Photo Week 2015 West Coast Tour

Lesson 5 of 20

Photo Week Bus Tour - Clip 4


Photo Week 2015 West Coast Tour

Lesson 5 of 20

Photo Week Bus Tour - Clip 4


Lesson Info

Photo Week Bus Tour - Clip 4

Wait two created by this is our west coast tour we're on our way between san francisco and seattle and this is part of photo week two thousand fifteen I'm here with victor victor is a filmmaker a photographer and one of the things we were just talking about was how some people including myself are scared of light especially the idea of going outdoors with light in a place like a park like we are right here absolutely so victor I'm just going to let you take it away thank you for being here cool so I'm going to cheat I got some notes my phone you know technology so I'm gonna just I'm not texting, I'm not reading it I'm going to be my notes. Okay? So anyway, I'm victor it's a pleasure to meet all you guys thank you for coming out. I am so privileged to be here so really thank you so much was taken I'm off your day and coming out here okay? I've got some great products here from ellen kullman politics they've just been really, really gracious and allowing us to kind of use their products ...

day. So what we're going to talk about today is just this idea of taking light outdoors, right? So we take a look now doors mean, you think about studio lights and you think about these gigantic white rooms with these like psych walls that quite honestly none of us a lot of us don't have access to your right I mean, we have access to beautiful things like this and we want to be able to use lights we wanted people to be creative and b control how we can take our photographs and so we use light and we shape light and we have tools like this it allows us to to borrow a phrase of my generation step up our game a little bit, right? Ok, so we're gonna just I'm going to tell you that maybe I'm not the best photographer. However, I will hopefully teach you guys at least something that you can take and integrate into your own photography that's all I'm here for all right? So three reasons why you want to use a lighting solution specifically maybe like a portable light solution to say look at this that's about it that mean nothing runs on that's about it back so I can take this literally anywhere these guys way like any reaching five and six pounds, so that was the last life ordered so sorry, sorry. So how long do these guys last? So this guy will last for hundred full power flashes that will last three hundred fifty full power flashes and the crazy thing about it is that they're relatively affordable I mean, how many guys don't speed like yeah, and they're roughly around what six hundred seven hundred bucks? How many guys going to speed lights in case you spent roughly, what fifteen dollars? These guys are just around that price for their so let's talk about that in a second but why use a portable lighting solution? Ok, so you get light where you need it when you need it that's really important because if you can bring light to a situation that literally means you can photograph anywhere anytime you're not dependent on the gracious son because when it's cloudy when it's sunny you can bring light and be flexible to the lighting conditions that you're given ok, the second thing is it's a powerful creative tool so just so I don't want to I want to lose you guys in tech speak but that's a five hundred watt second light this is the four hundred walk second light these two lights are powerful enough to stand in broad sunlight and overpower the son. Okay, so there's a lot of great things that we can do with these lighting tools and as you kind of grow in your lighting capabilities, you're gonna get a chance to kind of explored a little bit more we're not going to jump in the air like the advanced stuff we're to keep it nice base level nice simple just you got to see what this thus yeah okay the third thing and this is why I mean like one of the major reasons why I like using light is it's not nearly as commonly use a technique because there are a lot of available light shooters out there and I know your I walked down the highline or what down, you know, madison avenue I go with me we're in new york there's you know, weddings and engagement touches all over the place and they're all available light shooters and they're all wonderful photographers the thing that's going to set any other photographer apart is the ability to add and control light great available like shooter you can kind of side step and become a great stroke shooter and then you can pick and choose which technique you guys want to use when you're out in the field and that's really all that matters right? We're just trying to pick the right tools for the right situation and become bitter craftsman in becoming photographers all right? So let's keep going so there's actually two types of lighting solutions but one of my left your guys right is what I call a fully manual solution the one on your left on my right that's I call a t t l solution so which why what what is it for? You just threw a bunch of words to me that I don't even understand what the heck okay, a fully manual solution in order for us to really leverage it and get it to to do what we want, we need one of these guys. Okay? Is the light meter what it does is I take a I take a reading, so I turn my light meter on, and I go ahead and process and pop it. And it gives me a reading of what? The value of that latest. Okay, so it tells me that at my shutter speed of two hundred fifty at a nice of one twenty five, my aperture is five point six. So it's, kind of like a little magic one that tells me what I should set my camera to, given the light that is coming towards me. Ok, so if I get us so all spot and set this to two hundred, I'll go ahead and pop it. And now it's giving me two fifty five six that s o two hundred. Okay, you guys all follow me there. Understand what I'm putting down? You have any questions so far? Okay, awesome. Did you see how that manual solution worked? I take the leader, I measure it. And then I input that value into my camera and then take a picture, okay, make sense, right, so this box is a soft box, and basically what it does is it makes the light source larger and what we know about light and no you guys know about light just by being photographers and maybe you know I haven't ever been taught that's okay what's the sun it's a huge giant light source right when do we get the nicest light morning and evenings oh why is that it's? Because the sun is coming down relatively close to the earth, isn't it? So what we just learned there when you bring your light source closer to your subject the light gets softer right? It also the sun gets huge when it gets close to us, doesn't it? So the second thing that that is when you increase the size of that light source the light gets softer so a lot of you'll make the mistake of taking light firing it oh it's too harsh they pull it back what happens when the sun's up at noon really contrast? You write really, really contrast so when you pull a light away from somebody it's actually making it a smaller light source which makes it more contrast e which gives you harder shadows which typically is unattractive right? So what? We just learned the inverse square law all right, so you guys just learned the inverse square law as it pertains to photographic lighting pretty simple right? Make the light source huge bring it close your subject a little farther away it's not so pretty makes sense awesome okay, so when you're using ah guy like this typically I'll put my kind of are you what's your name margot I'm victor nice to meet you can someone be thank you so much don't run away with that oh, you got friends in high places all right, so if I'm going to go ahead and use her as my model it come over here this way face me all right, you're a quarter turn pop that front me yeah bring that you bring this knows this weekend all right? So I just did a couple of basic posing techniques that for a female will slim her down I pop that front me a lot of times girls like to do that that doesn't work just always make them popped out front. Okay, well, I'm not a big expert imposing I just know that. All right, so if I'm going to take this light I can please this light a number of different areas okay? If I put this light here what's the light gonna look like honor is going to be very flat right to be very flat so typically when a lot of people like to do is I'd like to see where the direction of lights coming from so where is the direction of light coming from here her left her right eso here look here where is the light where is her face brightest on the left or the right outside that side you see here yeah no sorry this site okay so I have a choice to make I have a decision to make I can either push light from the brighter side and make it more contrast or fill light from this site so that's right so as you guys play and as you guys will learn how to shape late no that you can place your light in one of three different areas you could place it flat on the harder side or on the softer side and as you start to explore what that does it's going to be really really cool for you to see ok so this is a fully manual solution and it's really great tow learn it's really great to use the tool it's really great to use as a tool if you're on if you're really serious about expanding your use in studio strokes because some of the light shapers that are available for fully manu clashes are amazing and they're available for that too but that company ellen crume has some of the most widely utilized light shakers in the world and they're amazing ok so let's talk about this let's talk about other studios solutions okay so I'm gonna put this guy away all right what I said who owned a speed light you'll reach man right so for those of you who don't know what a spiel itis it's one of these ok a little bit lower power a little more portable right this one's from canada and then what we know about speed lights is they fit what on top of the camera right so I'm gonna take my camera here margo can you hold that for me? Thank you very much so typically we do this right typically put the camera the flash on top of the camera and then we go here hey what's up new york come on here and that's a picture and then we get a picture right picture flash boom and then we can go ahead and well you know I want to dial that flash down a little bit and I think another picture of her and hey it's another picture okay, now what what's the problem with that? The candle lights on top of the camera isn't it so well I want to take the light off the camera is the single most flattering thing I can do for mark margot is to pull the flash from the top of my camera and move it off so I've got a cannon five idiots to you has probably have like the six hundred whatever it is the minute I take the camera or the flash and move it off camera and use a little doohickey like this and put it on the bottom of my camera and my flash I now can fire this remotely now you know what t t l stands for t t l stands for through the lens exactly what it does okay is my camera is pretty smart it's going to take a reading of light from my subject and fire the flash in accordance with the reading that it takes so it's a very, very smart tool so I'm gonna have a human light stand okay? And I have a remote missing ok, so I've got a little radio receiver on the bottom my flash and now I've got one of these guys all my camera so if I go ahead and hit my chest button two fires what's cool about this is my camera will tell that flash how hard to hit based off of the reading that I've gotten from her ok so she's going to come stand right here we have pointed right over at her actually let's say a movie here I would actually want cannot take over here yeah alright margo come for just a touch all right and then cannot come right here and point that reddit side of her face from you okay, so what I was able to do is take a photograph and I may push something it's ok it's all right, all right okay, so I'm gonna go ahead and just go in and decide that I'm going to dial this flash down about one stop to kind of compensate and here you go I'm just taking a photograph I moved the light off camera and I've gotten a little bit more flattering image I was supposed to something like that that's just really harsh right okay so the name of the game guys here is taking lights and adding them right so I've got one later I can choose toe adm or lights if I want to and because the system is tt l then becomes really simple all right so I want to keep that cannon light here and I want to pull out another light okay? You another one I got no one here and this one is from politics and what is going to want me to do is I'm gonna go ahead and turn it on and immediately I'm able to if I tested so you wanna hold that one for me if I test it it's gonna fire at me okay so now I just got two lights right so where did you is gonna put kenny here what's your name maria I'm gonna put you right here. I love having students it's awesome I don't need to bring light stance okay, so now I've got two lights and I can choose to do something here I can do a ratio and when I talk about doing a ratio I can choose to dial down the power of one light in relation to the other light to give myself a little bit all the contrast or shadow because when you light you light for shadows ok? And if you create a shadow on somebody, it allows you to sculpt and shape their face. Alright, so you go that light is going to be probably a full power and that was gonna be dolly down. And here we go, we're gonna take the picture and and you could see here that I have now created shadows on her face. And if I sat here and worked with the lights and position them accordingly, like correctly high wanted them to be, I would actually get an ability to fire these two lights at the same time. Okay, now what I'm gonna do is I'm gonna take these life something just turn it off. Okay? So yes, if you have a question there, let's get you on the mike with someone out here. Oh, come on up for himself. You're doing a ratio it's going toe still calculate how strong of solutions and then you change it and I'll just adjust both lights automatically. Absolutely. So if I choose to dial down that light, okay, I dialed down that lighter, keep one of them at it, lower power setting it knows to fire one light, less powerful e that the other light through the whole system come on out! Come on out yeah, go for it. We got you're looking over here. Um yeah, so my question is, what is the difference between the tl mode versus manual cause? I'm trying to learn my flash and full manual and it's really overwhelming for me and so I notice you're still dialing it down and ptl mode and there's millimeters and all this, right? Right, right, right, your difference, rangel kid so I used both systems, so I used both manual and I use detail and it just depends on the situation that I'm in. If I'm in an event like a wedding or some like that, I'm gonna relying tcl because the ability for me to to to work quickly is very important to me if I want to go and do something like like a studio session all useful manual deal in light meter okay, so a light meter so a light meter will allow you to measure the light that's coming out your flash manually and allow you then to set their camera to whatever the reading is that's coming out of that light. Ok, so what's the major difference is one requires light meter and the other relies on the meeting inside of the camera ok, and it's not that one is better or the other a lot of times people by ptl flashes and use them emanuel because of the flexibility that they have in being in shooting manual but they had the tt option for situations where it requires speed and versatility so if you're saying if you are if you're having in manual and you need to do it in line with my life yes absolutely otherwise you're just well that's kind of what has been like it's just left russia eso like what's the what's the value that light out there I just keep playing with no idea right right so like me will tell you the value ok okay thanks thank you alright thanks morgan you're sorry now let you up there ok? So let's talk about this guy this guy big light source right so what do you know about that it's getting a very soft light source. So can I ask you to hold that from your quick all right? I'm gonna spin this around. Okay? So the reason I love something like this is aiken bring a huge light source outside and I can shape that light source to make that person look beautiful so what I'm gonna do is I'm gonna grab someone and I was going to photograph them and I'm gonna actually make a portrait of them none of this like poking and shooting I'm actually make a make a nice image out of them ok so let's do this right now which lisa come on up um what you have something on your stuff all right so when I use like a soft box like this when I'm going to do is going to try and get a pretty high and she's bree tall someone try and get a little higher okay okay and then this thing fell over earlier so margot or someone could someone just hang on this remain thanks all right children dude awesome sorry you are a master thank you okay so what I've done here is I've elevated my light source I'm using it in an indirect box to make it very soft ok so guys notice here this light is facing backwards it's actually shooting into an umbrella balancing off the umbrella and then coming through the federal retail to soften it so it's a very, very, very soft light source because indirect okay so I'm gonna go ahead and just do this okay why don't you while you are really tall okay okay uh yeah so go ahead and pop that front need for me okay give me knows we're here this way all right? And I'm just gonna take your picture here you all ready and one two three great awesome. So because we actually soften the light we brought it outside we were able to create an image with a really, really appealing how's that light field you guys feels nice doesn't it feels like hey you shouldn't be able to get that nice of a portrait outdoors because typically don't see porch like that outdoors now it looks like we use the reflector didn't write so can use a reflector ones cloudy no so that's why you bring light to a situation like this because it allows you to really shape light and really create an image of somebody that is a little bit more different look that is a little bit different right? Yes makes sense awesome so my name is victor I had a wonderful time with you guys today hopefully I was able to give you guys a little more understanding about how light works and what systems are available to you thank you so much if you couldn't hear me in the back it is replaying later on okay so thank you so much thank you margot and thank you alicia thank you. Thank you for saying what you can do when you can bring these guys outside so thank you so much what I say a huge thank you to everyone who did come out here tio our sacramento it's studio now here at the park you could thank you so much um and stay tuned we still have more to come we're going to be wrapping up here at the park this is a minute conference so awesome to see all of you out there please continue to interact with us here we have the hashtag photo week two thousand fifteen and you're gonna want to go to our twitter feed at creative live, check out our facebook page we are going to do the same thing tomorrow in portland, so if you live in the portland area, we want to meet you there. That's going to be from one p m to two p m pacific time again on creative lives facebook page you can check out the events and the information are soupy. Totally free to come and we're going to be playing this again throughout the day. So it's really, really great to see y'all. You come out here photo two thousand fifteen and we are driving a bus all the way from san francisco all the way to seattle. It's crazy. We've got victor hall here. We've got soup, rice, jasmine star matt laskowski. It is an incredible time. So guys, stay tuned. Thank you so much for tuning in and we'll see when we see you. Thanks, everyone.

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.