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Shoot: Scuba in the Hull Part 1

Lesson 40 from: Portrait Photography: Creating and Styling your Environment

John Keatley

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Lesson Info

40. Shoot: Scuba in the Hull Part 1


Class Trailer

Class Introduction


Creative Photography Path


Importance of Personal Work


Concepts and Inspiration


Choosing Your Environment


Research and Mood Boards


Finding Your Style


Establishing a Team


Jobs on Set


Production Hurdles


Working with an Art Director


Pooling Resources






Set Design and Props: Interview with John Lavin






Technical vs. Flexible Lighting


Creating Environment


Gear Essentials vs. DIY Solutions


Lighting for Your Subject


Lighting for Your Environment




Directing Your Subject


Tips for Directing Talent


Pre-Lighting and Test Shoots


Shoot: Stylized Portrait - Close Up Part 1


Shoot: Stylized Portrait - Close Up Part 2


Shoot: Stylized Portrait - Close Up Part 3


Set Tour and Lighting Set Up


Shoot: Building Environment & Lighting Adjustments


Shoot: Building Environment Part 1


Shoot: Building Environment Part 2


Photo Critique


Shoot: Row Boat in Fog Set Tour


Shoot: Row Boat in Fog Part 1


Shoot: Row Boat in Fog Part 2


Shoot: Row Boat in Fog Part 3


Shoot: Row Boat in Fog Part 4


Shoot: Scuba in the Hull Part 1


Shoot: Scuba in the Hull Part 2


Shoot: Scuba in the Hull Part 3


Image Selection: Stylized Portrait


Image Selection: Building Environment


Image Selection: Row Boat in Fog


Image Selection: Scuba in the Hull


Next Steps: Create New Work


Next Steps: Share Your Work


Next Steps: Marketing and Branding Consistency


Final Image Reveal - Concept and Casting


Final Image Reveal - Retouching: Communication and Direction


Final Image Reveal - Final Q&A


Lesson Info

Shoot: Scuba in the Hull Part 1

For this one, we are going to be entering into the shift. And so, we started out, we did just a simple studio background. And then we pulled back a little bit and we had a single wall, but we added in some props. And then the last one we were adding in a little more environment and space, and making it feel a little bigger, but really there was not a whole lot there in terms of elements. It was just the grass and the boat and the seamless and the fog. Now, for this last one, I wanted to try to show a different sense of depth and space, and so we wanted to, rather than just kinda cheating space with one wall or a seamless, we wanted to actually use multiple surfaces that we would see in the image. So John Lavin built this beautiful set where we have essentially five surfaces. The three walls and the ceiling and the floor. And it's really pretty small. If I can go in here. It's pretty small and the ceiling gets increasingly shorter in the back, so it's kind of like, it's forced perspecti...

ve to some extent. I'm not actually trying to play that up. I'm not trying make it look like an optical illusion, but I did just want to create a sense of space and create a new surface that we could work with that's similar to the rest of the series, but different in its own way. And so now we have these steel panels with welds on them and it's not really steel, it's a bunch of different surfaces, I think there's some the back of wainscot, and a few other surfaces that John's painted to make it look like steel. So we're gonna be working in this environment. Our subject, I have a pretty specific idea for this one as I have with all the other ones of what I want her to be doing. But that being said, I think we're gonna use a more broad light to light her, so it's not gonna be quite as finicky as some of the other ones where she can't really move a whole lot. And we haven't really set up a ton, so we're gonna actually do that and let you guys see how we work through that whole process. This is the one that we haven't really test lit or anything like that so far. So I think that about covers it and we'll just get started and you guys can jump in and ask any questions along the way if you have questions or are curious about certain things that we're doing. All right, thanks. So let's get, we're gonna key, we're gonna key with the beauty, the gridded beauty again, which we've consistently done throughout the other images. That was not actually the plan when we started this. Before we shot, a couple days ago, I wasn't really thinking I would use that, but I really like how it's worked out, and it's made sense for all the shots, so we're gonna continue on with it. And it also helps maintain continuity between all the different image as well, by not changing the light source dramatically. So we're gonna try to fly the beauty dish in overhead as much as possible. It might be off-axis just slightly, but I think our model will be standing kind of about here. And then we're gonna use, I think the five foot as fill. Hopefully, probably right behind me. And then we'll see if we need anything else once we get going. And can I get an ETA on hair and makeup and our model? Less than a minute. Okay, cool. Walking in. All right, let's see. Josh could you do me a favor? Could you measure... Well, I think, John Lavin? <v John L.>Yep? The back is exactly six feet? <v John L.>Six feet to the top, yeah, yeah. Okay. Six feet high. So Josh then, we need to get the camera at three feet. Three feet, okay. So the back wall should be totally balanced. Tape measure on you? <v John L.>Yeah, over here. The floor of the building we're in may be a little wonky. So you may be slightly out of square, but I think we're okay. And we may need more... I don't know if we need more gaff tape on that or if that's gonna be enough. (equipment clicking) And this is a rental head and it's been well-loved. So the screws are not holding tight, so that's why we're using gaff tape. And we may need a little more gaff tape so it doesn't keep slipping. And John you do get more of a square frame if you, if you're slightly higher and pitched down too, because then you would get that effect a little bit more of the-- but it'll throw our back lines off, though. It would, yeah. I mean, that's the thing. I think it's just whatever I can get away with the most. You know? I feel like, we'll lose some of that balance, but I prefer all the lines to, I think to be straight and then I think that would be more forgiving than the back wall feeling, 'cause then everything's off. Right, 'cause once you come up those are gonna go wider at the bottom. Yeah. Yeah, okay. (soft footsteps) Is J.C. here? <v J.C.>Yep. Can I get an apple box? <v John L.>There's one right up there by the set. You're looking at 36 inches. 36, okay cool, to the center of the lines? Yeah. 'Kay, thanks. (box clanking) Thank you. Stephanie's here if you want her. Oh, Stephanie's here, cool. You want barefoot, right? Uh, with the flippers, yeah. Oh, yeah, John's got the flippers. That's gonna look awesome. Cool. Let me see those knuckles. Oh that turned out great, that's awesome. (Stephanie laughs) You wanna show the camera? Can you show a camera? Hold fast. Sailor knuckles. All right cool, let's get you on up here. John, it's not, there's nothing wet, right? <v John L.>Should be okay. So, step into my office. (Stephanie laughs) I'm gonna have you stand, I think right around here somewhere. Probably that weld that you're on. And then, do we have flippers? <v John L.>Yeah. Let's get flippers and then we'll experiment with some googles and things like that. Cool. But to start with, the way I see this is just like, very deadpan, stoic, almost like, imagine American Gothic. Okay, yeah. Just standing straight at the camera, just like, wide-eyes, like you're a little surprised and shocked, but you're also just, you're dead inside. Got it (chuckles). (chuckles) But not really. Oop, sorry. <v John L.>I'm sure he means that in a good way. Let's see here. Is that gonna hold guys, do you think? The tape, is that gonna work? We can try it. <v John L.>Thanks. I'm gonna grab some tape to... You know what, well, let's try this first. (coughing) We may be able to pull that back almost over camera depending on how it feels, we'll have to see. (John drumming quietly) And I think this... Bit tight? (Stephanie laughs) J-Pop everybody! J-Pop! (clapping) (all laughing) Do you want them on her eyes right now? Uh, let me see it on her forehead real quick. Or on her forehead? I kinda wanna see her face. I think we start Okay. with something like that. (John drumming quietly) I leveled the camera at three feet. Just to start you off at square and you can adjust from there. Let's see where we're at. This is so cool. Thanks for the extra floor, John. That's super helpful. John built eight feet of more floor last night. (John L. And Jennifer murmuring) These levels are pretty good. John, is it fair to assume... (John L. and Jennifer laughing) John Lavin, is it fair to assume that seam is dead-center inset, or is that not? <v John L.>It's fair to assume that it should be. Okay, all right (chuckles). I may need to double check it for ya. I think I know what you're saying. I know that they are up to the point of the new floor, and it just depends on how straight I am on that, but you're center where she stands. You wanna clip that to her? <v John L.>Yeah, yeah, that'd be great. Excuse me. Does that look center to you? Let me see. <v John L.>Does that work for you? That works for me. Yeah, that's good, nope. And then I guess the height of it is gonna be your call, just pull it down and... The height? Of this? Yeah, like whether this lands there or there, whatever, you know? Oh, what do you think? John, this just sort of is dealt with like that. Like it would hang on the tank. We also have the tank strap business-- Would she have this, if she's got that? Apparently, yes. Oh, really? Yeah, like if you're closer to the surface, we asked him about that. Oh, interesting. And this is something you'd keep on your mask. If you took that out, you'd put the snorkel in if you're at the surface. She would need straps though, right, to hold the tank? Yeah, you want that? Yeah, I think. Well, visually this is interesting, but I kinda feel like we might need to do the straps. See how that goes. Very cool, looks good. All right, let's fire. Let me get a quick test for perspective. (gear clanks softly) <v John L.>Put it down along the side. There you go, yeah, good. Push back, there you go. Firing. (camera shutter clicks) (gear clanking quietly) I wanna adjust her. Do we have our fill? No we do not. On standby? Oh, on standby? Where's that hitting her? <v J.C.>It's hitting probably right about my face. Oh really? And here's a fill too, Can we Apparently. tilt up? <v John L.>Can we see if we want any of that business? <v J.C.>We could go higher. You could go higher, but you can't tilt up? I can try, but I feel like it's gonna just force it down again. All right, here's what we're gonna do. Let's not worry about booming it then. So, let's... <v John L.>Get it to where you want it there, and then pull it to the side. I know it can higher without it moving, I just... Let's just put it on a stand. Josh, is this in frame? Negative. Okay, so let's just put a stand like right here, and then... Get the slimmest profile you have. (general chattering) Do you want this just hanging here? Huh. What do you guys think? I kinda like it (mumbles) (John L. And Jennifer murmuring quietly) So Jessica brought her the body, and then she's taking it down to the bottom, right? (chuckling) Just disposing. Yeah, she's disposing of the body, I like that. All right. Just gotta get the lights set and then we'll be back. <v J.C.>'Cause that one's all taped down right now. Oh yeah, just switch the heads out. Ah, let's see. Let me try to get out. Check focus on her real quick while we're waiting. (equipment rustling) Ah, I can't, it's way too low. Or too high. (apple box clatters) There we go. All right. Josh check focus for me. (camera shutter clicks) That's, oh yeah, sorry. (camera shutter clicks) <v J.C.>My elbow's in. That's still really dark, huh? Hm mm. I'll just wait till the strobes are up. (Ken mumbles) Take just a half inch to your left and then point your flippers straight towards me and then move your right flipper out a little bit. There we go, yup. Try putting your heels more together so your feet are kind of V-ing slightly. There we go, yeah that's good. That is good. Huh. Yeah you're right, I don't know John. The lines are straight, but she just feels way too tall now. We may need to... We may need to compensate somehow. What, I dunno, what do you mean? No I'm just... With her placement back in the room you mean? No, no, no, I'm just talking about camera height. I think I'm gonna need to come up. Can I fire one off, are we ready? Yeah. (camera shutter clicks) Nice one. All right, Stephanie, chin down a little bit. There we go. Focus is excellent. Right at the camera, (camera shutter clicks) there we go, perfect. My focus is always excellent, Josh. (many chuckling) Um, let's see. <v John L.>I look like at a giant. I know, she looks so cool. Okay, let's get the five foot fill ready to roll. Hmmm. Can you tilt that down a little bit? Mm hmm. It's so bright in here. All right, let's see. Gonna go look for placement. <v John L.>But if the straps are more dangly, just, what is that like if? What if we do something like-- Zoom in on her face for me. Mm hmm. <v John L.>Now you get, it felt a little more purposefully something-y. Yeah, it just felt too-- Hey Ken? Yeah? Let's walk the key over, I want a little bit more... Dimension? Dimension to her, yeah. (light stand squeaks) Try that. (John L. And Jennifer murmuring) And then go read it. <v John L.>But this comes through any of that skin. (John L. and Jennifer murmuring quietly) Can you see my drop? Do you want to try that, or? <v John L.>Okay, go with that. (tape ripping) The fill, trying to get the fill. <v John L.>John, how you feeling about the straps and all that stuff? In don't know, I haven't, I wanna see it fully illuminated to get a better sense. Ah it's a slide. There's a lot of heavy shadows right now. Watch the camera to you... And what about her? If she were slightly more forward, and her head broke the plane of that back horizon line. It seems, that's worth trying. 'Kay. <v John L.>You see what I'm saying? Like right now it looks like-- No, I can't, I'm having a hard time seeing the screens. All right, sorry, slide more. <v John L.>She's sort of holding up the ceiling. Right there and then come forward. I mean, I can see it. Here, I'll come over. <v John L.>We can probably pitch this in... Good, right there. <v John L.>Do you see, like that just sort of? Oh, I see, yeah. <v John L.>It's tangent. But it would be nicer if she broke it. But I think her coming forward would do that trick. 'Kay. It's actually not bad. No, it's pretty good. I gotta say, it kills me, but I really wish like hell that we'd gotten that stuff for down here. So maybe in post you can do that. Well if you can, before we move frame, if you can strip it and put it down-- <v John L.>Can't, it's what's holding the ceiling up. Oh it is, ahhhh. Huh. <v John L.>But now that I see that, that would be a nice finish down below. Yeah. <v John L.>Darn. Do you have any more of that material? <v John L.>No, no. What is it? <v John L.>It's just wood. 'Kay. Send somebody out? Ah, it'd have to get painted and aged and everything else, I don't how with the turnaround time. If I at least have the shape, the color's not as much of an issue. Gotcha. I like the straps (mumbles). It could be worth it Joe. <v John L.>Okay, it's a little nicer than a rounder to make that. All right, let's see right there. Are we up? Yeah. All right, firing. (camera shutter clicks) <v John L.>You wanna straighten her necklace, though, I think. Oh yeah. <v John L.>I can do that, excuse me. Okay, I'm gonna adjust this a little bit on ya. Let's see, all right, let's... <v John L.>Sorry, let me just reach in here for a sec. What do I want to see? <v John L.>Yeah, I think I can get this attached to your... It's a lot of floor. <v John L.>I'm gonna attach it to your pack It's a while lotta floor. <v John L.>and not have to attach it to your clothing. Um... <v John L.>How's that on the height of that, J-Pop? We seem like we're a little bright, right? <v John L.>The necklace height? Mm hmmm. That's kinda what I'm seeing. Yeah, nothing's out, but it seems bright. <v John L.>I'm gonna shove this, take this further up to... God, Want me to bring more of this up here? I can't really read the screen. <v John L.>Just to get it out of the way-- Give me like half a step down on the key. I agree, it does show more orange on top. Were we seeing that before? I think that's okay. It's just more a matter of not having to wrap those on to each other. Okay, thanks. All right, looking right at the camera. (camera shutter clicks) Okay. Maybe could you set it maybe like, up here and then I'm not looking in the windows so much. I don't know that I like that orange thing on top. Let's see. All right. 'Cause it's not the same orange, it's neon. Let's kick up the fill, like half a stop to start. I like it. 'Kay, firing. (camera shutter clicks) Uh, kick it up another third of a stop. 'Kay. (camera shutter clicks) Let's see here. Stephanie, can you take a big step towards me straight ahead? Yup. There we go, good. Thank you. (camera shutter clicks) Take one more step towards me. Here we go. <v John L.>John, I like that a lot better, it fills the space more. Which one? <v John L.>The moving forward is good because it, I just like the way she fits in the room a little better. I feel like I just need to get in more 'cause I do too. There's way too much floor. I know that yesterday when we were doing a practice shot, your camera was more about here and you were closer. and you filled up, you sort of jumping and remember the hatch was like just barely caught before? Right, right. Just out of curiosity, take one more big step towards me, just to see. And just an inch this way. There we go, yup, perfect. (camera shutter clicks) Good. Um. Ah, let's see, Ken or John? Yes, here. Can we put a little white card off camera to kind of fill in? Or we could even, you know, we could even, punch in just a softbox or a strip on camera left, just kind of point it at her just to fill in a little bit more, some of that shadow. <v J.C.>We got the two by four, I mean, two by three. Okay, let's try that one. <v J.C.>It's coming in. Look right there. (camera shutter clicks) All right. And then John? Yes? Could you just take a second to kind of take us to where we are now in terms of the fine-tuning that you're doing? From before, you said something like, "There's a lot going on on the floor," and just continue to the, what's going on in your head? Sure. Thanks. So you know, the beauty and the trick of this room is the simplicity of it I love, but also, for me at least, the angles kind of call for symmetry, and so unlike, you know, a single wall or something, where you can kind of pick your angle a little bit more freely, here I feel like, the lines need, I want this to balance. At least that's how I see it in my head. And there's just a ton of negative space on the bottom right now, which, for me, feels like she's way off-balance. But then the nature of the room is, giving her too much head room might also kind of, maybe it could, I don't know, we'll try it right now, but I'm trying to just explore the space and find that balance of how we can still utilize the room (camera shutter clicks) in a way that is taking advantage of the parts we like and then also also keeping her feeling balanced, and stuff like that. So, I feel like, let's actually go up on the camera. I kinda, this could actually work. Sorry, I got distracted while I was talking. It's great, thank you. But I don't know if that answers your question or not. So let's see, if I come down. Right there. Actually I'm gonna focus on you first. Kenna, was there another question to that that I...? No, that was great. Okay. I feel like this could be something. Here we go. (camera shutter clicks) Great. Let's see. Okay, is that softbox firing? Yeah. Let's turn that off for a second. 'Kay off. (camera shutter clicks) Firing. Let's see. Is that, did anything change from there to there? No, okay. Good, good, good, good, good. We may not need, yeah, it's creating it's own shadow, so if we do use that, it's gotta be like, way, way, down, like several stops. Way down? Or you want it like, more? I would feather it off camera a little bit. Other way, so it's not hitting the walls towards, yeah. Feather it off, and then turn it down, like a stop and a half, probably. (camera shutter clicks) There we go. And I feel like, take another big step towards me, if you would. One more step even, right there. (camera shutter clicks) Let's see here. See, I kinda like this, but I feel like the vent is gonna need to come up quite a bit. <v John L.>That can move John. That can move good, okay. All right, let's try this. I might need to come up a little higher also. So, let's just do this. <v John L.>Bring that vent forward a little bit? What's that? <v John L.>Shall I bring the vent forward a little bit? Yeah, I think so, let me just-- How 'bout to here? Just looking at the monitor, somewhere in that world? Hold on, sorry, let me recompose this one more time. <v John L.>Okay. (Stephanie laughing) All right, that looks pretty good. 'Kay. Let's see. Let's try this. So look right at camera, eyebrows up a little bit. (camera shutter clicks) Slightly lean towards me at your waist, just at your waist. And chin down a little bit more. There we go. (camera shutter clicks) That's good, hold it right there. That's nice, can you zoom in on her face? I wanna see the shadow detail. Yeah, that's good. I wish that line on her neck was not so pronounced. I wish it was wrapping a little bit more. Maybe we need to put a, maybe we need to put a bigger source behind the key, just to kinda, fill in a little bit more. I really like the general quality of that beauty, but it's just a little hard at this distance. The shadows are a little harsh, so I think we need to-- <v J.C.>We have a three by four, or we can do the two by three, or the three by four-- Is that the silver or the white? <v J.C.>This is a silver. Let's switch to the white and see what happens. Oh, okay, that could do it, yeah. But I still do think we might need something behind it just slightly. But I like everything else. And John, I think, let's more that vent, yeah. So here, why don't we move it-- <v John L.>To the front of that sort of dark spot there? I kinda, I dunno, can you... <v John L.>Let me just go hold it in spot. Yeah. I kinda am thinking between the two seams on the outer edge. (drill whirls) <v John L.>Between the two seams on the outer edge? So, um, I know, it's kinda vague. Yeah, like right there where, you know... Yep, I'm with ya. Yeah. (equipment clanging) (man whistling) Just a sec. Let me know if you need anything Stephanie. It's a lot of waiting. (drill whirring) That's kinda nice John, I like that. All right, so yeah, right here at the camera. Just like that, perfect. (camera shutter clicks) Good, good, good. <v John L.>Yeah, I'm buying that, John. Oh yeah, that's way better. All right. Gosh, that's nice, I like that. I feel like the camera needs to move left a little bit. Are you feeling that? I feel like I'm, either the weld is off, something's throwing me off here. Maybe I'm not.. <v John L.>What's that? I dunno, I'm trying to decide if I'm square on the back wall or not. <v John L.>You know, again, it could be the floor Oh I know, yeah. Isn't square. All right, this feels pretty good. <v John L.>, as far as I can tell, the set should be holding itself square, but the whole thing looks slightly like it's pitched clockwise a minute. It does look like that, eh? You're seeing that too? I am. I'm trying, Yeah man. Angles. Should have studied math. Or paid more attention in school. <v John L.>Yeah, in fact I can see that that's sort of not plum. I think the seam in the floor is maybe pulling left a bit? <v John L.>Yeah that could be too. But then the floor also looks maybe like it's off a little bit. <v John L.>Well I know the seam from where she stands to the back wall is the middle. 'Kay. Okay. I said this one was gonna be easier but... <v John L.>But the other one was just the drawn line. Famous last words, right? Let's see. All right Josh, check (camera shutter clicks) the focus for me. Oh you're just putting another beauty dish? Yes. All right. You're not worried about the two shadows? I dunno, let's see. I'm open to new ideas. All right, ready? Yeah. 'Kay. (camera shutter clicks) Is that the? <v J.C.>Do one more, the ready light wasn't on. Oh, back light didn't move. There you go. Okay, here we go. (camera shutter clicks) Let's see, let's see. I don't think it moved again. Um, boy that changes things a bit. Let's see, where are we at now? That's too much on her feet. Yeah, it relieves a lot of depth. So, I think (tongue clicking) Fill it to the three by two? Or no. Two by three's there. What we have left... We can put the two by three here and use the three by four as the fill and feather it off more. I'm okay with that. <v J.C.>Coming in front. All right, I wanna try to, we need to think about a way to soften, we need to figure out a way to wrap the light more on her face, but without affecting the environment. Do you still have your grids, John? <v John L.>Yeah, the grid's back there for the large one. All right, look right here. Eyebrows up a little bit. (camera shutter clicks) I think it looks good. Let's turn that backup beauty off. Yeah. I'm gonna come over here, this is still feeling off to me. Could you just take an inch this way? There we go, yeah, perfect. Good. Let's see. Then maybe just a half an inch that way. There we go, yep. And bring your right flipper in this way a little. There we go, and put your heels together a little bit more. There we go. Hey John, sorry, Lavin, is there any way to tape, there's like a strap on her left flipper, on her heel. Can we tape it so it stays on? 'Cause I'm kinda losing the silhouette right now of the flipper. <v John L.>Strap on her... Her left. Her left, yeah. It's the inner flap. <v John L.>Oh I'm with ya, I get ya, yeah, hang on a second. Thanks. (tape ripping) <v John L.>Okay, excuse me. Do you want that bright orange snorkel coming out of her head? No, but I'm not so concerned about it. <v John L.>I like the bright orange snorkel. You do? <v John L.>I do. I don't know if I do. <v John L.>Just for what it's worth (laughs). I mean, I think in post you could bump it down to more of a strap color orange. That's kind of what I was thinking. <v John L.>Just in terms of its shape, I think it's nice. <v J.C.>How close can I get this thing without being in your set, 'cause the closer this is in, the less quicker it's gonna fall off. Yeah, the closer the better, I think. <v J.C.>Then I'll go for it. And I'll tell you when you're in. You got, yeah, once you get up, I'll... I would go vertical with that bad boy there, Joe. (apple box clatters) <v J.C.>Ooof. And then you gotta back it up maybe three inches. There we go, try that. 'Kay. <v J.C.>It's not powered up yet. Okay. Do you want to keep the beauty also? Yeah, that's our original one, right? Yeah, yep. And it's still pointing right at her? <v J.C.>We haven't moved it so... Okay. Okay this one's on now. Okay, here we go. Firing. (camera shutter clicks) Good, good, good. Why is it not doing that, oh that's real hot. So we gotta turn it down like two and half stops. 'Kay, firing. (camera shutter clicks) Hang on. Ready light wasn't on yet. Okay, here. One more time. (camera shutter clicks) All right, let's see. Um, so. That seems a little softer to me. And this light is off right now. That's okay, I don't mind it. All right, John, I'm gonna take one with that on and then I want you to kill, Kill the... Kill the, yeah. You're looking right here Stephanie. (camera shutter clicks) And then kill the softbox. <v J.C.>Softbox is out. Firing. (camera shutter clicks) All right, cool, let's take a look. So... (light stand clacking) That's without, (light stand clacking) and that's with. Go back again. That's without, that's with. That's kinda nice, that adds a little... John, can you kick this leg? <v John L.>Yeah. Let me see here. I feel better about that. You feel good Josh? Mm hmm. All right, I wanna make sure you feel good. All right. Does J-Pop feel good about it, that's the... <v J.C.>So do you want the softbox in? That's the thing. Yeah, I don't think we need it. I don't think we need it. Okay, No, I like it without it. Yeah, it's pretty good. <v J.C.>Let's take this one. So, yo, give me one second. Here, we gotta, we gotta check focus. Tell me if I'm near or far, I feel like I'm off. It's close, huh? Mm hmm. (camera shutter clicks) So with the same direction it was back. Does that seem better? (camera shutter clicks) Think so. Looks like it's back now though. Her hair is pretty sharp, which I think is behind her eye. Right? It looks like, ah, I can't tell. We can back quickly. (camera shutter clicks) Let me see. Did we feather the key? I'm just gonna do it the old fashion way. Did we feather the key? It's not pointing to her face. Well, whatever it's doing, it's working. <v J.C.>I can see if he's moved up. Hold on, don't change anything before we before we talk about it with J-Pop. She gets the last say. (man chuckling) All right, there we go. Here I gotta, there we go. All right. Let's try that. J-Pop, you feel good? (camera shutter clicks) You going in the right direction? Let's see. That looks good. Ken, go read the grid for me and tell me where it's at. It looks to me like it's on her face, but... We're also losing a bit of that strong goal at the top due to exposure. Oh yeah, it's blown out. I feel it's off to here. Yeah. Is it? Just 'cause it's shiny I think, or... That's okay. No you're right, I see it. Her right shoulder is pretty hot. So okay, maybe we do need to just slightly, ever so slightly pan it, but not too much. Try that. (camera shutter clicks) Yeah that could work, John, even if it's not... I wanna see what it is we're doing. I think it would be. Yeah. Do you feel like that's too high on her neck? Her neck is bright, isn't it? I mean, we are still using the silver, so I could diffuse it a little bit. <v John L.>Is it the kind of thing that I could get ready, we could throw in at the end? Of course, of course. <v John L.>We'll do that then, okay? Well, then end of, 'cause I'm gonna do couple different angles here. So the end of this angle, it's gotta... Give me five minutes just to get these together. Sure, okay cool. Um, yeah. I switched to a white beauty dish. I don't mind. Okay, let's switch, let's switch. For the sake of education. We'll all see the difference between a white beauty dish and a silver beauty dish. Oh, but don't change the height. I've got it pretty much where it was. You got it, okay. <v J.C.>Can you get the modeling light? Modeling light, now pop it. All right. (light clanking) Looking pretty good with this. (light clanking) Okay. Oh it's like twister, there we go. What's up? It's gotta reach below (mumbles). Okay, all right. <v J.C.>But make sure it didn't swing. Modeling light. John come out and just two inches, nope, no get in there, I'm gonna take a picture. Just stare blankly, like confused. (camera shutter clicks) There we go, perfect. All right, are we on? (chuckles) That's not weird at all. (men laughing) Are we ready to roll? That's really dark. Yeah, I know. (camera shutter clicks) We'll see if it's firing this time. I don't know. Yeah, we just lose a lot of intensity, huh? Um, give me a couple clicks up on that. Ready? Yeah. (camera shutter clicks) 'Kay. Compare that to the last one that was silver. That looks like a series. I like that. All right, can we get 'em equal size? Mm hmm. Hmmm. It's not a huge difference. Which one is this one? The newer one is on the let. So it is keeping the back wall from being a little less reflective, which could be a good thing. It's not really changing the shadow too much. I don't think it's really even softening it that much from what I can tell. Her neck's not quite as hot, so that's a good thing. Okay, let's let it ride with this one. All right. We'll stick with the white beauty dish. All right, so, right there. Give me eyebrows up, lips together, (camera shutter clicks) Chin down just a little bit, and slightly tilt your head, there we go, yeah. (camera shutter clicks) Good, good, good. And hold it right there. J-Pop, did you wanna do last looks? Have we done that yet? Okay, cool. Yeah, you're free to fly if you're ready. Any questions, Kenna? Wow, let me come on in. What I am curious about is how much directing you gave the model, or how much information she had about the shoot and what you were gonna be asking her to do before this particular one? This particular one, not a whole lot, because I wanted her to stand there very stoically. One thing I was thinking about earlier is J-Pop and I have talked quite a bit about makeup for all of the characters and so, I noticed, I mean, a lot of times, some crew members, we're not even talking, she's just going in and doing makeup. It's not like we don't talk about that, it's just we did a lot of that backstage for the last couple days. Like, we've discussed each character and if they should have dirt on them, or if they're clean. We talked a lot about how for this one, we're starting with her really clean, like she hasn't gone in yet, but then at the end, if there's time, we'd like to have one where we're gonna do like a wet look where she just came in. And so we're starting with a clean base and then adding water, 'cause that's something, and I'm not even sure the exact approach. We may not even use water, it's more like wet-looking product and stuff. So that's stuff that's just harder to go back from once you commit to it. But in terms of this shoot with Stephanie, I probably talked with her less than some of the other people. So again, I think it just depends on what the goal is. For this one, I'm looking for, just kind of stoic, and there's not, at least unless someone tells you they need more, there's not a lot really that's needed to go in depth for that particular look. Some people, again, and it's certainly definitely more for acting, like in motion and stuff, you've gotta really spend time talking about the character and the motivation, and all that kind of thing. And I was thinking about it this morning as I was preparing, a lot of these, this project in particular, maybe even more so than I realized coming in, like I have very specific, singular goals for each image. Whereas, sometimes in certain shoots, we talked a lot about exploring and I dunno if we're seeing as much of that here. We can maybe try to do something like that at the end. I think the set with Tracey, there was a lot more movement and stuff like that. Yeah, it's more locking it in and going for that one particular look than maybe I sometimes do in other times. Hair and makeup will look at the screen, and oftentimes, typically, at least for Jennifer and I, she'll work real closely with Josh and I and she'll be there kind of over our shoulder, looking at the screen, and so she's looking for things that Josh isn't even necessarily looking for. So, it kind of becomes a collaboration. If someone sees something that's in their department, they're definitely gonna take care of it. I have a lighting question for you. Yes. That just came in. "Does the grid on the softbox "work the way the grid on the beauty dish does? "Does the degree, ten, twenty, "also come from the softbox?" I don't know that softboxes have grids of different angles. <v J.C.>They're usually 40 degree. Yeah, oh they're just 40? Typically softboxes, it's just, it is what it is. But with a beauty dish, I believe it's only a 20. I could be wrong. But with the seven inch grids, or the seven inch reflectors, those come in 10, 20, 30, and 40. And maybe even others, but those are the standard ones. <v J.C.>I think Pro Photo also offers a five degree. A five degree? <v J.C.>Yeah. So there's like a five degree spot, and then there's also what's called a snoot, which is like basically a very tiny spotlight, which that may be five degree, or maybe even less? I'm not sure. Yeah, the snoot just gives a little harder edge I think, around the edge, than the grid does. Yeah, okay. John, can you do a shot and then zoom in, so I can (mumbles)? Yup, okay cool. We're gonna do a quick shot. John is laying down some molding in the bottom to kind of better match the molding in the top. <v John L.>Yeah, I just noticed when we we saw it on camera when it was lit, it created a real gap that felt like, it just adds to the veracity to sort of lock up the edges. Cool, I feel good about this. Let's, can we turn the fill up one click? Which fill? The back fill, sorry, behind me.

Class Materials

Bonus Materials

Keatley Keynote Presentation
Casting for Nautical Shoot Video

Ratings and Reviews

a Creativelive Student

What an amazing show. I'm so happy that I could be a part of it. It was so great to see John at work and in his element. I learned so much from watching his process from beginning to ending. So many questions have been answered. I feel more confident, to get myself out there and create and make work that comes out from my imagination. I will definitely be keeping a journal/notebook with me at all times. I would also like to suggest that we have another course for John Cornicello, home studio. I'm curious to see what John is working on in his studio.

Doppio Studio

It's amazing to watch and understand how this great creative professional work. There's a lot to learn about with his production process. For me, that lives in Brazil, is a major opportunity to enjoy this class.

Vitamin Dee

Wow! There's just so much great information in this class. If you've ever wondered what it takes to produce an environmental portrait, this is the class for you! John did a superb job of taking us step-by-step through his process. From model casting to set building, lighting setups to culling; it's all here. He even wraps up the class with next steps and how to put it all together. He gives the knowledge so you can take it to a place you can create your own magic!

Student Work