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Studio Lighting

Lesson 14 of 18

Multiple Shoots Happening at Once

Zack Arias

Studio Lighting

Zack Arias

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Lesson Info

14. Multiple Shoots Happening at Once

Lesson Info

Multiple Shoots Happening at Once

we have a number of people to photograph we've gotta knock out portrait really quick I'm going to be shooting then I'm going to call on a couple of you guys to come up and shoot we'll hand you a pocket wizard and I'm going to give you an assignment I want to say give me white seamless here you go and I'm gonna be watching how you get that set up all right uh two lights on the background one light on the subject what I'm not specifically looking for from you guys right now as like perfect lighting and placement and all that I want to see good exposure when you're starting to learn lighting the intimidating part is all the lighting the doll that where do I put my light how do I place it just starts somewhere and then just get the good exposure and once you can like turn on your flashes and in a couple of shots you get your exposure then you start looking at your picture going home maybe my life should move around over here a little bit maybe my subjects should kind of maybe go in this di...

rection maybe maybe I'm going to start changing it up on once you are comfortable with you could sit a person down you can turn on your lights you take couple test exposures and you find your exposure everything's looking good all your lights air firing then you can start to make creative choices off you know what that is too soft of a light on them I would like a harder light on my subject so I'm using a fifty inch soft box right now maybe I should go to the twenty eight inch soft box on and it will look you know a little more dramatic um so those thought processes have to come after the fact you're actually just comfortable with turning lights on and finding a good exposure okay um so we're going there um our first subject is zach zach zach zach zach zach as a musician uh mostly kind of folk kind of thing like that folk pop what's your website zach and that's the key right to a oh wow no one ever spells your name right I always get the h k right so you are z a c p I c k zach pick with two a's one seed to check him out don't you take his website down to alright so exact pick um now we talked earlier and I said what kind of pictures you looking for from this on your immediate thing that you went to is something darker moody here right just something like that darker moodier so I'm not going white seamless but I'm on the white seamless set now as we ran through our modifiers we saw it's got a light room computer we saw that we can take I mean with this white seamless waken take it white and light and airy right but as we saw with our modifiers today waken take it dark so if my subject comes to me says dark and moody I'm not blowing lights into the background I'm not coming in with the octo bank um I'm coming in with grids strip boxes I want to bring that darker lighter we stop a white background I don't have to switch out to ah black background if I'm going to do it fulling and he needs to be standing on black then it's ah black role of seamless comes down the problem I have shooting full length on black seamless is they could be floating in space because if it's truly black on the floor usually goes a little kind of dark dark gray but there's no grounding you shoot on you pull out black seamless you put a big piece of plexi plexiglass on the floor the floor stays black and you get a reflection that could be kind of cool plexi is pretty expensive I have shot that picture maybe four or five times in my life um because I just I'm not going to spend three hundred dollars on the piece of plexiglass that I want but I've shot it for other studios kind of thing so I'm going grid spot I'm going strip banks I'm going one light I'm going to get it set then I want to bring in other lights all right so what I need you to do zach does have stand up um I just had the stool here for him so he could be somewhat more comfortable than just standing and then what I'm gonna have you do is you're gonna be standing about right here so this little scrub line right there you're kind of straddling it and you're kind of pointing your body towards that soft box thing right there but you're going to be looking back to me where I'm shooting here thin I'm coming in with thies small little like circles of light on you so you're not going to be if if I have you sit here and you make this much of a movie you're out of your life right so it gets a little uncomfortable that you have to kind of stay in one spot while I get all this stuff set up on you but once we're rolling we're rolling kind I think all right so um yeah so have a stand right there on that's good perfect so comfortable separated feet just little bit more I just want you to be comfortable hands in pockets that looks great good so I'm going to start building the light around you taking some test shots all that once we get going and like oh I got it found it then we're going and I'll let you know when that comes up all right so again students watching listening all of that um I let my subject know exactly what I'm going to be doing I let them know where to stand I let them know where to look I let them know that I'm coming in here with a little tiny circle of light that they'll be standing in and that if they move they will get out of the light I go ahead and let him know hey that you know I understand this might be a little uncomfortable you have to stand in one spot for a couple of minutes while I get all of this set um I acknowledge that um and I make sure they're okay with it sometimes if I got somebody and they're just like the jittery joe and they're just dancing around they can't stop moving I three think my lighting you know or I get I'm set and I'm constantly redirecting to the light don't drink so much coffee alright ten degree grid alien be four hundred up here um some but he asked about why do we have such long sink courts this's a six foot st cord from the head to the pocket wizard uh the reason being the little pigtail sink cords are like twenty to twenty five dollars sometimes and you go to radioshack and bio mano to mano many phone cord for like six bucks it's a little longer than you need but it works don't get stereo stereo won't work with the pocket wizard if you get these from radio shack that many phone too many phone make sure you get mono alright light meter how about way on the right channel one moment please mode channel one boom all right so never look directly into that all right f twenty five wow I'm gonna give him a tan all right close your eyes all right dump the uh f ten still half tenement I s a one hundred let's just knock that sucker all the way down watch your eyes three point six four point oh three point six let's bring it on up to about four somewhere there four four five five six five oh that's good let's just start there so we are at f five my camera is over here moving shotgun mike grab my camera someone asked do I usually shoot tethered in the studio the answer is no I don't I'm enough of a klutz as it is the last thing I need is a whole nother wire reason I like pocket wizards is so I don't have to have sync courts wear doing tethered mainly for the sake of teaching all right I am at what did I say that was a five point o five point o five point o one twenty fifth of a second that is one hundred percent of my exposure ambient light isn't mattering to this on and my background light over here is firing you know what might be coming in to my exposure now that I think about it real quick dan can you go all right video guys I'm sorry can you go cut that overhead those overhead lights real quick what might actually be coming in eyes light on that background back they're the white background just cut him both real quick here we go oh yes so I am getting ambient light on the background back there what's the video look like video still picking up can we keep with this right now wouldn't keep with this great all right so if it got darker for you all right now chin up just a little bit right there hold that perfect so if we go into light room all right uh darker moodier but notice like his black shirt is just bleeding off into nothing uh there's he's just kind of this head and shoulders with a bit of his arm it looks like uh floating in space I want to add some separation I want there to be a rim light around him so he's not just going into just complete black so to do that income our strip lights now I'm shooting at five point o I want these to be go ahead dan bring them down to their lowest power setting my alien be up on the grid with a twenty degree grid on it is somewhere around like sixteenth power probably I'm going to bring these alien be eight hundred's that's a four hundred on the grid about palma came round let's just go ahead and start a thirty second I'm putting him behind him on facing them in on what we make sure that they are firing looks like they're firing and if they're not giving me enough room light I'll just start bringing the power of good so light room feed now we have our rim light way make sure that I'm not um blowing out red channel in skin tone it looks okay I'm going to go ahead and stop down to five point six on dh dan bring that one up to uh sixteenth power perfect right there excellent you're doing great zach perfect so I'm getting a nice like just it's pretty hard light right on his face but the's strips are giving me a rim light so he's just not bleeding off into the background but my background is staying black that is pure black I have point one point of red in the background I take my blacks I pump them up a bit and we're done all right poor man um black and white way go at it in cs for all right so I want to shoot a few more of these pictures uh let me have you just kind of turning your face that way and you're looking off camera right there perfect on then just bring your eyes back to camera here excellent right there that's awesome good job good on turning your face back to me just a little more right there and chin up just a bit right there good excellent let's hold with that for a second uh remember my little white trick from yesterday expanding the canvas let's go to our computer screen way have a fully a black background here make sure it's black it's all black instead of having a white background swatch down here I'm going to switch to black I want to get my crop tool um er I am going to make this a horizontal I want to add some negative space done so I can expand that campus we could put text we can put a logo we can put artwork um if I want to put him on the other side I could just pull that frame over here if I want to put him dead center it's done if I want to make this album artwork and I want to do a square crop when I'm shooting bands I have to think a lot about square crop so I'm gonna pull out a perfectly square crop here black background swatch black background it goes now I could shoot this picture we got back the light room I could shoot this picture horizontal we'll see a little bit of ah the soft box coming in right there but all of this area of my sensor I am I'm just throwing away two black when I could concentrate all of my resolution right here on him and then expand the black later like that so I'm going to shoot this kind of pure black background pure white background everything is vertical filling up the frame as much as I possibly can looking down again right there filling up the frame as much as I possibly possibly can and um then I will expand and change composition later all right so we've got the grid spot shot what I want to do here so I want you to you're gonna have a seat um ha back when I have you come in here and I'm sitting on upsetting on my phone you're gonna kind of maybe kind of an arm up like this you're gonna be kind of looking back at me or uh I'm gonna have you stay in here you're gonna look at dan just stare at dan look at him stare that's what I do oh crap we're on the internet all right so you're just kind of hanging that chilling all right I'm gonna get rid of my grid turned this off I think I'm just going to use my strips gonna strip for zach well what'd you get yourself into cowboy all right very narrow beam of light on him it's behind him a little bit so you're gonna stay looking over here I'm going to short like him sort of shorter side of his face is going to get a little more light no I'm not going to do what you were thinking darker we're thinking dramatic so here comes the strip turn your face more this way right there and you're just gonna be kind of looking down a little bit all kind of direct you once I got you in on dh then perfect so I'm gonna turn this back light the second light off we'll start with one take a reading right there I'm getting two point eight I'm gonna bring this power up to stop two stops to be about five five six five six there we go five six on my camera five six on my camera good hold it right there perfect so let me start evaluating what I'm doing here it's beautiful light I love this strip all right so your hand zack is gonna go just yet right up their perfect and let's bring that sir that's good that looks good and you're just kind of chilling out in fact we got an apple box around here yes we do I think I want you to just put your foot up on that perfect you're just kind of hanging out right there now I want to turn on the second light you add a little bit of phil from on the darker shadowed side of him so it's not just pure black on the back side of his head cycle my lights I'm shooting horizontal on this one I'm thinking square crop for this my uh grid is showing up just a bit so dan pulled that light out just a little bit I need it out of my shot a little more see how much that changed exposure bring it up just a smidgen in power not a full stop or anything you want to get back to five six there it is five six excellent you're doing great zach right there is perfect good awesome just kind of glance over here at me perfect darker moodier now watch out you don't get what you ask for no it looks great I think you're really gonna be happy with thes um I do want just a little bit of light I'm gonna take this four hundred I'm going to kick it all the way down to low power ten degree grid I just want a bit of light because I want him looking back to camera but as soon as he looks back to camera his eyes are completely out of the light sources I don't want much I just want a little bit to fill in all right so I want that grid spot to be a stopper to underneath my means dan bring this up one stop so it's just a little bit of a phil and then dan rotated down to his face a little more I probably have it named to high yeah I did all right now bring it back down to its little power setting again thirty second power you always got to be remembered where your lights are sitting so if you have to give direction to someone to change them you know where to do that good so compare light room would compare with the grid without compare dark right here ah a little bit lighter great here but not quite overpowering the strip the strip is still brighter than the film way bring this one grid I love this kind of look black and white make a square crop one fits in a square crop done like that way we got a little bit of rim light coming in from that second strip it's in a lower if it's about a stop lower than the main strip here all right so let me have you stand up again grid spot out you doing all right you need anything you need a drinker good awesome forward just a bit for me right there good now I'm gonna bring this around close china smack in the face with it try his keyword bring in really really close wait go right there that's good a chair in a way find my camera and meter readings they're coming in f ten I don't need f ten I mean I could use f ten but I just don't have to have if ten eh seven one f a listers triumph there's not like anything in the background that's gonna be out of focus or in focus nice face just a smidgen this way just bringing his eyes back around in the light of love a bit like a small little window thiss strip with the grid it's like you have a little tiny window on and you just walk up let's go the light room feed this is our main light thiss other strip is just giving us a little bit of a rim around his face right there if I come in and turn that off that side of his head is going to go dark light room feed dark so with the other strip on with it off I will not say that oh well he bleeds off into black that's wrong you messed up your stupid I won't say that because sometimes it's kind of cool all right technically has a technical portrait photographer that should never happen where's his hair light I burned the hairline threw it out the back window six years ago um bill bill one of the one of the tech guys here helping us out so much this weekend we're talking at lunch about you know a lot of questions were coming in well what about this what about barn doors what about this modifier what about this and he had a great quote that a mentor of his gave him one time he said you know it's not a morality a question that has nothing to do with morals and if if it's not a morality question can use whatever you want right like uh there's a great story joe mcnally talks about shooting um um james brown you know I shot him with I think a medium soft box or something why did you get the medium soft box joe because like he reached his bag and grab something and pulled it out it was the medium soft box and that's what he used there was no thought into it there was no like lou let me think about this now the difference between the large soft box and a small self box would be he just pick something out of his back and he went and made his picture all right I built my career like I'm able to stand here today off the back of a sixty inch umbrella sixty inch umbrella well but what about that yeah you know I wish I had a doctor bank x number of years ago but it didn't I had a sixty inch umbrella and guess what I had to figure it out you have to light modifiers you're rich good for you like figure it out with two one day you'll have three but I will tell you this the less you have in your kit the less you have to worry about maur options you have at your fingertips more confusing sometimes thinks khun become for you well I could do this or I could do that I could do the other on especially if you buy all this stuff and you don't specifically know it you have eight modifiers that you dont intimately no you'll never know which one to pick out you'll always be second guessing your lighting because you don't really know if it was the best for you buy one get to know it intimately thin by your next get to know that one then by your next and you'll know that one and then buy your next all right so when I want dark and moody uh grids strips all of that so you're doing great I want you to hang out here no yeah yeah no you're going to kind of come hang out over this area for a little bit all right so uh let's uh let's grab zack a chair and lou let's bring you up here for a second dan dan uh strike these put the grids are the reflectors back on him uh we do not need this at the moment we need big mama coming back in this is channel one all right so you're gonna hang out here for just a second we are bringing the house lights back up all right crew house lights back up yes wow that's annoying all right uh shoes flash I need for double a batteries off my charger you know what actually is that take a break um I'm above ah mat mat my megan mattsson mats and all right we have a new subject in matteson how sorry sir I'm doing well thank you for being part of this madness um I was gonna do a quick shot of you and you're just going to kind of be hanging out um I'm going to set up a piece of fabric behind you on just do a quick portrait kind of thing so you kind of hang out right here while I get a piece of fabric set up so I'm uh I often joke that I'm in my damask period I love thiss freakin pattern and I have used this one a piece of fabric more times than I'd like to admit I have to light stands with super clamps on the end of them I got to light stands with super clamps and a bunch of little a clamps pony clamps whatever you want to call him from the depot of the home on I'm just going to take this meg found this piece of fabric uh in the remnants been at a fabric shop I have much did you pay for this meg six dollars or something man I use it so much I've done a lot of different stuff with it so what is moving let's go if you have a cross bar set up and you don't have an assistant which is fine I don't need one but I'm not calling throwing you just walk it up how did he get your exercise it's far ups that's going just walk it on up don't want to go too far the other side's gonna come falling down on you and I use this time to figure out who my subject is so man tell me about yourself what do you do you model you man I do too way auto trade notes sometime and I'll tell you how to put foundation on make you look thinner works for me man like me man I'm successful so how long you been modeling uh about a year you like it enjoy how'd you get started yeah way from their things start so you gotta school you stuff like that can I get the uh that little stool rachel you gotta came already yeah you need to be ready soon yeah why don't you have a seat there just once you kind of being comfortable let me have you stand up for just a second one I'll just move this raise it up on move it in like that there you go um hey where all our modifiers go thie twenty eight inch box set in the back dan or is it in here oh I see it twenty eight itch hot shoe flash on dan I need a uh see cort uh someone get me a power setting again half half power alright eleven teen eleven teen alright twenty eight inch box I am on a twenty four millimeter zoom setting on my flash head I open up the twenty eight inch box thief flash head alien be hot shoe flash ellen chrome pro photo whatever with this specific apollo siri's flash head points to the back of the box there is not a baffle in this so what it does is it points to the back of the box I have it turned around backwards told them so you were found by a company we are hanging out the mall golf course somebody wild waves so what kind of person's like stand around wild waves going hey there young man here I thought about being a model I mean I know there's some creepy photographers that do that with girls you know but yeah so you're wild waves and someone approaches you and did you think they were kind of creepy at first or understand oh it was a state okay so was officially they had like a brochure name badges got in a van in the back the park you want perfect alright so way drop this down edit that out drop this down and light goes to the back of the box all right that goes to the back of the box so it bounces around the back of the box spreads out basically doing the job of what a baffle would be doing I'm going to spring it down I'm at half power I am on channel two on my pocket wizard if david hobby were in the neighborhood he'd be up up up up up up up up popping that off on me like he does channel too all right no light meter flash meter doesn't exist for me right now uh someone give me an aperture for boom done perfect right there man you're doing good cole that on make sure that okay making sure the optical slaves aren't firing that that's not too far off is it goto light room feed remember I had someone just give me a random power setting you said call out of power setting you called out all of them on we've decided half give me an aperture f four done it's a little it's a little over exposed I'm going to go to four point five so take one shot take another and that's it right there like you're natural I can see like like why they picked you you know and a good modeling scout I'm making jokes you know like because there's just you guys have you seen that like creepy dudes were like hey baby I'm a photographer used to be a model there's so many of those it's so sad to be in my part of the industry like you just never want to be associated with like those guys right it's just it's just bad but yep some people have it and it's great sometimes I have a subject walk in the door on dh it takes me an hour to an hour and a half toe warm them up and get them into the shoot I could tell it like we'd probably in ten minutes we'll be going you seem confident um down you seem like a natural he'd been doing it about a year uh well it's just like your favorite photo shoot you've ever done er favorite was a couple months goes down yeah it's about sixty outside wound the roofs oh nice I love shooting on rooftops thiss place has a rooftop I'm like craig would take get a camera on the rooftop he just looked at me you already wanted band to play life on now you want to shoot on the roof yeah one okay all right for a bit right there I love the kind of the black and white now it's actually navy blue kind of checker pattern going on on his sweater but the black and white background um the darker shadow just lean forward for me just a little bit just kind of like you're leaning forward like hanging out perfect dropped right into it face around this way just a bit uh come back around this way right there that's a little more natural of a look for him it just seems more comfortable looking how doe I put their face what's where they look comfortable if it's like okay I'm not gonna go this way sometimes you could just see some people naturally fault meg naturally falls the one side and and she just naturally just goes this way if I'm constantly having pull so went back over to the light I just move the light when I moved my light I moved it in an arc around him so distance should be fairly equal so exposure should be pretty close right there perfect hold that good my light's a little too high eyelids are making a little too heavy of a shadow so that just comes down a bit I had him lean forward brought him lower I need to bring my light lower perfect good kind of looking up that way good looking right in the camera focusing on the closest I to camera great as I get closer to my camera let's go to the light room feet I get closer to my light source chin up a little more get closer into my light source it's a little less dramatic I move this off to the side just a bit I just changed my angle right there makes it more dramatic so there I am shooting close to my light source on then I just changed my angle when I create more shadow I don't mind that shadow if you say you know it's a little too dark for me then dan do we have a reflector around or something here right here where you have one popped out already doing awesome it's getting warm in here isn't it is it just me let's do white so you're just like that that's perfect on what I want to do is focus removed my f point up to his eye with my af point so I want to recompose too much and what and then I was smack you with a reflector right there and fill in that shadow face around this way just a bit more perfect that's great right there good I'm gonna bring in and really close start to move it out way could see the difference with it in with it out reflector and close really close starts to get further away my life doesn't fire and it's further out so reflektor out if it's catching up with you guys on the internet you're going to be seeing different things I'm sure uh reflector is out it's a little closer to him and it's really close to him so how close that reflector gets changes how much phil you want a lot of phil bring it in close you want a little bit take it out a couple feet you like it a little more dramatic just get rid of it altogether um yeah I've heard people say well there's a shadow there so let's get rid of it why I don't know rachel grab camera e g here okay this's rachel everyone she has studio in her shower shower photography dot com right all right wei have pocket wizard and what we have way have lou on dh yeah you'll be standing up yeah let's have you stand up luke uh well I don't know your here's your photog offer all right have a nice flow address we've got I want pure white I want a nice clean floor I want a good exposure on lou um you have a fifty inch soft box to light her from the front you have two lights on the back okay great um well I think first I'm gonna check my light so I'll check the back only just introduce myself to you jai right shall we talk for a minute before but I'm so happy to get a photograph you just love your dress yeah I definitely will you know I probably have you step up right to here just for now good direction yeah you know I'm gonna test light you look great I'm actually about to do a full body because your dress is fabulous it needs to be full body so I think this is you know we'll mix it up so for now just like hang tight we'll set up and then we'll start kind of like mild will build up to some you know maybe some drama okay great good direction let's see I'm gonna bring this up to you fourth power and they're both eight hundreds all bring the subject forth as well just a test through a c one hundred eight hundred back there to throw you but keeping it easy channel one good let's check in so this is uh okay so how do you know is that yes oh okay well I got a perfect e here that this one's firing I'm turning it off okay okay so this is not a sixteenth power if my back my throat a four they need to be a stop and a half righter than right but your modifier is going to be isn't it determined what my back ground your modifier this modifier specifically may take a stop or two stops a light out okay so set your first light first what's what's the most mundane like sonny to someone like my exposure correct and then I can adjust and adjust the back okay set this one first then adjust the background light okay perfect bill do eight power I don't know and just you know gotta start somewhere and why did you just die die die yeah are you still alive still breathing internet off alone no see but see it didn't kill you is what I'm saying it didn't kill you like sure is a long way away from her okay keep going full body okay okay I know what I want to I want to bring it up I want to be on I wanted to be up high yeah yeah yeah but I want it oh it's not on the boom too bad that's a couple hundred bucks okay so I guess we'll test here if I have tio well the tying of candy shoe underneath that can I be like you know bring out front shoe underneath it like uh sure okay let's try that like that yeah yeah I think that's let's bring a little bit closer okay okay yeah you're doing great sorry this is taking minutes you are the proxy for people watching at home going if I had to do this for the first time in my life what would it be like for me have you ever done this before yeah but not like so much equipment probably like probably like a lot more dumb down kind of but not like this so can I say no sure thing pointed at her more light on top form or how did I do that right is pulling all this down undo the head here now the alien be are the westcott doesn't allow you a lot of room for leaning down do you have to kind of force it a bit also the zipper's break on these a lot and you know what I just get used to it you know when we're shooting with the umbrella and you say like the line of the pull of the umbrellas should be like equal like to their face since I don't have on the soft bucks how do I know just pointed at them a little higher than them and pointed at him this's fine that's about where it be on a boom but you're not on a boom so if you want a full length that could be in your way you should three quarter I want a full ain't so and I suggest in my professional opinion just leaving site lies just here okay yeah on then if I have do I could bring in a phil or something like I could bring but if you don't if it's creating too deep of a shadow for you is a photographer making that decision going that's too deep of a shadow thin yes you bring in a film ok ok great either another light or card okay good you think sorry all this shoptalk you're doing fabulous okay well let's just do a test shot and see what we see what we get eso I saw one hundred I'm shooting at one twenty five second white balance uh huh okay you're five t have my fight right here and here the finger dial it's come down to lightning bolt thing ok cool thanks that doing good drink do you think you're on a dream who you want a beer what do you want okay so so do you shoot manual and set it once you like manual focus and then do you like you lock your focus or do you change it I'm on one shot pangle shot um I focus of the closest I lock it with my half push on and then recompose slightly and fire are you on continuous survivors one for some reason my and I don't want it because my battery's going but it's not letting it's not let's see what's going on you're an auto focus you're in one shot by the way rachel everyone on the internet thinks you're doing great and there are ways the internet on thanksgiving night are you back but focus sir um I usually use my spot like my spot focusing you know like so is that what it's called but you know he's not focusing until it's maybe something in your menu but I won't turn your drive to single you don't you fashion shooting this um with the boom this is the original fight lee I don't know so much tell us you need to sit down or so I think because you got the seals on at least they're not right what's happening with your camera yeah what's wrong but I don't know your camera is that it is not half but and focusing and it usually does so I'm wondering because my battery your battery's fine yeah it should be focusing right now it did less it's on ly focusing what's happening is it's only focusing it's on auto right now it's on ly focusing wind you fully press the button that's weird is weird so what I did is I moved your a half point all the way up to the top right on her face and take a picture okay for now all right that's kind of hot and you're back button isn't doing it okay great you look fabulous okay okay it's not that dad it's not that bad it's not that oh my god look at that hey I don't know okay so she might be a little over exposed no it looks good can we get that obviously my crop huh you just need a little more exposure on the back and you're done okay so shoot it uh nick you're going to come in after her and I'm getting our band the fences together all right what you know that you love that pervert I know I know I know all right anthony have it you look great you know have you popped up well I like right where you are fabulous couple where you're just like just small movements figure I like you know you're still looking right here at me but small movie just even a little bit of like movement in your skirt yeah that would be great I love a little bit happier look a little happier yeah and you know it don't be afraid when you turn just look at me kind of like turning like this so it's you're not it's not like this it's more of like a like a softer uh okay one more just hold holding still right there between your legs closer together yeah ben ben one you said yeah I love that and then turn your face is a little bit towards it like actually pop your other foot yeah and then you're just angle your face just slightly this time yep and drop your chin just a little bit I love that right there is that perfect right hurt me actually do one kind of looking up there towards that light gray I love that you get a little bit closer like that perfect what hear me drop your chin down just a little bit and eyes right at me let's do one not now you've done a great job perfect all right that's it I'm gonna have you step up what I want you to do is go to the lights and set them to different power settings take that pocket wizarding handed tonight

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.


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.

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 (


Excellent class and worth every single penny! I have always been a big fan of Zack both in regards to his quality of work and skill set and who he is as a person. You can watch all the Youtube video tutorials in the world and you will gain some good knowledge, however many are holding back some information they do not want you to know about. This class has taught me so much about lighting where I feel much more confident with the technical side and can focus more on the creative side. Well worth your investment!