Specific Portrait Techniques
So we're going to change this thing up again because I like to change up my backdrops and I like to change my lighting. So I'm going to change my light from the regular octa to the deep octa, because I don't know until I actually sit down to retouch. And we're going to pick the images later on to figure out which ones we're going to retouch. But I don't know if I'm going to like the look of a regular octa or a deep octa until I try it out. And so I told you guys I was going to show you the differences, so we're going to take a couple of shots here. I'll grab that.
It's caught on the light.
Yeah, it happens.
Get that there. It's actually caught on the, you might have to unplug.
There you go. It's on the actual cable. Eh, it's okay. We'll make it work. Um, so, because I'm shooting from a distance anyway. So anyway, we're going to keep everything the same. And this is another one of the things, as well, when it comes to changing your lighting. Oftentimes, again, you chan...
ge your light source if it gets bigger or smaller or more shallow or more deep. Your exposure may not be the same. So again, the recipe is still the same. I don't have to worry about the settings, you don't see me sweating like I don't know if the settings are going to work out at F9, 1/60th of a second, ISO 100. If it doesn't, aperture up or down or power of the light up or down. And that's it. So, very very simple, very easy. Putting the modifiers on these heads, by the way, it's very good to do exactly what he does. John is a pro. To basically take the modifier and put it facedown on the ground, then take your light and pop it on. You don't want to try to mount this modifier onto the light while it's on the light stand. I have broken lights like that in the past. It's not ideal. So, yeah, feed that through. All right. Perfect. Get this octa out of the way. Perfect, perfect, perfect. We'll keep it exactly the same as we had it before. Only difference is we've got a deep octa going on. We'll raise the light just a touch, I'll let you know. Up, up, up, up... good. And then kind of feather it off a little bit. Yeah, there we go. So again, you don't want the center of the octa, or the center of any modifier to be pointing directly at them, because it's going to give you kind of a harsh light. We'll try without a reflector first. (camera clicking) Very good, we'll do one more. Nice, back up just a touch. Beautiful, love that. And John, if you could get the reflector in for a couple. Very good. Beautiful, keep doing exactly what you're doing. These look very heavenly. There we go, very nice. Excellent. Love that. If you could bring the reflector in just like, a scootch toward the backdrop, there you go. Just like that. That's perfect. Hold that, let's see how this looks. Much nicer. There we go. And again, I could evaluate that, because I could see the image in the viewfinder and I could see that the reflector really wasn't doing very much. But, where it's at now, you can see it just great. So we got the shot there.