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Pose It, Light It, Love It

Lesson 33 of 33

Shoot: Shake and Bake

Clay Blackmore

Pose It, Light It, Love It

Clay Blackmore

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Lesson Info

33. Shoot: Shake and Bake

Lesson Info

Shoot: Shake and Bake

Give me a full shot on that a full shot on the video light and then we're going to go I've kind of memorized this this's on seven and on seven we're gonna be shooting at about f eleven okay let's see what's going on but we didn't kill the battery there's a switch down here there we go all right right there so here's the thought take a picture and see if the flash goes you're gonna be half eleven alright cool go I like this shake and bake gosh, I haven't done this I'm telling you in five years I am done it in a long time so here's what we have to do I'm just thinking if we can do this with these overhead lights we might we might have to pull him lindsay you're going to be mad at me the stop the lens down to eleven because in a dark room you could do this with an executive that looks good. All right, you could do that now you have to turn off my modeling light, which is you know which one it is one of his modeling light off let me get my exposure's he wrote in eightieth at eleven. Looks ...

pretty good I think you could turn it down a little go to six it was my fault all right now I have a good exposure, okay one light that's good looks great I mean just like that so the shake and bake is kind of speaks to I did it once for a dancer and she moved a little bit and it was really kind of cool so what I want you to do is stand up behind the stool I was just kind of getting anchored come around and put your left knee up on the chair your left knee yet and put your hands on your hips um now come behind the chair like this and just stand up let me see how tall you are can you take off your heels just get him off are they buckled are they hard you can sit down you can sit down on the chair here's the concept I'm going to put the camera you go and you take him off I'm not shooting really I'm a death eleven okay there's the picture right here so what I'm going to do boy that red hair in that background is looking good look at that I mean really really beautiful and we don't even have a feel like we're looking at one light turn your light away jerry and let me see that what you're doing for that background you were helping because here comes the next picture um give it back to me jerry and then let's put a reflector in here turn your niece to the right boy those shoes are on there aren't they you don't know what to do before I go into the shake and bake I want it oh, I want to take this picture can you guys help me with this sleeping so for what do you guys keep calling it a chase lounge it's a recliner something thing like that you move the slider come on get your arms out help me here we go right here and you got it you got it done you're gonna stand up I'm going to do a portrait of you right here you got it sorry I gave you the bad and just slide it right here and just lay over it bart give me that modeling like back now turn this way guess what the modeling light is tungsten yeah and the background light is tungsten softened the modeling light a little bit but it's looking so good with flash but I'm gonna try to shoot this all tungsten can you turn on the modeling like good scoot this way and just kind of put your chin right close to that sofa right there good, good good we haven't done this so it's it's very educational that we do it bart take your scrim right here. Can you hand that to him? Katie that's grim and scrim the flashlight go back there because it's just too bright so I'm going to go back to manual wait go actually the a v my white balance now it's going to be thirty two hundred kelvin and this light on you is super soft beautiful in china panache chin up a little that's gonna hurt look at me chin up a little come forward a little bit the all these daylight lights in the room or are contaminated it it's um I'm getting some daylight from the studio lights and it's just not working but you know what I'll do is eliminate those by going yeah chin down right there chin up a little right there slide that way a little bit good right there tipping it this way come forward a little bit and just put your chin right over there good right there take that other hand and hide it in give it a little more light bart you move closer part yeah and you put both hands under their good right there right there beautiful came down all I'm doing here is working tungsten light now I wanted to get that with all the red hair and the red background but what's happened in the studio lights are kind of inhibiting me but now I'm on tungsten I'm going to go to color right give me one second monochrome faithful neutral landscaped portrait I'm on portrait and then I'm going to go to flash okay flash balance you're doing good now I'm gonna do this right here and I'm gonna manual so I can control this and we go like f sixteen now hide your hands and just a little bit look how that boca on that one shot now let's look at the difference here this picture that you're looking at here is f eleven this picture right here if I can you go back to the black and white that's at one point eight isn't at one point four that speaks volumes to how I would use my painted background can you see it onscreen guys? It's black and white wide open lends the background melts many people at home are used to seeing what you see on the right and it looks doesn't look good I don't like it the background is more important than her face she's what I'm trying to photograph so I'm really illustrating that you can really key shift your background here now let's try to look at her she looked so comfortable there let's just stay right there yeah, both arms up there yeah come on right there. Good put both arms. Yeah can you bring the main light to me a little bit? Christina, I'm liking that the lights broad lighting can anyone see that look at me so it doesn't really kill me, but why don't we switch it? Can you push it can, uh, get a helper here? Come on, you're gonna put this over here yeah, you got it. You guys just, uh you go here. Reflector there on this studio has this big, beautiful white wall that's going to act as a reflector. Now you like the background without the scrim with just light it up? Yep. Now, it's going to go super warm now? Why that's a tungsten light on the background. I'm shooting daylight. Look at me right here. Chin down a little bit right there. You're gonna love that. I think you are gonna love that there's. Open your eyes, make you see, uh, now I look at a portrait like this and say, what would I change differently? I think your hand is brighter than her face. So can we hide the yeah, hide that hand down in there and your chin down a little bit right there. Good, good. Good. Tip your head more this way. Chin up a little bit. Throw a little more hair there. How about a fanned on? Just just do it. I think I think we need a cooler off a little bit. You know that hot red hair is kind of getting getting steamy over. They're just gonna give her a little shot. Who's got the wind come on in with me, caitlin, and give me some smoke. You know what let's just turn on everything we've got I want smoke fire I want some mirrors I want to get the wind going there we go look at that chin down a dash this is one light but we've got a tungsten light on the background keep that tungsten light and there you know the tungsten lights probably not even doing anything unless I go to like a thirtieth of a second. Good. Oh, that's beautiful that's just one light guys. How about yeah, that's all studio light there. Um real quick bart raised one of those flats the one over here I want to just add a little daylight, phil just a little bit. You can drop that in your hand. The left thing just dropped that. Alright, little more little more little more right there. That's it beautiful. There we go. Oh, fan and smoke doesn't mix. Take the fan away let the smoke take the pan off and let's smoke it up who's got a good camera right here. Let's let's, drop this camera right in into the smoke here. There we go. Come on in. Oh, yeah, look at this view right here. I love it yep oh, we're hot now look at this shot here of the people at home are looking at that chin down little well let's see what it looks like on screen I think I need to brighten it up a little bit on my lens that taking a stop off the camera now we just kind of let it's clear a little bit will stop it yeah, what I'm seeing on the video looks really cool I really love it yep yeah there we go now the hand in a little yeah just like that chin down a dash yeah uh the oh, I love the one on screen right there I think we got something good here yes sit up tall and how about we do a profile which means burnt the light goes into profile away over there and then christina the reflector goes over with him for profile lighting and you just look way over here to the stage that reflector here? Yep. And bart, you keep going back for the loop shadow keep going back and you bart you gotta point it into the reflector a lot. See? There you go right there. Wow. Can you just kind of recline a little bit more now? Bart, you've got a soften your light, so turning a little bit more to the reflector that's good and turn your shoulders to me good and your nose to the left or right turn your light way down I'm gonna try to pick up more ambiance attorney down though like five turn your nose to the left of the ash tip the top of your head to make a report what you just see what appear it's too bright hang on we would meet her this and get it right but we're looking at fourth and goal here it comes the lighting's good there except bart I need you to take the light that way a little bit and light the reflector more know either reflector light the reflector more there you go sandwich pulled the hair back from under your chin elizabeth yep and look this way can you guys go ahead and pull the blinds up a little more chair because I want to get more feel light and all your hair off the left shoulder yeah that's good keep coming keep coming dropped a find you know the flash that we need you want to help him like that room little that's good right there now we're all daylight your nose to the left a dash tip the time that's good right there beautiful gorgeous portrait guys look at this we're going to end on something super classic which I'm happy about drop your bring your elbow over more I'm going yeah I'm trying to make a pyramid out of you I think we got it right there isn't it good I feel like what watch this I'm going to just get in there and refining I mean as many times as we've worked together it's an inch or two to make this happen you stay right with me bart because what I'm going to look at the model and light is it off no it's on make it full so it's this one right there so get the modeling light full now turn your nose to me right there that's how important it is guess what I'm looking at you know what I'm looking at I'm looking at the loop and I'm looking at picture one and if him and impose full face two thirds profile you understand that shoulders or forty five can you get your cameron somebody yeah come right in here and show what gives feed that's it that's picture one now the loop shadow is right there if I went like this we would be split lighting or we'd be rembrandt but now zoom back a little bit and show the pose yet there we go right there that's gorgeous in itself is it not? I hope the people at home can see this the full face now why don't you bring this camera right over here? Uh and show him two thirds right there there you go now you just have to think about shooting square into the body and a little flesh holding that iron there's your two thirds now come over where I'm going, where my cameras and you'll see the profile right over there we don't need it is just a feel like off the back wall because I have about ten slides ago review I hope we get through here we go, right? What about the shake and bake? I'm doing it I'm with him right into it. The reflector in right here movement movement movement right there turn your nose to me a little bit the shake and bake got trumped by a beautiful portrait but I'm going to do it tipped atop your head to me a little bit I've been thinking about it right there smile teeth beautiful I'm gonna go in from the knee up okay, now pull the main light over here. No profile stand up, slide the sofa let's make the room is dark as we can. Catherine everybody was there catherine in the room just slide the bench. You can just push it going now as dark as we can for this shot because just stand in here, you light it with tungsten full time that's fine. Just like that. Oh, yeah. Bring it over for the camera. Yeah, do some smoke on this two here we go. You like the background, bart there we go. So what's happening here? I've got accurate exposure on the face you gotta go no modeling light, you know why we're doing no modeling light turning off the modeling right I hope we can do this with the stage lights but where we go I want you to just kind of just move a little for me a little soft and I'm gonna take my shutter speed I'm on manual I am at two and a half seconds here we go just kind of blow your hair how about the fan on her went on under here what I did is I just took the picture and I moved it can we move that reflector so I can see what I just got that might be a little long yet belong so I have two d'oh is bringing down ready and one second yes alright you wiggle that light on the background you could do this in a corporate office and use their offices as the background and it is super cool all right, here we go we're gonna finish strong we're gonna push that ball over the goal line come on now show me some lobby pretty there you go pretty just like that I love it now let me I've never said that be pretty how about shake your hair a little bit? I lost my flash here we go right there how come we're not getting flash? Did this thing die on me let's see? All right, right there one two and we need that beautiful expression get the light a little higher right there and maybe don't move too much just just a little bit actually stay real still let me do the moving right there that's it don't move elbows out a little bit lighter in the back right there but snow flash I think I've got two of these look around on my camera back for another one of these I think the battery just died but you want to go for it look at me no time like the present for this to go out I don't have another one just turned both gonna have three of them here we go and that's the way I roll I roll with three and everything here we go and bart thumbs in your pocket the real still bring your left toe to me you're left holding me right there don't move all right I think I got it let's see slow down I said I haven't done this in a few years I love it here it comes don't move all right let me slow it down a little bit I don't know I'm not gonna shake it is much right there all right let me see what that does all right flip the reflector in place I'm not getting gonna get any phil here see what I mean all right to make this thing work I'm going to turn my flash much higher toe overpower the stage lights you see the movement in her face I should have that crystal clear and if there's anyway just for this shot we could turn off some of these lights I'll get it if not, it might be a little bit soft but let's just try it this way I've got the lights way down now wait that's f sixteen let's get the episode one hundred let's see what happens let's see what happens right here remember coming right there flatter all right, we're ready this is the big shaken bake the big finish baby here we go right there nice and steady stay right there nice and sharp and I shake the camera you guys get a shot of that here we go come on, show me a great shot here I love it it worked here we go one two and I knew it worked it's just when you do the dark room you do a few of these chin down good yes blower hair with the wind I thought the wind was really good yep shake your hair last shot right here one two and yes right there and lighter behind like behind her way got it, lou I'm gonna hang with shaken baby thank you. Thank you. We are bring the lights up when we can clothes are so cool clay just tio uh reiterate for the chat rooms what the shake and bake wass I was in a scene there was, uh just the main light which is a strobe and a flashlight on the backdrop, you were hand holding the camera at two point five seconds and you're moving the camera. So the shake park was moving the camera forward towards the model hand holding at two point five seconds. Correct? Yes. The idea is very simple. I got my exposure in flash on her face, and that was looking good. But then I put a tungsten light on the background and I'm in a dark room. I get the modeling light on and focus on her. I now I've got her ready and I say, turn off the modeling light now we're in a dark room, I hit the picture boom and when I hit the picture, the tungsten light stays on so I can shake and bake. And you know what? I've done this with a ceo in his office and he's got his whole office behind in shaking and it just adds so much vibrancy to the picture and it's a great look. You no crop this here, I think that's a really hot shot to end on. I love it.

Class Description

Join Clay Blackmore for a three-day immersion into the art of photography. Drawing on decades of experience, Clay will cover the essential posing, lighting, and composition skills that are key to creating jaw-dropping images with any camera.

You’ll explore working with both natural and in-studio light. Learn about the essentials of portrait posing, including strategies for working with individuals, couples, and groups. Clay will also share his fail-proof tips for making on-the-fly adjustments so you're able to work seamlessly with any subject, in any environment and source of light. You'll also master the art of capturing the picture-perfect wedding story quickly, reliably, and completely with stunning results.

Whether you’ve been taking photographs for years or are just starting out, this course will give you the knowledge and inspiration to take your work to the next level.

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a Creativelive Student

Clay Blackmore is the real deal in portrait photography. The guy is a bundle of creative energy and technical mastery. I took portraiture with Monte Zucker, and am glad to have Clay now as his successor. This concepts in this course are the rudiments. They'll never change, regardless of trends and fads. Clay is also very likable and fun to watch work. Keep your ears peeled for every word. When Clay points out those many little details, they all count. Love the course, and have a ton of respect for Clay. He's a portrait master, and a great guy. What else could any portrait student hope for?


This a wonderful class. Clay has worked w/Montey and brings a supreme knowledge to photographers who want to learn more. His skills are creative and insightful with a modest personality. This is an amazing class that comes with a great price.

Tom Lokos

Of all the courses I have purchased without exception this is the best. Clay is an excellent teacher. When he speaks he is saying something and not just talking. He explains his lighting techniques in great detail while demonstrating them . He is clear, concise and fun to listen to. You will learn how to pose individuals all the way to large groups, while learning the correct way to light them. All this while being entertained by one of America's great portrait photographers.