Pose It, Light It, Love It

Lesson 15 of 33

Shoot: Split Lighting

 

Pose It, Light It, Love It

Lesson 15 of 33

Shoot: Split Lighting

 

Lesson Info

Shoot: Split Lighting

Let's flip this around bart and talk about shooting into the window like so bring the stools out jerry you wanna help me, jerry you get one you get one you take that over there and let's go over this way you go that way good now stand right here. Just stand in here for me I would just understand come right in here. Ok, good let's put the camera here a mind your eye I could move guys. You all right? I told him we'd be doing this oh, look att the light we can draw some conclusions can my four students you guys can see that all right, can't you, um fold your arms turned this way and point your right toe to me? You know that even when I'm doing a head and shoulder portrait I start with the feet. You see what I did right there by putting the front foot forward so we could even take a little block you know, always keep him around and threw him under her left foot if we needed to but we're ok just keep him right there. Bart he's keeping on the floor uh look att that life that is so pretty but...

can you throw in infrared camera together? Just put a lens on my they're in the bag right there. What is I r I mean, it is one of my biggest tools and I want to use it to show you guys but the something it's getting bright and sunny and infrared likes bright and this could be a beautiful eye our portrait but now I've got to stop down a little bit my s o I'm twelve fifty I could be anywhere guys, what am I thinking? I'm thinking about f four and I'm thinking around four hundred I would have to think that the lower ay esos, they're going to give me more quality, aren't they? In the old days with my old cannon equipment? You know, I could say I always want to be around eight hundred, sixteen hundred, maybe twenty, five hundred. I'm really pushing it the new mark three the one d x I'm going to tell you I can shoot twelve thousand five hundred esso and not even see the noise. And it just is a game changer for me for weddings. Okay, come forward a little bit again. I've got her standing there. Where is the camera gonna have to be done? Come show me with your hand. Just show me with your hand. Come on! Jump! Jump! Jump! Boldness of attack! Boldness of attack where's the camera come on, come on. Yep yep, yep. How am I going to get up there? I need what we plug me back and I'm gonna need a ladder so I'm going to seat you. Why do I carry these everywhere I go for portrait? I can't do it any other way. Sit right there, please. All right. Good. Hey, bart, you know what I'd love you to do here as I'd like a hairline and it's right here. It's all plugged up on the boom arm. Can you slide it in for me? Don go help! Art because what's beautiful about my my lights here they're daylight balance so you turn a little to the left just get it plugged in and I'm gonna talk about the reflector. Look where I'm putting the reflector this time reflectors on the highlight side nobody's teaching this this is one that I mean, this is a pearl. This is a pro. All right, stay right there. You guys okay? Right here. Now tip your hand this way a little bit. Let me go by and, jerry, you come over here and you show the group within without ok and I'm gonna get this all the organ from exposure. What did I do here? I changed from shooting with the light kind of at my back but now I'm shooting into the light and this is where the professionals make their home if you want to look at the work of the great beaten um carol george hurrell say no more going google the guy all the lights are coming from behind he's working in a hollywood studio so lean in this way a little bit so where is my light coming from? Behind keep you head this way now this is just split lighting now what we're gonna do is I'm gonna come in there and put a loop shadow on her nose why would I do that? Pot's light refined and I'm gonna take this and I'm gonna drop you all right you just pull your hair out why am I doing that? I want to just see the face right there and you could hold it down right there let me just tie knot in it you ready? I love going to the fabric store first thing I do go to joan's fabric and say show me the cheapest stuff that you want to get rid of you know the remnants I must take this down so it's a rated g program but you know this is a pretty shot here lean forward chin down okay, now lower your hands yet let me help you can get well a stylist do we have one it's okay, I'm just gonna tuck it in I'm the palace right there you're good lower your hands down right there but come in all I'm doing now is making a portrait were always see or the eyes all right, stay right there good now what I'm going to do now is I'm gonna take my reflector stay right there during where am I gonna point it? Tell me uh monica where am I gonna point this reflector where you gonna point it? I'm gonna point it to the line yeah remember that? Remember I'm going to get the light I'm goingto I'm finding the light but I'm gonna I'm gonna harness it I'm going to harness the light and watch this there it is I mean we play ricochet games with white all the time now look at me tip your head it would help it's fine it's okay, it looks beautiful. It just looks like a high school senior drake you know when you get the senior portrait tip your head a little chin down and then maybe that other silver reflector just a little fun bart on any just on this side rollo and get ready, don I might have you give me a little herr life chin down a little bit can you turn your body to the left more yeah, right there beautiful, beautiful just all in your eyes christine, you come in please and see her front shoulder can you pull the fabric down off of it a little bit make it just roll it under so I can just see a little shoulder real soft but there there you go you did it can you set her hair up on top of that drape chin down a little drink overly just that's good just a little bit look at that chin down a little now look at me I feel like she's in a vacuum that she's just so the back the the black background let me get her focused wow there's a nice portrait my camera's less people loose here we go right they're beautiful don't go away let me take my thing off this little um see I can't wait to see that I'm looking at a projector or plasma I can't wait to see this in my computer it's probably just so amazing what's going on there behind there do it again chan oppa dash tip your head this way a little hint of a smile he had a little more jerry switch with bart real quick william please I might get bart to give me a hair light just turn it on and put it right over her head I'm just wondered if I could get a little energy I know we can do it bart way might just grab uh they're gonna be mad at me that rust wall behind her let's just do this and that you could imagine now I'm not gonna do it imagine a little more texture back there I normally have backgrounds everywhere we do have one on the floor over there we could we could throw up but you know I feel like she's a little bit in a vacuum the hair light does help tip you head this way a little bit more chin down a dash we're good we're good we're good right there I love it right their lips together someone get a set up shot of that I think it's just beautiful let me go live there let me take a look at it there is a background land on the floor there bart see its right to your right foot can I get two people one on each side and listen you take a look and you know, maybe right now I'll go to an eighty five and a lot of people have these backgrounds and they're in their closet and they're like, what do I do with the background there? So you know what people think about? They think about sears old windmills backgrounds think looks inexpensive but they don't know how to use them and you know we'll do bart we'll go eighty five one two and you guys here's what we'll do just come right back here uh let me get this piece and you you'll hold this piece here and you stay there you stay over there jerry you come on this side you can lay that down all right and you're well on the ladder and jerry you just pull it right over that thing okay I'm not probably not needed give me eighty five from good appears to come down and wow that is gorgeous that is shot of the day take that lens on that's great guys I love it this is what I do at home I mean and the clients you know what they love it I climb trees and shoot their kid I have two or three people on and we're shooting videos and you know what my clients go they go home they're in their car on their cell phone saying that guy is crazy he is so much fun here go he's the most passionate guy to get a picture of my kids and you know my kids were acting up but he tricked him he got him now here's what's gonna go let's go live it's just marketing this is marketing do your best never settle and your client feels it this is what we're doing now let's go live there we go there we go someone turned the camera off part never turned it off all right how about margo behind the background please and lower and push it this way a little bit. We're going to go back to color all right, guys see if I can get this camera back on color now usually right there there's this little dime miss I so my menu I'm going to go this way and I'm going to go this way and then I'm going to go picture style portrait I really need a little bit of a white balance here let's see what it looks like on daylight gonna stay with me stay with me portrait all right white balance why don't we do shade you know I'm gonna window I'm on a four lane highway and raw so we can fix it later I hate to say that I'm talking about white balance all day that's gorgeous all right can you guys stretch it tight now look at my f stop I'm on five point six okay slide forward to me ready right there. Alright guys right there the backgrounds getting a lot of light bart get set up and then I want you know christine, you come take this scrim and hold it into the window too dark in the background a little bit how bright do you want your background? You don't want it brighter than the faith unless it's a high key shot there you go you can hand jerry one there you go right there were time trying to take the light off the background all right, deep breath play slow down this is fun it really is and I'll tell you what's dangerous is when I get away from my one two three when I get away from the classics and I started playing around like this I love it but in respect of time I need to be consistent now the sun cloud just came down so let's move that tip your head this way no I liked it better where it was can you put it in there too dark in that back room thank you last thing is turned your shoulders to the left a little right there look at this watch the reflector watch this two inches I have no light two inches I have light right there now look at what I'm at three twenty and five six what if I go teo s o one hundred? Why? Because I want my f stop to be one point two or one for my shutter speed is now going to be tighter I'm shooting this portrait at a thousand at f one point for your chin down a dash stylised how about don the hair can you help me on the front shoulder? You see the shoulder just pull it up on top of her shoulder come on right there good right there the reflectors barely in the picture your first name was on it all right let's get this portrait here we go could I build groups here? Can I do to three four yes turn your nose to the left a little more little more little more chin down oh yes the lord just gave me a beautiful light there. How about keep turning your shoulders to the left a little bit more keep turning to the left a little bit more right? Grab me the picture oh, please between your nose back to me that whole ends I want to speak to this soft focus set up because again I think it's something that I'm adding to my repertoire tiffen makes in most amazing warm soft effects filter and yesterday when we were working with the eighty five one two it was crystal clear through the glass but what I'm doing here is I'm taking a lens this is a cannon one thirty five soft focus lens but I'm kind of using it without a lot of soft on it and I put a tiffin number one soft but more importantly than the soft I have it warm so this is just going to pull the whole thing together the pick troll again is a dialing diffuser and it's going to give me that soft soft light my friend calvin hazy he called me on my cell phone yesterday and he remembers the days when I used to really have a lot of fun with this pick troll makeup make a lot of nice images and he says clay that wasn't fair when you pulled out that picture or he says that was playing dirty and I love you know you have to know calvin hayes teo hear him say that chin down a little bit now look I'm going to make no soft right there the picture was wide open okay all right brighter right back a little all right let's get the shot right there renaissance portrait right here the reflector did bart get in here and pull the reflector to my right a little bit can you put your own hair upon your shoulder or no you're stuck let me get it let me get it and then after this I think we're going to change directions that were going to go in to some corporate filmmaking and photography zoom in on that eye right there it's hard to be soft focus through a projector when you look right through the camera you're okay you're easy that's it right there don taking the and give me a little reflector on that on the shadow side just see how bright it come on where's the shadow there it is now you're getting that secondary light source come over here underneath right there. Okay, right there. You guys happy eyes here turn your nose to the right a dash to the right yep, perfect order that eighty five one to go can you get it going quick jump out there the reason is I got the soft focus picture I just want to do one quick with the eighty five one two because that was the whole idea to show the boca that's beautiful do you guys like it I love it I love you don't you love it tell me you love it where's the show me the love guys but what is more variety mean more sales right here this is to show you one point two and I can add a flash to this window is well just really easy if you guys want to see that too can you make it a little tighter over there on the bottom right there we go right there I think the best light is over here turn your face to me a little more good keep your head to the left aren't real tight on the background on monica come to me a little martin come to me just yet keep coming now pull it tight which one? The background scrim background now look at the picture donna you see it over there monica see the picture often those wrinkles there you go right there I mean is that gorgeous turn your nose to the left a dash I mean I'm loving it it's almost split lighting it's rembrandt chin down and sometimes I'd like to make a statement here into the smile that you get to a point in a photograph and I say you know what? I could go for a loop but you know what? I like it and you get to a point where you've got to take the picture because you're at a kind of a breaking point with the model and also with the whole thing, the more experience I've had it's more about pace the pace of a portrait where I'm communicating with her if you guys could see what I'm looking at I've got like eleven cameras here I've got the host here I've got something in my ear when I'm working at home my whole thing is just hannah and myself and I'm pacing my portrait and making her feel very good about the picture and I feel very good about it so let's take a break was pulled a background down maybe I can answer a couple questions right now would be great. Well, first of all congratulations thank you so much that was absolutely beautiful. Thank you for taking the time to get us tio that final portrait that was beautiful. Um we do have a quick question and then we can jump right into the corporate shots and uh laurie what was that question you've got? Oh, I've got it let's put acu flash up on the stand bart okay, so the question is about reflectors um this is from robert de stowe and jean f what did you mean by where the reflector ends and the face begins ok and then add on to that is can a reflector be used for a hair light? Let me answer the second question first absolutely you can grab that light and like the hair really he's probably saying, why didn't he do that? And it probably if I'd have this other helper on set it would been paul he would've been lighten her hair with this. I just pulled us in because I think, you know, it really made a difference in the portrait. I'm looking at the photograph on the screen and it really does a nice job there. Can I, uh I really want to get your honest opinion. Do you guys you love it or do you think it's, what do you think? Tell me I see a lot of blank faces. Hannah the judge. What do you do? You love the portrait, okay? She just says she doesn't have a mic. Oh, ok, ok, now the other question was very good the face. Hannah, can you jump over here? You need to step over the wire the face where does the reflector go ends before the face begins? Great question sit right here, please. Now my camera is right here let's pretend I'm shooting here has been around to me you know I'll just pull it out so you don't doesn't confuse the audience stand up one more time quick answer sitting in so here is the portrait I want to get this reflector in there like that's looking beautiful right there but if it's over there it's giving me that secondary light source if it's here it is ending look that way endean before the face begins right there it ends before the face begins that's that's huge! I mean, I'm working with explorers of light I'm working with doug kirkland. I'm work of greg heisler I mean legends on stage and I have to follow them up there and I watch what they do and it's a magnificent but I know what I'm given you is a very disciplined approach and it's it's a little more refined and then maybe some of you homer expecting, but this is your road, you know, buy this dvd and study it and do it and go over and over and over you, you'll be a quantum leap ahead of all your competitors who's your competitors, everybody with cell phones and everybody with point shoots. I went to a bar mitzvah the other day no kidding, but meant so there were three women in the room with dslr with interchangeable rent lenses I was in a tent, so the it was like shooting fish in a barrel. The light was so good in there and they were just shooting away, and it really got me kind of like, this is just getting to be a crazy market. So I shot eight thousand pictures by myself. I took my camera and just put it on like, hi, dr, and I'm making a movie out of photographs to show I'm the media guy. I'm the photographer on the portrait guy. So does that answer your question on the intensity you need today, the passion you need, you've got to rise above, you know, all the people out there that are just getting into it. If you want to make a living, if you want to go to turks and caicos.

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.

Reviews

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?

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.

Michael A. Gruich Jr.
 

I purchased the course for a few specific things listed in the description, and after being able to see some of the previews and wrap ups for the day. After the purchase and going through them, I have found that the value of this course is well above what I paid. Clay does not walk you through the course, he runs through it holding your hand like you are both being chased through Central Park by Godzilla! Everything is explained well and examples are both amazing and inspiring. I am still taken back that there is so much useful information here in this program, well worth a look for anyone wanting to get started, improve, or if you are just looking for some new techniques.