Studio Lighting

Lesson 7 of 18

Finding Exposure for White Seamless, Second Model

 

Studio Lighting

Lesson 7 of 18

Finding Exposure for White Seamless, Second Model

 

Lesson Info

Finding Exposure for White Seamless, Second Model

so we're gonna bring heather up again and then we're going to switch to any alright heather is wearing all black and then we're going to switch to anne who's wearing all white and once I get my exposure set on heather I should be able to have heather step off bring anne in and it be the same exposure with good separation from white on white or black on black all right so what I'm gonna have you do is you're going to stand about right here all right and you're gonna be looking this way all right I've gotta get my lights set up and things like that again now if you don't have a light meter this is where it gets a little tricky what I need is I need to heather to be properly exposed by this light this is the light on her this's what's lighting her and then I need that background to be a stop and a half brighter thin the light falling on her uh in terms of f stops let's say if I have the light falling on annie at f eight then I need my background lights to be f eleven and a half you khun g...

o up two two stops overexposed from your subject but here's what happens light is hitting that pure white background and coming back this way into your camera on the brighter and brighter and brighter that becomes mauritz wrapping back around your subject tio your camera more flair problems you can have sometimes it's beautiful you just blow it white you have all this flair and you might want that but I want to keep it pretty clean I don't need it to be too bright I needed to be just bright enough to pop the white so without having a flash meter if you don't have a flash meter take your background lights at equal power settings and bring them to their lower power settings and you're going to take a picture we first want to get her exposure and then once we have her exposed properly we'll look at our background and will bring the power settings up until it just snaps the white and we don't need to go any further from there the tile board is acting like a mirror and is catching light and we're going to see in a minute I'll shoot it kind of wide so what the white looks like without the tile board the tile board will snap white if I get this correct and the paper will be a little grey alright so grab my camera um you know I brought that back down to stops right way were shooting f ate before add about that distance so I should b if I brought it down to stops from there I should be eight five six four that's going to be my starting point for my aperture alright for great you're just stayed in there while I get this kind of set up and we take a shot wait take a look at it uh roaming camera oh no noise all right theo background is not going pierre white way have that up there no blinks but you know what she looks to be properly exposed right so first off she looks properly exposed but that background let's goto light room let's go to our light room computer pull this up the background isn't pure white not yet it's close and sometimes I like it that great that very light just a little bit of density to it it's not pure white sometimes I light it to be like I also noticed that got rid of the cove and it got rid of her shadow a little bit if we go back to let's go back up tio here let's compare thiss picture in this picture all right so we've gotten rid of this little bit of shadow here in the cove will picture on the left and we're diminishing the her shadow here um following behind her by lighting those shadows up a little bit but what I need to do is I want this to go pure white I'm going to go guess to bring our background lights up one stop so from thirty second power to sixteenth so dan let's go ahead and bring that up let's uh let's go you grab the left side I'll grab the right side what away being and uh bring up sixteenth power one stop if I had the new pocket wizard controller or the alien be controllers I could do that from back here but I need the exercise right so I'll just walk over there and set it yes okay so like act you changed your you know like you just change it to stop whatever you have to refresh if you don't refresh the lights then are you just you just waste a shot like it you'll just when you're going up in power the alien bees will go ahead and bring that power up when you bring the power down then you have to dump it okay so when you come down you don't push the test button or you push your pocket wizard or whatever you're sinking with and that dumps the capacitor then it comes back up to power where it should be what if you don't dump it what happens well then your first shot will not be the right expose your second shot would be but your second shot well so if you take your power settings bring them down in power and take a shot and you go no wait that's not right it's on the last settings is that your shooting so you would need to shoot it again okay okay because what can happen if you don't keep that in mind you have your power set up you bring it down and power and you didn't dump it you take a picture and go no that's not right and you go make another adjustment no that's not right and you're like chasing yourself so just remember if you're changing it down and power recycle it dump it out and it will come back not all flashes work this way some automatically keep up with you no matter what older flashes any power change you always had to recycle up or down you just do a dump and then you're fine so you just went up in power but you did recycle the flash I didn't recycle the flash because with these when you go up it it adds more to the capacitors or the whatever whatever the electronics are it it went from thirty second power to sixteenth and went ahead powered up that flash two ready to go okay if I were to bring it down and power then I need to rescind your second okay thanks you can always if I'm in such a dance the same way uh we were just we both came up with the older packs so it's any time I make a change just by habit I just buy habit I hit the recycle button just by habit yeah just I change power to hit it just in case all right so uh we're at fort one twenty fifth we've just brought our lights back up good almost let's go the back of my camera real quick so you see what I'm seeing we're almost there we're blowing part of it tha white so dan let's bring it up one more stop we're going from sixteenth power tow eighth power bone walk over and when I'm when I'm on a job I'm using this time to talk with my client what do you do you know what kind of music into I'm walking around the set changing power ratios and doing stuff and I'm typically when I'm not teaching typically just using that time walking around and I let my client know okay I'm gonna bring the power's up on the back lights hang out you're doing great I just affirmed you know positive affirmations like you're doing great you're doing exactly what you need to be doing just be hanging out right there let me get this stuff set um if there's a problem on set I blame it on me never on them even if it is them um it's not nothing will ever happen that there's their fault it's always on me so um if I need to act like a buffoon on set so I'm the one that's kind of the buffoon and not them to put them more eddie's been fine all right so weii brought it up one more stop and it's just again I'm changed power by default I just dumpem I don't have to it's just a habit that's hard to die but we're really close we better be close yet we're getting close we're probably gonna bring him up just a smidgen more uh we could go to a museum in see that's blinking I want the floor to be blinking a little bit more so dan one more stop up so we were where eighth power right now we got a quarter if I had a flash meter in my hand which I have won over there way to make this process a little bit quicker you're not walking back and forth welcome back and forth your lights I just need those lights to come up to the point where it's blowing the white and no more right so I'm incrementally pushing them up to pure white I usually take a knee when shooting this now I am lower than my subject but when I take a knee I'm seeing more of a reflection from that background and it picks that floor white so most of my white seamless full length shots are taken from taken any and shooting at this position because that's going to make that cleaner as soon as I go up higher and higher and higher I'm not seeing the reflection of the background in that floor that tile board on the floor and it goes grey grey grey grey grey a zay come down uh I'll show you an example all right so you're doing great heather hanging out right there we're almost done with this and that is where I needed to be so back a camera camera way go and that's what I'm looking for everything around her is blinking pure white nothing on her is blinking pierre white let's go to light room this's the shot we just took so the background is going pierre white uh the edge of the tile board is gone we don't see that back edge why don't we see that back edge because I brought those background lights in over the edge of it all right so if I walk back here this is the back edge of my tile board and that background light is coming in right here taking this back edge blowing it toe white all right this is blowing the white because it is a reflection of that back wall all right and if we compare this at quarter power two thirty second power let's go backto light room no don't do that right I want to put the thirty second power on the left he quarter power on the right way khun cia little density and hear where this is blown to pure white all right notice let me shoot one more a little wide so we can see a little more of the floor we're still on the light room computer for the feed pull this up loading noticed the paper is kind of gray tile board is nice and clean and white wei have a nice clean reflection here if I bring up um if I bring this down you can start to see what's blowing toe white what's not see how much density is left in that floor right here the tile board to get that clean snapped a white without needing postproduction it needs to be about right there and if you come in and and we shot it full frame correctly like this little dirty over here that's where I'd bring in a few extra sheets a tile board we'll do that later um just so I don't have to clean this little section up right here later in post production alright exposure looks great we are at f four at one twenty fifth of a second s o one hundred right and she is wearing all black and she is popping off of that background let's go back to the light room and if we zoom in way have good detail in the shadows that's not too black we're not losing any of the detail they're in the blacks of her fabric right all right cool heather have a break and if you want to do like les if you wantto change up and do one more outfit change uh something quick yeah all right great any anybody yes too back lights blowing out the back so if you wanted to keep it medium gray and I've had this experience with ha shoo flashes to where throw isn't really wide enough and you end up what kind of hot spots and I've never worked with the background this high but you tend to see the light fall off towards the top what do you recommend doing in that case if you're getting hot spots on that background because you're not getting an even enough coverage make sure that you're you're you're hot shoe flash zoomed wide and then you may need to back them further away from the background they could be too close as you get a flash closer to a background is going to become more of a spot as you start to back it out it's going to spread more of an area so the first thing I would do is bring them further away from the background we're talking when I say you should be able to do it about ten to twelve feet away from the center of the background another thing you could do is that there both pointing in your two hot shoe flashes are pointing to the back the back ground take them and and bring them out so they're not both going to the center but one's kind of taking care of the left side and the other kind of taking care of the right side and you're wanting them to overlap a little bit in the middle exactly what about modifiers do you prefer to just do these bare rather than throwing what I mean obviously these cover a lot more but with the hot shoe if you threw an umbrella on what would that be a better solution could throw an umbrella on to kind of soften that light and get ah ah wider coverage but it's going to take a stop or two stops a light so then those air probably heading up to full power range on the background but you can bring them closer at that point because you're spreading the light a little more um but with two we are going to set this up at some point this weekend with we'll get rid of the cutters and have two white shoot through umbrellas come in and it creates this kind of cool rim and blow the background of white um you can the problem with two umbrellas on the background is keeping them from hitting your subject if that's the goal and let me preface by saying that you can hit the subject with the background light it's a different kind of look and and sometimes you want that look right but we're trying to start it clean first and then we can go into a different direction with it you can do the same exact thing with hot shoe flashes and you're starting points most likely you're going to be uh half to full power on your background with two flashes pointing to the background um I've gone so it and taken gaff tape and put on the side of a hot shoot flash wears a hot shoe over here grab one hot flash and I set this up at a client's you know office or something and I need a background to go white I find out ah white wall in the break room I'll take a couple pieces a gaff tape and put right here honnold makes a nice little speed um flag as well just to keep any light from this strobe hitting my subject and I do the same it's the same exact philosophy it's the same sort of thing two lights on the background making sure the background lights don't hit the subject flagging them off his best as I can from the subject I bring another hot shoe flash up here with an umbrella soft box because if you think about it if I'm lighting my subject independently of my background I can light them however I want to if I want to put a grid on him I put a great honor if I want to put a soft box and put a soft box I want put umbrella I put an umbrella and we'll be getting into all those different modifiers this weekend so we had this picture of heather right on the pure white we now have annie annie thanks for joining us on dh you're doing great just come over this way just a little bit just going to center up there come back just to speech just a this way there we go perfect just kind of centering her there in the board she's about the same distance from that soft box that heather was I'm not gonna make any exposure changes I want to make sure that I keep separation of the white on the white and if I make good exposure I should have a nice clean separation that her dress isn't going pure white like the background because that dress while it is white is not pure white right so let's yeah perfect right there chin up just a little bit and bring your face around me just a bit more right there that's perfect hold that let's go toe light room light room computer a little over exposed I may have her a little too close let me take a look at my camera if she got closer to the light yeah let me have you take a step back there should be good right there let me try this good get her backto where heather was standing and go back into grid we're gonna look at these side by side all right light room computer and we have the separation that we were looking for is still building the uh preview so we have detail in the black wei have separation from white on the white here see that and that's where it good exposure like that our florist is snapping the white um subject is clean exposure looks good I have good separation uh and that's what I'm looking for so kind to break this back down uh we started with our main light which for right now is a soft box flying high y a soft bucks why not I could switch it out for a new umbrella I could switch it out for a beauty dish but I just I always start here I always need that like methodical process to get my shoot started and I start with the state I goto what I know and I know this I could fall out of bed and shoot this picture on so I start they're way started with the gray we bring in our second and third lights those background lights mirror each other in power setting this one is not going to be half power and the other one going to be eight power they're going to both be eighth power both be quarter power both be whatever right we find the exposure on our subject first turn on the background lights it's at a low power setting and incrementally bring them up so we're what quarter power on those background lights right now let me show you what it looks like if you go too far with him keep him right there where they are dan and then we're gonna bring to them both up to full power on I'm going to get rid of this linguini thin I'm dealing with pervy so you're right there that looks great good your shoulders a little high so just relax the shoulders and just turn your body just a bit uh come around the other way to me right there perfect hold that so take a look at that now dan bring that up to full I will bring this up to full pop him off not that I need to just out of habit so now I've added quarter power half power full power to stops of light to my background that's great right there perfect and let's take a look at these two on the light room computer some now building let's take a look at this arm right here so the image on the left way brought it toe white just where we needed to go way we added two more stops than we needed and it starts today blow around we also have a lot more flair shadows here no we have good contrast in the hair on the left on the contrast here is dying now that could be fixed in photo shop but I don't want to fix that in photoshopped or in light room I want to shoot it correctly to start with so if you're doing this without a light meter and huge zoom in and you say you know what I just lost all of my contrast look at her the contrast of her eye here let's go back to the light room computer all right nice contrast here that contrast is dying here you see how flat it goes on the picture on the right because we have so much like coming back straight into arlen ins that the flares just killing the contrast so if you're doing this without a light meter and you just turn on lights and you look at the back you're cameron go man the contrast looks horrible more likely than not it's you have too much light on the background and you need to get that that power level down all right um also take note her distance from the background it's one two three four five six seven eight nine ten feet and I would say that's minimum distance minimum distance her distance from the back wall is about ten feet all right um maur further she gets away from the background the less wrap will come back because its inverse square law again what's your light source the back wall coming back at her right so uh let's bring that back down a quarter power on now that we're coming down in power we have to dump the power out all right so so what do you do what do you do you student you worker wow for five different peoples get so like you're just on like a rotation yeah that's very cool so are you originally from seattle wear south south from here okay yeah I live in atlanta so um yeah I know where seattle is a nowhere portland is in california so I got that part of the west coast and that's about it how did you get started in the modeling audition for hours and uh I was just there for acting originally and they're like do modeling to okay yeah yeah yeah fun um have you ever had like a bad photo shoot like you walked away from it is like that squarely that were so you had good experience is so far way worked what's been one of your like favorite photo shoots you put on I did see a fashion took a couple of photo shoots there was amazing and I didn't photo shoot uh this guy need dollars two weeks ago way went all over you like sweets so you enjoy this process yeah you like it also all right thiss conversation let's talk chat get to know find out especially if I'm dealing with models or musicians I want to find out about previous photoshoots have they had anything go wrong um what did they like about previous shoots um and that will kind of put things in my head like yeah I once had a shoot where like they had a stating in the middle of a field and I hated it okay well we're not going there today you know like and that was what we were going right to the field you know so it's what is your previous experience sometimes it's like I've never been on a photo shoot this my first one okay well it's going to be a slower process getting started at that point because I want to spend more time chatting and talking and I'm typically I've got my hand kind of cradled or my camera cradled in my arms on when I'm talking to someone if they're specifically if they're very nervous this's my psych one o one and at community school you know coming in um I keep my camera pointed at them I'm just talking but my camera is up close to my face pointing at them and I want this to be very much in their peripheral that there's a camera pointing at them camera pointing at them camera pointing at them so that as we're starting to talk and things like that so that's great bring this up bring I'm sorry this arm up a cz well let's bring both of them up good and that looks good my cameras here at my chest pointing constantly pointing sometimes I'll bring it down if I feel that we have a comfort level if I feel they're very nervous it's gonna stay more here all right following that grate right there perfect told that I want to test my exposure she got in a little bit closer while we're sitting there talking and chatting so I'm going to stop down a third of a stop I've got just the let's go to the back of my camera just a hair of blinking highlight right here on the front of her dress just a little bit if I zoom in zoom and we lose the blanks alright you see that just on the front of the chest I'm okay with that level remember that the preview you're looking at is a good j peg and not the raw file on shooting raw there's more detail in the raw file than in the j peg and I look at that and go that's fine I want clean nice separation perfect right there good bringing your face back to me right there perfect hold that and then stay just like that I want this arm over here to just fingers come around to the front her fingers were getting lost behind her it seemed like they were getting cut off I want you looking up that way a little higher up chin up more there you go perfect good good good I'm going to back up state just like that one shoot full length just bring your eyes to camera boom there we go change it up just changed body weight that looks good and looking down at the floor perfect good that's great eyes to camera excellent bring your face to the camera a little bit more and look down at the ground on then come right to the camera perfect great uh rotate that way there's no specific reason I want her to rotate that way it's just give a direction if you run out of ideas just direct go somewhere do something right but I don't want to go okay do something again that doesn't mean anything right there good excellent now I'm losing her back arms there you go bring it right back to the front and like that but look that way good good stay right there chin up just a little more right there perfect hold that alright kind of shake it out and then I want you coming just gonna be straight onto me strong stance with your feet separate your feet just a little bit more little bit more really strong strong stance bring your hands together down lower and flat problem right there chin down separate your feet a little more perfect and your body's just rotated a bit that way come back to me this way this foot over on this side just rotated in uh rotated I like that on dh this foot on this side rotate at just a smidgen and this foot out a little more right there all right that looks great looking up high up higher good chin up a little more good and I tze to camera perfect great I will chimp every ten fifteen shots making sure everything is going well I have had flashes go weird on me before and suddenly they they put out half the power they were like the tubes about to go or something so you just want to you don't want to take a picture chimp take a picture chip take a picture chip you at some point you've got to say I'm locked in my light's not changing I'm in a controlled environment under controlled lighting I'm in manual mode nothing needs to change right now if she changes distance to that soft fox I have to stop and really think about it all right so the next one I want to I want to get some twirl pan uh what you're gonna you're gonna look kind of off camera and then theworld to me to camera don't twirl too big but big enough that we get some flow all right so a little bit bigger of a twirl like that that looks good so I will get focused perfect you just keep doing that good again I want a little more whip of the head and I want you looking off that way so you're you're you're coming around with your head and you looking up that kind of thing and a big big twirl so let me get focused perfect and go good great hold that door looking like that put this down let's go over to our light room computer on we're about to take a little break for questions here in the second like that now I'm shooting a little loose shoot a little wide um I want it to be a little bit dirty so when we do some postproduction I can show you how the quickly clean that up because chances are when you get started with this you're gonna have some little corners that aren't pure white you're gonna have a little bit of floor that's not perfect right there you're gonna have some issues to start with so I want to keep just a few little dirty spots in here um like that um I like my light I like what's going on I'm going to just come in for a few more shots perfect good bringing bring that arm this on this side down both down good and I want you to come straight into me right there on that dan but I want you to do here but see I want you to bring this arm and just come up here like you're putting hair behind your ear I want you to keep your elbow in let's see let's try other side come up here this way elbow in and you're just going to stay in this motion just keep going like this like you just adjusting your hair constantly in motion good looking off camera and bring the elbow down in perfect right there that's one of my like what do I do with hands kind of trick good and now drop hands together like this just a little bit I'm just I'm not gonna shoot her hands but I just need them together to kind of keep her arms where I need them to be good and then we have just a little strap showing right there if you just a professional thing if you know brought strap or something needs to be adjusted I say that needs that whole strap needs to be adjusted and I look off camera because it's like that need to be adjusted especially with creepy you know if I was brad pitt maybe get away with it but good right to be right there perfect dan cut those background lights excellent stay right there hold that good now come forward when I bring her closer closer closer to this light her coming closer changes exposure I was f five they're right it might be two three stops and we go one two three click one two three click there's two stops down maybe to third and so stop f eleven going to get little further away perfect hold that that's a little too dark I closed down too much get nice looking straight to me right there that's beautiful chin up just a bit need to bring her eyes back to that light our eyes were getting a little dark good perfect all right take a break suite I'm feeling more comfortable um just in my head feel a little more comfortable I feel like I'm getting somewhere I need to be if I take a look at these three shots come on picture on that let's go to the light room computer picture on the left background lights are on picture on the right background lights are off you want to switch it up just a little bit you don't want it to go pure white kill the background lights you want to make that background light a little darker grid bring her closer to it with the background lights turned off so if we look at the density of this shot to this shot light room computer all right color monkey wear not uh calibrating the devi I extender whatever that isthe waken change that background lighter darker now exposure I probably should opened up about one more third of a stop to be consistent her face is just a little underexposed thin her face over on this side but this would still be a stop or two under this background here alright questions yes some clear you said that I'm going to stop and a half she go above that that's when you're gonna come into danger of flooding right you can go up to two stops if you're going to meet her let's say you're going to meet her and the next time we set this up we'll we'll do it with a light meter instead of chipping all right um so we're going to do it sheep I don't have a light meter we do it that way we'll go to the light meter next I find that about up to two stops as long as they're ten twelve feet or more away from the background all right soon as it starts getting two stops or mohr that light starts to flare more and it starts to wrap sometimes that rap right here is beautiful and I want to accentuate that I want more of it um but I'm usually just wanting a little bit of rap and when I say rap let's see if I can find a good example of rap uh both of our models have so much hair coming onto the side of their face that we're not going to get a lot of light rapping because their hairs actually acting as a flag if we were shooting I was shooting a picture of you right around your jaw line I would have a highlight coming right up to here that's from the light coming from the back brighter that goes mohr that rap comes in or the closer I get my subject to the background them or that rap comes in here uh more I go stop and a half up theo more comes the problem the big problem is getting that background too bright is the flare issue killing your contrast right the background is like a fourth light source correct yes next question james in the twitter chat room would like you to explain your focus and recomposed tech mieke okay my focus and recompose james is asking what is my focus and recomposed technique um I on michael on my camera I am set up two single servo or one shot where I lock focus and I hold it and then I recomposed my picture all right so wait pop this off I will bring my auto focus point you know you could move your auto focus point around in your viewfinder I will bring it to as close to the eye as I can get it for the composition I want so if I'm shooting vertically all right let me pull this up if I'm shooting vertically then my f point is up here somewhere as close to the eyes I can get it I focus on the I I lock in and then I lightly recompose if I have to swing my camera too much I can blow my focus especially at wide open apertures so I focus and then lightly recomposed typically I don't wantto focus like this and then swing too much mohr you swing the more likely you're going to blow your focus because you're focal plane is here and you focus on the eyes so you focus on someone's eyes and your sensor here is focused and then you swing that well that distance just changed distance from this point on your sensor to that point on their face just changed aged distance so a little bit of a swing and definitely once you're focused you don't want to move forward or back I have seen and workshops before where people will focus lock it in and then pull back and shoot and as soon as you pull back and shoot you've blown your focus bruce are you using the back button autofocus locker no I don't use the back door on auto focus for years I've always used the half press on the shutter release on vertical and horizontal shooting uh I'm I'm a left eye shooter and I would be poking myself constantly with my thumb uh I can't get into that back button some people like the back button focus um some people due back button focus because they were told that that's what they should do and they go but it's always in my way I will thin don't do it go backto the other way other questions yes okay so there isn't using the tile board is it preferences because you couldn't get the floor weiter umm whiter anything if I could get the floor white and let's go to the light room computer and I get this reflection that you like that I like I either want a reflection or a shadow because without that they're floating in space with that reflection they are grounded and you can fake a reflection in photo shop but it looks faked and to do it right it takes a lot of tweaking you copy the person you flip them around you bring the opacity down you add a bit of a blur but then to get everything lined up correctly ended be believable is a good bit of work to do it right or you buy a twelve dollar piece of tile board it's done can't you is there a way I mean I think there's a way to just like you know how the ground be completely white blow it out without the tile board yes it is involved or post it doesn't involve more post what it involves typically so the question is how do we take the white white floor the white wall make it all white without postproduction or tile board right yeah the the best way to do that is with a large light source all right nice big lights was like seven foot doctor bank over here and it is pulled further away inverse square law right because what's happening here with this light above its lighting the person lighting the person and then but it's falling off in distance so the floor maybe a stop or two stops less at the foot then it is at the head therefore taking the white ground gray right but the more I can take that light source further away more I can get this exposure to that exposure to that exposure closer to each other theme or this goes lighter and thus white so you can do it with one light source if I was to come in here and say ok I don't have tile board I have to make this white and the background white then I'm gonna have the person closer to the background on I'm gonna get it if I had to do it I get that seven foot octo bank and I'd probably start with it about thiss far away so that it is just washing that whole set with light still coming in from some sort of direction so we still have some sort of shadow and modeling and shape of the face and maybe dropping a little soft shadow off to ground them again I don't want a person floating in white with no grounding and that will cover the floor the background the person wash it all with white um the best it's typically how I would approach it but that tile board done twelve bucks bruce so are you taking the background pure white I mean off the highlight to fifty five white are you fifty five white pure white I don't wanna have to go in and post and make it white and when uh when we come back from lunch today I'll have a quick little post production will take some of these images that we shot and pop it white yes behind the camera yeah so I know when you started shooting you talked about how you liked toe to give the chin a little bit of shadow and I've heard of about you talking about lighting the eyes what are some other stylistic things that you look for when you're doing these kinds of shoots those air the first points I start I like the eyes and I want to drop a shadow under the chin so that's the first point as we go into the afternoon I'll start tweaking out light positioning and shape of the face and all of that a little bit more so I'll get more into that while demoing it all right but that those were the key things like uh if we go to the light room computer real quick ah little bit of ah of um catch light in the eyes of the shadowing under the brow a little bit right here yeah no not so much if like it's a little too dark right here for me I guess so I would handle that one of two ways number one she brings her chin up a little more to bring it up to the light or id bring my light down or possibly bring in a reflector underneath reflector right here to kick a little light back up um but I would be bugged right now if I didn't have a catch light in her eyes that would be too dark in this situation um and I would also be bugged if I had a catch light in one eye and not in the other no I don't get so technical that they must be a ten or two o'clock some people say the catch light must be a ten or two o'clock in the eyeball at that point I'm like whatever um I'm not going to say it there and go oh my god to catch lights at one thirty you know I need another half hour on my catch lights people but it does bug me if there's in one eye and not the other way and I do like a catch lightning I any other questions yes tom in the chat room is asking how long is a typical session how many frames do you shoot per session tomato pickle session I would say let's say it's a band on and it's just it's going to be a fairly quick session um I want two or three hours with a coin if its like just straight up head shots I could knock those out in an hour or less forty five minutes to an hour for just I just need a head shot that's less than an hour hour tops and fifteen minutes of that is just us chattin kind of thing um I think I probably on the heavy side of shooting shoot about one hundred pictures an hour and I delivered less than half of those look this way look that way look up look down look at me look down look at me look at that and of those ten pictures for four might be what I will show the client but about a hundred pictures an hour um eighty to one hundred pictures an hour mr bruce see in twitter ask what is chipping chipping what is chipping chipping is looking at the back of your camera you take a picture and you look at the back of your camera uh it came about um through sports photog offers um I have to ask bert hana shiro if he knew who came up with it first but basically uh digital came into play and there's all these photographers at a game shooting shooting shooting shooting shooting shooting and then they're sitting back here with their thumbs you know going through their pictures and then they get to a picture they like they'd go who look at this look at this and someone that you look like a bunch of chimps over there you know who on it just just caught that's chipping so chipping is taking a look at your picture on the back of the camera

Class Description

If you’re new to studio photography, or even if you’ve been doing indoor shoots for a while, studio lighting can be a real challenge. The sheer amount of gear required and the inherent complexity of the equipment mean that there are always lots of variables—and lots of ways to make mistakes!

This weekend-long course taught by renowned music, editorial and advertising photographer Zach Arias breaks down the technicalities of studio lighting into manageable chunks so you can get a handle on what you need to do in almost any studio situation.

Zach will cover a wide variety of topics, from how to build a studio to shutter and aperture settings to posing groups. By the end of this in-depth course, you’ll have the skills to tackle any type of indoor shoot, whether it’s in a huge warehouse or your spare bedroom.

In this class, you’ll learn how to:

  • Build your studio and buy the right gear for the right price.
  • Create and shoot on a white seamless backdrop.
  • Set your ISO, shutter speed and aperture.
  • Understand depth of field and shooting groups.
  • Do head shots with a beauty dish.
  • Use all sorts of flashes, including strobes and hot shoe flashes, as well as modifiers.
  • Handle multiple shoots at once.

Reviews

Martin B.
 

Zack - you're the man inside all of the studio classes !!! I've seen a lot of teachers, which are doing studio classes, but you do this on a very lively manner. I've never seen sudio classes like you do ;-) At fist I like your kind of "Cheap Shots" ... you take great images with a kind of inexpensive gear - especially the one light stories. Most of the other photographers are teaching classes by using a lot of light - you can fix the same shots with only one light *thumbs up*. By my selfe i'm teaching "low budget" stuff, but many people are going the other way ... don't know why. Even the available light is the most powerfull light you can work with. Also my theory fits with your "one light" kind of take this shot. Many people should think about your style of photography and related back to the beginning of photography (Adams, Feininger, ...) ;-) Keep on teaching/living your kind of photography - it's worth it - this class is worth all the money ... and much more !!! Martin (http://photoakademie.eu)

a Creativelive Student
 

I'm an alum of both the OneLight DVD and Zack's OneLight in-person class. I pre-purchased this course because I knew it would be amazing. I was a bit worried that there would be overlap from his other course offerings but was pleasantly surprised. I tell every photographer that I meet about Zack, his classes and the wealth of knowledge up for grabs on his blog. If you have never shot in a studio or if you are seasoned pro, I guarantee you'll get more than your money's worth out of this course. Zack's work pays his bills, not the equipment companies. Therefore, he can be up front about his likes and dislikes. Zack also doesn't screw around with people, he's the real deal and tells it like it is. Mark my word, buy this class and get the best ROI of anything else you'll buy this year. Zack has the natural gift of teaching. You'll quickly realize that it's not about the latest and greatest gear, it's about your client's needs and knowing how to find solutions with what you've got. Enjoy.

Andrea Taylor
 

This class was OUTSTANDING! Of course, I expected that... Zack is a genius when it comes to explaining things in a way that makes sense and is easy to understand. I love that he speaks his truth and is not trying to sell you stuff. I truly believe in him and in what he recommends. This class has been life saving for me as I just opened a new studio space and needed to improve my old rusty skills shooting in a studio setting. It is so refreshing to hear someone in this industry that is not driven by selling his DVD or Photoshop actions or by paying brands that want him o push their stuff! He truly cares and that alone is worth so much. But of course, you get much more, because he is willing to share his knowledge with all of us. This is a must have for anyone looking to improve (or understand) studio lighting!