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Shoot: Scuba in the Hull Part 2

Lesson 41 from: Portrait Photography: Creating and Styling your Environment

John Keatley

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Lesson Info

41. Shoot: Scuba in the Hull Part 2


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 2

So we're just finishing up the trim which we're adding into the bottom. It just feels like it ties the set together a little bit more since we've got that trim on the top. And then we're finishing up makeup. And then we are gonna start firing away. I'm probably not gonna spend too long here just because what I want is pretty simple and straightforward and then we'll probably just repeat but at slightly different angles just to kinda cover the room. And then I'd like to try one of her sitting at some point too. So we'll see how far we can get. But I feel really good about where we're at right now. All right, let's get the chair out. Thank you, Jennifer. Let's see. I need a pano. (Jennifer whispering) Do you want me to do coverage on her or just-- Sure, if you're seeing it, yeah. Oh, we could do both. Okay. Either or, yeah. 'Cause I'm gonna add some makeup on if we wanna do that. Okay. There we go right there. Perfect, hold it right there. Okay. All set. Looking right at the ...

camera. Give me eyebrows up a little bit. Chin down just slightly. Give me a little more kind of deep. Yeah, there we go, good. Good, good, good. Like you're just exhausted. Perfect. Can you tilt that towards me a little bit more? Give me eyebrows up to like, "I can't believe I have to deal with this." And then key up. Both knees real straight. Perfect, good, good, good. Lips together for this one. Swivel your head a little bit this way. Good. And then look off camera. Turn your head almost profile all the way over. Yeah and look away from me. There we go, just like that. That's good. And then same thing to the other side. Come on back over here. Chin down a little bit. There we go. Stay right there, don't move. Just with your eyes. Right at the camera. Then eyebrows up a little bit more again. Perfect, that's good. Good, good. And then look right here at Josh. He scares easily, don't worry. There we go. I like that, good. Look down a little over, like right here. Right here. Yeah, I like that. Kind of like sadness or longing. Right there, that's good, that's good. Perfect. What, John? Forlorn. Yeah, yeah, for-- Deep breath. Look down here a little. Now head straight on towards me and same thing, just kinda down to the ground. Deep breath like-- (loud exhaling) Breathe out. There we go. Tilt your head a little bit to the side. There we go, good, good, good. And look right at the camera. Then bring your head back, tilt straight. Perfect. Lips together for this one. Eyebrows way up. Kind of like you're about to say, "Excuse me?" There we go. Good, good, good, good, good. Now let me see. You're holding your hands in front of your body just kind of relaxed. Yeah, there we go, like that. That's good. Lean a little bit to your left. Sorry, to your right, camera left. And not quite that much, come back. Right there. Perfect. Try holding, maybe make a fist with. Actually, I do like seeing both knuckles since we got those tats in there. Yeah, there we go just like that. That's good. Good, good, good, good, good. Lips together. Chin up a little bit. Half an inch this way. There we go, good. Chin up a little bit. And again, swivel your head over here. Right there, just like that. That's great. Perfect. Hold it right there. Eyebrows up a little bit more. That's good, that's good. And then look down at the ground. And look head straight back towards me again, look down at the ground again. Chin down even more. Chin down even more. And then head over here. There we go, that's good. And then let your hands fall to the sides. Perfect. And look right at me. And I wanna push confidence for this one. So you're not trying to look tired or anything. It's kind of just like, "Welcome, this is my ship. "I'm about to take a body to the bottom "so if you wanna come along, "here's what you're in for." There we go. There we go, eyebrows up a little bit more. Lean a little bit to your right. Not quite that much, right there. Give me eyebrows up again a little bit. There we go. Yeah, just like that, that's good. A little smirk even. Like you kind of enjoy taking bodies to the bottom. You're not even ashamed. There we go, yeah, I love it, I love it. Chin up a little bit more. That's good. Swivel your head just an inch this way. Perfect. Good, good, good. A little, a little more smirk even. And then let it fade slowly. Good, good, good. Okay, perfect. Are we good on focus? Mhmm. Very good. I feel like, let this, I like these a lot. Let's maybe introduce Stephanie to a chair. I like those a lot. I think that's cool. I like this one where she's looking up a little bit too. Same placement more or less? I think so, yeah. We might wanna move the chair up 'cause when she goes back she's gonna-- Okay, so take half step up. Yeah, maybe take a step up and then. There we go, yeah. It's fun to watch somebody walk in flippers. (laughing) Do we need to re-aim? We probably will have to, yeah. But let me just see how it reads first. Actually, I think she needs to go back to those flippers. I don't know if I even like the chair as much. Yeah. I think no chair. Yeah. You don't see much of it. Yeah. I think there's something nice about extending her in the space. We've got a, let's see. We could do, we could do that thing where you see her-- I don't want it to be showy. That thing where she's holding a rope. We've got that hook. We've got a few things if you want. We got a seagull. We've gotta get that seagull in there. Yeah, we've got a-- A rope, I don't know if a rope would make any sense for her being a diver. You have diving reels or anything? Come on, man. I like the simplicity of it. I'm hesitant to really add anything into it at this point. I like that. Yeah, I know, actually. Come on, let's get this show on the road, guys. Here we go, hold it right there. Stay right there, stay right there. I like that, John. Is that focused? Look at that. Focus is excellent. Okay. Can you just shuffle yourself back four inches? Let's see. Okay. Eyebrows up a little bit. That's all Stephanie right there. Bring your left heel in just a little bit. There we go, yup. Perfect, that's nice. Hold it right there. Chin up a little bit. Right there. Eyebrows up a little bit more. There we go, good. And just relax your expression. That's nice. Focus is good? Mhmm. Okay. I didn't wanna move the camera so I'd focus on the belt. I just wanna make sure her face is-- Yeah. On the same plane. Okay cool, I like that. Maybe a little back? Yeah, can we get a, let's see. Stephanie, don't move if you can. Jen, help, can we just get a, we have a little bit of shine on the forehead. Can we just bring that down a touch. In between her eyes or at the top? Right below the mask. Okay. And then, excuse me. Ken? Hey, can we, can we lower, just lower physically the key, like two inches. Try not to change the angle. One step down? Cool. Okay. Awesome. Oh, I like this a lot, that's good. Nice. Give me a little more eyebrow. A little smirk. That's good. Look just off cam with your eyes. There we go, yeah, that's good. And look right over here again. That's good. And look up a little higher on that side. And then right back at the camera. And look right over here. Okay, cool. All right. Let's move back in. Let's move into the set a little bit more. I feel great about this. This is really cool. I love the set. All right, so let me see. Before I do. Wait, there's no other plates we need in here, right? Let's actually, let's have her clear. I'm gonna have you clear set. And I'm gonna get a quick plate of the set without you in it, so you can come on out. I love that. Everyone should have to walk around in flippers. All right. You should try to climb stairs with flip-flops. Good. Okay. So let's bring Stephanie back in. And let's just go a little further in. So maybe, maybe around here. What was that? Just making sure she's doing okay with her flippers. I wonder if it's kinda, I wonder if it's like jumping on a trampoline like when you put your shoes on, you'll still keep walking like this, you know? (Steph laughing) We shall see. All right, so bring this flipper over that way a little bit. There we go, cool. And let's just see. What happens here. All right. So we may need to do a little rearranging, John Levin. Of? Of the hardware. Let's see. The porthole could be okay, still. Yes. But the-- Let's bring the vent down. Vent needs to come down. Gotcha. I like this too, it's cool. I don't know. Less exposure if we're moving back. Excuse me. What's that? Exposure. You know, it's pretty good. I mean, it's not that much has changed. You guys, I'm guessing you just followed equal amounts or did you leave it? Is that where it was? Yeah, we had-- More or less. You haven't touched it at all? No, I touched it. What did you do? You didn't bring it forward, you aimed it. I lowered it then, up the power belt. Get out of the way of the light. I move it. 'Cause it changes the depth. I kinda like the shadow. The shadow's kinda fun. I think, we might just be a tad underexposed, if anything. So maybe let's add. Fill? No, no, no. Key up, and well, fill would need to come up too. And you know what, fill needs to come down a couple inches if we've got the latitude there. Yes, fill can come down. So power up key. Like, two, three clicks? John, we have that other lamp too, if you wanna consider that. You got what? We got this other lamp, too. If you wanna consider it. Yeah, I think it was just starting to feel a little matchy matchy, right? Well, do you wanna, I mean with this composition, it's at least worth to take a look. It may feel like too much. Yeah, it feels like too much. Okay. It's a funny shot. What is that? Okay, have we got the key in the fill up now? Yup. All right, here we go. Let's see. That looks pretty good. Zoom in so I can see the fill on her. Cool. Okay, zoom out. All right. I wonder if, do we want her to come towards us a little bit? Maybe take a step towards me if you could, Stephanie. Maybe, so the front of your flipper is at that weld in front of you. Yeah, there we go. Right there. Look right at the camera. Hmm. Man, it's like a M.C. Escher drawing or something. Messes with your eyes. I know. Do you think it'd be too dangerous if I went up in height a little bit? I feel like I wanna be higher. Wanna try? Yeah. I don't think it will throw the angles off too much. Can someone help me here? You got it? Yeah. Good. Okay let's go. Up. Try that. Thank you. Let's see. Try warmer with that front left. I do like that a little better. Check focus for me, Josh. Stephanie-- It seems a little back focused. Move an inch, move your, shuffle your feet too a little bit. There we go, yeah, that's great. Perfect. Then bring, yeah. There we go, there we go. That's good. Good. Back focused? Seems like it. Let me see. Oh, just refocus here. I'm done with manual. All right, hold it right there. Good. Okay, let's try that. I think it's just not, I think the 50's not quite as sharp as the 80, so. Okay. All right, so let's back it out. Mhmm. Cool. Stephanie, just, let's bring your right flipper out a little bit. Keep the heel, yeah, there we go, that's nice. Maybe back a little. There we go. Cool. Does the, does it feel like the hose is getting a little low on her shoulders? This? I would move, maybe just cinch it up a bit? Camera right, the hose feels like it's off a little on the edge a little bit, yeah, there we go. Good. I pulled this down, I don't think we're seeing that as much. You want me to push it back up? Yeah, whatever you want. You're the boss. Does it seem okay? It's a little, it needs to kinda come this, there we go, yeah, that's better. I like that, thank you. This bunch of cords on camera right, is that looking how it's supposed to? Yeah, I think it's just all the extra that would be dangling down if they were unbound. Okay, gotcha. All right. Is there a way to run it behind her maybe instead? What would that look like? One side of it is rubber banded and one isn't. Yeah, that's-- Yeah. This side is rubber banded. This is all just rubber banded. And that's, that's not. This one. If I take it out then we'd have to bring it back around there. That's what I'm saying. Should I do that? Would that look better? It seems like it might. Let me try it. Let me get out some tape and try it. All right. Let me do a quick test while we're waiting. Look off camera again, I like that. Same thing just like that. (whistling) I don't know, it's bound to something else. What is that. All right. Hey, J. Excuse me, so I don't cut your arm. Good idea. What are you thinking for the, for the, what will it take for the water? Depends on how wet you wanna go. I can just mist it. But then sometimes it doesn't read, so I might need to glob it on. But we can start with just a mist. John, could we create a puddle of water on the floor around her? Yes. You mean a natural puddle of water? Or create something that feels like a puddle of water? As long as it reads, yeah. Water would probably work best. Yeah. It just may soften up some of this paint because the paint is pretty fresh. For a last look though at least. Yup. Yeah. Will you put a grid on that for me? I wanna check those back lines. We're not crazy. I'm trying to think. It looks like, if anything, we could move camera right? On the top, but maybe not. It's still in the bottom. Yeah, it's like, this angle's up here and this angle's down there. So it's kind of, I don't know what to fix. It's not worth messing with. I'm just curious. All right, cool. We all set? All right. Is my focus good, Josh? Checking. There we go. Yes. Cool. All right. Slightly lean towards me, inch your way. There we go, yep. Just like that. Turn your head and look kind of to the side a little bit. There we go, good, good, good. Give me that arms up on the hips again. Perfect. Look over this way. Turn your head over in that direction too. Lean towards me a little bit more. Inch your way, there we go. Yep, that's good, that's good. And lean a little to your right. Perfect. And then eyes right back at the camera. And then hands straight down. Just very, like-- ♪ Wah wah ♪ Lean forward a little bit at your waist. And look straight down. There we go, that's good, that's good. Look kinda over to this side. Turn your head that way a little bit as well. Tilt your head a little bit to your right. And then eyes right over here. Eyebrows up, kind of like, "What is goin' on?" There we go. There we go, right there. Look a little more to the side. Turn your head a little more to the right side too. And look down the ground to that side. There we go, yeah, that's good. And look straight on the camera. Try to bring your head back a little more too. There we go. Chin down a little bit. Slightly stick your head out towards me. There we go. That's good. Let me see you turn your body a little bit and kind of look out straight towards the porthole. Actually, right there, stop. 40, and then just turn your head the rest of the way. Let me see you face with your feet also. Look straight towards the porthole. Come, oh, I forgot. We don't have a tank back there. So we have to be careful. Okay, take a little step back. Back, this? Wait, yeah. Towards your back, yeah. Walk backwards, there we go. And then angle your body more towards me a little bit more. A little bit more. There we go. We can always take that out. That's good, that works. Perfect. Turn your right flipper towards me a little bit more. And move your right heel back a little bit more. There we go. Yeah, I don't like it. I like it when she's direct on. I was just curious. Okay, so. It shows she's not wearing a tank. Right, yeah. Yeah. All right. So let's, come back towards me straight on. Let me see you go all the way back to the wall out of curiosity. And then come up towards me a little bit more. Come up almost so your flipper is at the second weld in front of you. Yeah, there we go. This one? Yeah, one more. One more big step. A little more, a little more. Where was she before? When she was at where she was, that was where she was in? Oh, okay. So I know what that looks like. All right. Let's go, I think. I mean, I feel like we got it. I feel really excited about these. But let's, let's try to make a little puddle of water and make it seem like she just got out of the water and she's dripping wet and see what happens.

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