after them this way you look towards the bus there so that's where jack is getting the summer kept hug would be like hey, this is great do I sometimes touch my subject? Absolutely did I touch jeff at all for the first half of issue zero now that it will come with him I absolutely will and most of time my clients know that issue with my husband so it's not it's not like a thing right? Ok so here we go I'm left to my focal point will be on jeff I'm going to get a single shot right now beautiful so jockeys turn your left shoulder towards me a load it turn your feet along with him but that's what I want right? So why did I do that? Because there's a hot spot attorney space more toward me naturally and we're good to go so jessica I'm ready for you in three, two and one night and jeff toobin will get jessica look at jessica nice, beautiful good now what I want to do is peel it on back this time now when she comes up to you I kind of want you just looking at her and I want you to leave your arm open around him so that he doesn't have to turn his shoulders towards you I'm giving that instruction because I don't want the lead in their face school here we go I'm ready for you in three two and one that was a long walk just sorry nice hand on his, uh, shirt you're lettin yes nice okay great. So now what I want you to do is I kind of want you give me a little swish jessica yes with us so you can hold the sedge address yeah, they're going but don't split it too much there it is nice. So now what I want to do is I kind of wanted t turn over your shoulder that way, darling. That way good now I always wish switch turned towards me turn toward a trend toward me swish and then turn this way the other whatever darn way you please so that's what I want I want a swish interprets which in turn is the right way there is not a right way I need one I need one shot I need absolute just one shot you're looking down oh good and jeff, can you look at what can you look at jessica good switching time swishing during this is like the pendant snap but better nice, good good now job you just go and throw your arms around your beautiful fiancee right okay good now my instructions were bad I said throw your arms were under fancy it wasn't what I wanted so I was a great great great even encourage them you never say no gregor get that was awesome let me get it know what I wanted you turn this way you're gonna be swishing in turning me switching attorneys wishing journey no turned this way yes and then you're gonna put your arms around her that way yeah fine means good good now I'm just getting ok ready for you in three two and one night at a girl at a girl at a girl at a girl at a girl at a girl good eyes here eyes here good now turn toward me yes now don't let her go jessica can you trust okay I'm ready for you can you can hear thanks but can you run towards me jessica one towards me run run run run run run run run run run run I think I just I wanted you to not let her go wait that was you know let's try one more time you know we're going way going on our guy night now run towards me task one towards me jeff comes to the side of her head under that now runs run towards me just good good here's the thing I shot twenty frames, I need one toe work and it's, not the one of her business, weigh right. She has to be to the side and a ha ha ha! And hymns like looking at her, we'll get it. You guys will see what we ended up in post at at a later point in time. But can we please get a hot rounding up? I think.

Class Description

CreativeLive is kicking off Photo Week with a West Coast Tour and you are invited!

Join Sue Bryce, Jasmine Star, Victor Ha, and Matt Kloskowski as they begin their adventure in San Francisco – meeting up with students in Sacramento and Portland – while making their way to the Seattle CreativeLive studios for Photo Week 2015!

Online viewers can stay tuned-in to their adventures by watching the On Air broadcast and following the hashtag: #photoweek2015

West coast CreativeLive fans are invited to join us, in person at the San Francisco, Sacramento, and Portland stops!

San Francisco - CreativeLive Office
444 De Haro St San Francisco, CA 94107
Friday September 18, 2015
8:30 AM - 9:30 AM

Sacramento - Cesar Chavez Park
910 I St Sacramento, CA 95814
Friday September 18, 2015
12:00 PM - 1:00 PM

Portland - Jamison Square
810 NW 11th Ave, Portland, OR 97209
Saturday, September 19, 2015

We are kicking things off in San Francisco with an early morning meet-and-greet. Join us in our Potrero Hill offices for coffee, donuts, and fun with your favorite CreativeLive instructors.

In Sacramento and Portland, you’ll get to watch the masters at work and take part in our exciting and educational Photo Walks! Sue, Jasmine, Victor, and Matt will be shooting and exploring – while our awesome partners will be out with us, ensuring you leave feeling educated and inspired.

If you love CreativeLive and have always wanted to get some face-time with our incredible instructors, don’t miss out on your opportunity to join us on the road.

BONUS! We’ll have some seriously awesome swag for the first 50 folks at each location!



This has been a fabulous way to introduce Photo Week. We have had a chance to see the masters working in real conditions, and making the best of the conditions they found themselves in. Well done.