Photo Week 2015 West Coast Tour

Lesson 9 of 20

Photo Week Bus Tour - Clip 8


Photo Week 2015 West Coast Tour

Lesson 9 of 20

Photo Week Bus Tour - Clip 8


Lesson Info

Photo Week Bus Tour - Clip 8

Wait so we're coming to the end about face day and this is out where are we running reading pot at a popular in turtle bay were total very turn away were actually just about finished with our whole day of traveling with stopped offered this pack to do a challenge and a question that I get asked all the time victor's sit up and outdoor lighting sit up but the question I get asked all the time is heady prize brothers and sisters so this is how you know family here so I'm going to just show you a couple of really code tips with family because when you've got couples you compose couples more intimately so hips towards each other and touching but when you've got a family of boys and they don't necessarily tapped each other now sometimes you get a group of brothers that have no problems throwing an arm around each other and they do that quite naturally and they do that men then you get one awkward brother like aaron who's just like ok met also I would tio met and sally were married I would p...

ose sally and met together but if the son and daughter were on either side you know it's a different way of touching and and so it creates a whole different dynamic when you posing people and groups so let's look at a couple of the dynamics I noticed with girls and boys, we've got some music male. Is that all right? If you let it now, I noticed with gills and boys it's just a very different intimacy with how close you khun stand and so with brothers I find that obviously met if you come to the edge of their and erin can come and hang out with you you can stay on the yep just sitting down when the up that's fine and aaron contend this way I just try and turn the boys forty five so forty five either way forty five towards the brothers forty five get the boys as close as you can so they can be a close is they can to each other, but they don't have to be touching I find when this girl so sally, if you are the sister on the side and I find that girls can cuddle into the brothers and you know the energy is kind of brother and sisterly without being creepy hey can keep his hands in his pockets. You know, even thumbs he can seem to herself and her sister can come into here quite comfortably and it's okay for the girls to be touching it's not like they're in an intimate hips together body language which I think really weak sicily you come in here aaron, you can come a nice and closed and aaron, at the moment you're kind of sitting with your foot forward, I won't need to stand just in a more strong man. Man stands that thea the brother or, you know, and if he was the dead and in kenner was the mom, it was aaron's dead. I could pose kiner, and I could pose. The mama did more intimately into the grape and it's really how they touch each other is what makes it whether they're a couple of whether they're brother and sister. Now, if I was met, sister, I would quite happily come in and into exactly it's ellie is doing on this side. I can I can. Katalin tim, my brother. I could bring my hands up under him like this, and if you're a couple, then it just means more touching closer, more intimate touching. So brothers and sisters just bring them all in nice and close and they can lean on each other. They can put their arms around each other. They cannot come in, but it is a waste. We just want our face always on the same plane. So you get your focal point and will it pick to take our family portrait? This was our first family portrait brothers and sisters, so before punching so before I take the family portrait I just want to explain why we decided to bring you to bring lights in the first place so if you take a look at the background the backer of light here is really bright, isn't it? And the lighting here where the group is is actually not as bright so there's a huge exposure difference there and because of the exposure difference what ends up happening is you've got to make a sacrifice you know, sacrifice the background or you sacrifice the people and this is really dramatic music for what I'm talking about right now so it's really important that you get this okay, so what I've decided to do is actually create a really large light source, you know? And then I'm going to actually use like, a little bit of a rim light here to kind of help fill in some shadows so anyway, um theoretically what's going to happen is I'm going to take this picture they're going to be well, it you'll see the bus and you're going to see a little bit of sculpting light coming in from this side I feel like david copperfield all right, you guys ready and we're gonna smile and one two and three pretty one two and three last one and one two and three so essentially what we just did guys was we balanced the natural exposure with our lights to give ourselves a little more versatility outdoors now, earlier today I talked about being creative and allah allowing a really take a picture anywhere by just adding light and that's we just did okay, okay let's say we've got three brothers, okay? So it's just like the guy put a softer boy let's say we've got three brothers and they don't want to touch each other, so how about we can I just jump out that way? Okay, so we've got three boys just remember it since you line up a family portrait to stand together the first single the boys they're going to do is stand in a straight line you're gonna be a boy. The first single the boys are going to do is stand in a straight line and they're not going oppose each other, so just all you have to do is make sure that you turning into the forty five that you're bringing everybody and closer but no hands on each other and you don't need to let families come together in a way that they naturally do if they naturally throwing arm around each other it's easy sometimes you'll get teenage boys that are just so awkward I honestly let them do their own thing I let them keep their thumbs in their pocket and I strong stance I get them is closest possible to mom if they naturally bring an arm up to a brother or mom or a dead I let them do it because it looks really great if they don't do it I just get them in as close as I can and in that moment it's a go good close body language without being or quid I make sure one of them standing in and you can either go this way this way and don't be afraid of doing typical boy body language don't be afraid of doing the folded arms don't be afraid of doing this just know so their hands in the front my hands coming in or hands in the pocket because it looks like you've got your hands on you will a part of this whole exposure thing is when you actually set up flashes and you're and you've got your camera set in you're gonna think about two things you've got ambient light and you got artificial light okay so what I've done is if I go ahead and set my camera to like a faster showed us we'd like to fiftieth at a napster of five six I'm actually cutting out a lot of the ambient light in the scene so let's pretend I want to bring in more ambient light I can do it's called dragging the shutter a little bit and when you dragged the shutter and like drop it like probably two thirds or a third you're going to actually call in mlle or ambient light so based upon the scene and scenario, you could do little things like that for creative purposes that will allow you to kind of ah either bring in maura mohr room light or, you know, environmental light or cut it out and make it completely different photograph so we're gonna take this photograph, I'm going to slow down my shutter speed, just a touch and then that way, when you guys look at the first photo and compared to the second floor, you can see what actually that does. Ok, so here we go. Ready one, two and three one more, one, two and three so I went from two fiftieth and I went, I just cut the show just be down to one sixtieth and it actually what it did was brought a little more ambient light and made the light and look just a little born natural. Okay, so what if they were a rock band and, you know, they're pretty famous rock band they're on to us. We want to do something kind of dramatic and funky. Can you come back in your you know, we're just going toe pretty much they can either have their instruments oh, they're just all cool dudes, they just standing a pad it's a band photo and you want something got see like you know, with a bit of a tour bus behind your show editorial feel nice and low should beat up on them the boys of all got attitude drills can always this style so typically if we're going to do something that's ah more family based oriented we're going to soften light as much as possible on dh allow the light to be very flattering on the subjects when you want to do some more stylistic you can create a harder light so we could remove um this guy could remove this fabric and what'll happen is that fabric is now not going to cut the light nearly as much so you can't just pull it down. Yeah, here comes the drama so I guess here victor koppe feels batch all right, let's do this. Okay, so what I can do is now shoot from an umbrella. I'm still going to get that reflective light but is going to be a little bit harder it's gonna be crisper so well with something like this, you just want to make sure when you post someone see how half the group is here and then then kenya is just really, really spot lit I want to try to move her out of that otherwise what's going to happen is she's any really bryant and everyone else going to be kind of lit so so kim she's the lead singer you go that way can you jump in here this way and I just want you to feel the lead singer so you can just go into one hit you're the bass player or drama you got a drama you get back I want you to do the typical spanned man pose come for a little bit and because there are bands they don't need to be connected physically so they can literally just be a pad but doing your own stances so it's not about the energy towards each other so you notice the body language of groups significantly changes an image and when you see ban photos they connected as a group but they're all in their own space they're all just working their own energy they're all using the same plane or stay good but mostly they're kind of on the same plane doing their own thing it's not about them being together as a group is not about them thing like this is my mom and this is us together and I want to keep this photo for evil these are my sons and the spider was favor this is more about it just representing a brand and representing each other so they were going to stand nice and tall give a better attitude mckay thumbs into jeans find your groove okay so what I'm going to do here guys is um I still want to cast the light pretty pretty evenly along the group if I'm going to use this big light here so I'm going to center it over me ok? I'm in a point the umbrella so good we'll get tip about umbrellas is if you point that tip towards the group that's when you know you're a bee you're like properly so I'm going to go ahead and point that tip towards the group and I'm good they're ok and now since I'm gonna say I'm on a short guy, I can sit here right underneath my light and go ahead and take the photograph now when you actually increase the show to see what you're doing is you're cutting all that ambient light out something the majority of the light that's hitting the group right now is coming from this light so I can choose to do two things I can either dial the light up or add a second light so gonna done light up right now, okay? And then go ahead and take that photograph and what it's doing is it's cutting a light it's making them it's really, really relying on that flash? What I'm going to hear about your album let's go ahead and I'm gonna place this light a little behind them even a pointed towards the back of their heads that we're going to get a little bit of separation between the bus and the group so give me a second we just toss this up standing toe a lot toe attitude you know, you signed a label what is it? All right, here we go get bay's and one two in three ready? One more two and three great, so I need to do one more. Okay, here we go. Ready one, two and three. Awesome. So that's pretty much it guys taking light and bring it into a location like this allows you to really b control you can actually work mohr easily when you consent up a situation and bring your light as opposed to have to rely on the light, you know? So, uh, that's all I got yeah, that's great. Just remember you're looking for body language. The group thing is just about creating a body language connection between the people you're photographing. So look at what the body language is and when they're awkward teenage boys and they don't want to touch each other, just get them in close. One of the best tips I can teach anybody and I'll show you with kiner is when you pose to people you posed them forty five there forty five hit so this doesn't touch you could be right here imposed that would be two business partners if you opposing a mother and daughter are mother and son or father and son you can they can almost just touch one hit that's fine that's an intimate touch but it's not a personal intimate touch if you're going to pose a couple their hips khun go towards each other that identifies that we're a couple and that pretty much is an intimacy so it's not about being priest up in the upper body it's about being connected in the lower body a couple of weird things that couples do is they turned their hips away from each other that is a disconnected body language for a couple so the closer the hips are, the more intimate there poses so when you have the boys and the sun's just make sure they're close by but they don't have to be touching and like I said, if they bring a hand up naturally let them do it and encourage it but just I shoot fast to the young guys you know they get a very short amount of time that they want to be in a family portrait I make sure issued it nice and fast and get mum the shot that she wants no, I actually one less thing to add um it's funny because when I get a second to actually take a look at some of the photographs I've I've done I have the tendency to just always crop and really tight and then I really I sometimes forget that sometimes the shot is actually wider right so if I actually were to just kind of pull back and actually get worse used where she was yeah and I'm just going to change the posing just a little bit so you guys break out this way just a touch more flush the camera okay and then what I'm gonna do now is initially my frame was probably here to right about here and I got the group but I did I just left the bus out you know so it's always good to take a second breathe be david copperfield and imagine what's happening to the image go with me. All right, here we go. All right, guys one, two, three ready? One more too on three that's it thank you so much, guys way are going tio close out. This has been an incredible first day of our two day road trip from san francisco on the way to seattle. We are somewhere in reading right now, which is where we're going to spend the night a couple of hours from here got a lot more to do but you guys you can watch the rebroadcast that's going to play see what we did all day long this is our photo week two thousand fifteen road trip west coast or right here on credit five we'll see you tomorrow at nine a m pacific time thank you all for joining us let's wait

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.