our camera meters never know it's there so the reason I don't use a meter in the camera is because it cannot read the flash it happens like that so it doesn't it's just too short of a time you could buy yourself a flash meter right now for much of my digital life you ask me you know do I need a flash meter and my my response is we don't need no stinkin meters right because in the digital you khun champ and you can change you can change you can change and this morning you've been watching me all right let's set this light let's take a picture no let's set this light let's take a picture no okay hold on let me set this one okay okay were there right and that's fine ah good flash meter three hundred bucks and sometimes in your career you're like that man that's three hundred dollars that's a lot of cheerios for my kids that's that's atleast one tank of gas these days um so I don't need a flash meter uh some people will tell you it is absolutely essential and even more important in the dig...
ital age but I can tell you very much that I've been a working breathing eating feeding my rent kind of photographer without the need of the flash meter that set I have a flash meter all right couple instances where this has really helped me out uh I once had a corporate assignment where I had to shoot seven shots are seven head shot it's seven people one week and then two weeks later I needed to shoot another seven or eight people for the same company and those pictures needed to be identical to each other and there's about a three or four light scenario that I was setting up so I got my lights set up and I came in with a flash meter and I took readings of all those lights and made a very detailed diagram of the entire set all right um I made a detailed the diagram of the set and I knew that okay this light is seven point one this light is f for this light is whatever so two weeks later when I needed to reset the set with those lights I could come back with a meter and get everything back exactly toe where it wass so that that siri's of head shots were identical and consistent all right that's one reason why it's really important uh another reason it's really important let's say you get a client and let's say it's a wedding gown company and they need to photograph long wedding gowns and you need to have a consistent exposure from head to toe you could go down the person to make sure that let's say it's f ate here it's f ate here it's f ate here so we have consistent even light across the entire wedding gown you're not really going to be able to dial that in just chipping this is going to let you know no sorry the feet or half a stop under the head okay well I need to changed my life another question that when you asked about the difference between the four foot and the seven foot octa another nice thing about the octa that I forgot to mention earlier was um if you need that even lighting head to toe larger your light sources the easier it is to get that even lighting head to toe sometimes it doesn't matter sometimes it does all right a seven foot easy to do okay all right so uh one other time a light meter has saved my tail all right um I had a band walk in the door ready to shoot and I was having a horrible day at work and I have about two days a year that I just don't want to be at work and that's a pretty good ratio compared to when I was working a day job and there were about two days a year that I didn't mind being at work right um and you flip that around the only two days that you just I'm not I was having a bad day everything was going wrong in my life and just like and here comes this man hey all right we're here for our pictures how god okay um what do I do and there's no hair and makeup what's beautiful about having hair and makeup is if you're kind of not in your head space yet for a shoot you send everyone over to hair and make up there over there for half an hour and you can just catch your breath but sometimes they walk in and they're ready to sit on the set and go and I wasn't so I grabbed out my flash meter I got the guys on set and I walked around that set for ten minutes taking meter readings I don't care what this thing said I looked like I was at work it looked really official hey guys I got to get my lighting ratios down I got to get this set so I'm gonna need you guys right here right now and what I'm gonna do is get around the set get my light just perfect for you it's just going to shine on you but it's really a technical process so hang out right here and I'm going once this is all fine tuned do were going and I'm walking around the set god like what am I doing why am I here why can't I pay my bills now this is happening in this and having my being a good father blah blah blah blah blah blah blah blah blah my marriage is falling apart when I uh right uh yeah great whatever it bought me time seriously it bought me time on I could take that extra ten minutes I needed and then start shooting my pictures okay so way have abandoned house hey head like a kite all right so oh I okay I'm excited I'm like he alright excited I was found out about head like a kite like many might have via a chase jarvis music video um that they shot that he shot um and I was like who is this band who was tilson like oh my gosh this is amazing it's the kind of like music that I like mixed in with hip hop and it's like who's this band all right um you were on the gifts seattle compilation with that that's what that was promoting I am a pain on quality and then head like a type everything give it everything to be so when coming out here to seattle to do creative live it's ah email off to chase incorporated going dude I need a band musicians I know you're connected who do you got and if it could be head like a kite you're my new best friend on dh I get any mail from dave on dh saying hey yeah we're interested we're all about it we'll come in for a photo shoot um so super super excited all right so we have dave on trent right now you two guys are head like a kite and then we have collaborators correct tilson alright bringing the dope beats yeah I bring I bring that in a sense of mass hypnosis so that's what I really do my master of hypnotizing people into thinking that what I do is halfway cool so well you've done it all right actually we have zara all right and uh they're what's your a part in this collaboration I wear that costume awesome cause a couple problems here in their very cool and way have I for getting pregnant mark ill and I'm here too sing and offer moral support so big thanks head like a kite we have a band shoot we have to do and here is what I do at a band shoot when they're walking into my studio way sit down I've got drinks again like I said this morning um uh the atmosphere is my brand now all this overhead fluorescent lighting isn't my brand alright this totally against my brand turn it off no I have a little better lighting we have drinks we have some snacks we have some stuff um when they walk in the clients walk in they're taken care of all right I am in the service industry I am here to serve my clients I doughnuts yep I take a lower position to my clients I don't you know just overtly pump them up but but I'm here to serve them alright um and then when we have a band and we have um individuals to shoot as well I start every job on the white seamless all right every job just starts here this is my bullpen we've spent a lot of time on this white seamless today will I get bored with it but you know what it's what I go to really quick now tomorrow I'm bustin offer this ill I'll come by okay white seamless next boom boom boom boom boom um but I want to get this down pat so I'm gonna do individuals and then we're gonna do a group shot with five people on a nine foot roll of white seamless that means it's a group shot a nine feet of seamless five people is very difficult to get and this amount and in reality with this tile board the tile board is eight feet so I have to get five people into eight feet of space I have two pieces of tile board right now running perpendicular across this's perpendicular right honey magas arrived yeah meg meg's here um my my wife and moral support and cheerleader and best friend the next sheet is running out front and this is important it is laying over top of the back sheet if I bring the back sheet over top the front I am going to see this line in my picture so I tile it or shingle over the back piece so when someone stands here and I'm back there shooting this line will become seamless I won't see this physical seem in my picture the little issue that you may see is if someone is standing behind that line that little bit of a raise right here will take that reflection and shift it you'll see are just ah a shift in the reflection bugs you to death it's a pretty quick fix and post so well don't fix things and photo shop fix it on set well in this kind of situation it is one of two things you are either taking out a solid line across the whole thing you want to go to camera one so everyone can see this this is laying over top like that alright little bit of a lip this's a great posing area to stand on that line but once the toes air over the reflections not a problem as soon as someone stands behind it sometimes it freaks me out sometimes it doesn't to get rid of it you need an eight by eight solid sheet of this good luck finding that if you find it please email me all right now I don't want to be dorking around set in this light set in that light set in that light I have a band to shoot they're going to be in line but not shoulder to shoulder there going to be a little staggered therefore I need a greater depth of field alright edit that in post so when I say greater they say depth of field like it makes their smart all right so I'm not shooting this band of two point eight what else is going on I need to compress that background in as close as possible to them because I'm going really wide on this shot and I need them all the fit nine feet that means I'm going telephoto arm going one hundred thirty five millimeter I'm going one hundred and eighty millimeters somewhere there with my focal length the longer I go with my focal length the shallower the depth of field I have all right so for five people on a seamless full frame sensor I need to be one hundred thirty five or greater focal length the greater I go with my focal lengths the shallower the depth of field at any given aperture right so I know that I need to be hitting f ate I want I want f ate right here and I could stay here and take it up and down in power and championship and chip but I can walk in here with a light meter and I'm going to stand where I'm going to put the main front row of people closest to the light and I'm gonna pull it up I usually pull it to my nose I just pull it up to my face and the nice thing about this iconic meter is that it has a pocket was their transmitter built in and I take a reading and I'm in f ate now that was lucky right all right somebody give me a power setting or quarter get its corner dumped power alright quarter power I want to stand here there's two schools of thought of using the meter and in this case both schools win some people take the light meter and pointed to the camera position and take their reading I'm taking incident reading through this white dome I'm not taking reflective meeting readings I'm going to take an incident reading this little white domes the incident meter it is measuring the light falling on the subject not the light reflecting off the subject meters and our cameras are reading the light reflecting off all right the incident is is measuring the light reflecting on the subject ok if my subject is to stand here I am not going to meet her here I'm not going to meet her here I meet a ring where my main subject is standing right here at their face I am at five six and a half basically five six and a half I want to be a f a so let me take this on up tio about half power come back to where I was standing I am at eight and a half eight with alien bees since they're not super consistent shot to shot to shot to shot I take about three readings and I'm averaging f ate right here so that's where I want to be now that I want that to be one and a half stops brighter so my main light is at f ate boone can we get a zoom in on this can you read that on the monitor okay so that's f a f eight point one one tenth of a stopover f ate I need these lights may take him all the way down to the lowest power and I'm gonna throw another little thing at you I'm taking these all the way down to their lowest power setting I'm going to come down to thank you dan dumping that we'll come back to my wall I need this wall to read eleven and a half it reads five six eight eleven plus a half so I need this stuff going up two and a half stops all right this is an alien be eight hundred that is a sixteen hundred that is one stop more light over there then this one I need two and a half stops up I'm a thirty second power sixteenth eighth and somewhere between eight and a quarter so that means I need to be somewhere on that one between eight and a quarter on the eight hundred so I'm going to go between sixteenth and eighth on the sixteen hundred to be the same power ratio right so that one is there run over here real quick take this up where it needs to go get me a quick flash I am at eleven point oh I need to come up with my life just a little bit more let me test on this side I need to come up again about two thirds of a stop I'm at half eleven take it onto half eleven and a half eleven and a half eleven and a half test the other side I want to even eleven and a half all the way across eleven and a half eleven and a half eleven and a half come up here f ate awesome tells him let me have you hop up real quick so I've got f eight on the main tells him what you're going to do is you're going to stand right at that seem like your heels are on that scene right there perfect all right now I'm gonna move shotgun mic on the floor over to the left shotgun mic moving perfect so let me see me size you up here besides yep see if I take you on okay um let's pull your jacket down a little bit or hands and pens and jacket is that right I want you to feel comfortable all right so I want you feel comfortable I got little white t shirt hanging out I don't know if I want to hang out do you banging your white teeth don't tuck it in so if I want more of it out if I want it kind of just that sloppy but I still want to see the belt buckle but don't do the front don't even start the front tuck on me all right so so let's unzip how about that zip let me show show me a little belt buckle without the front tuck oh turnoff cameras everybody all right so we're gonna do some like that now I've got a sixty inch umbrella on my main light that's gonna look a whole lot like my fiftieth soft box did up here on the boom but I want to just change it up so people say well what could you use the umbrella on there yep you sure can before I had my fifty inch soft box I had the sixty inch umbrella all right sixty inch umbrella who got a little makeup coming in with brandy and we're going to dio a couple individuals and then we're going to get all five up so you guys will be thinking about who's next now I'm looking at the band zahra you're probably the tallest this means thiss may get in my way so I may need to take it up and back moving shotgun mike guess what I got to move this light back because I need to have this light in position I want consistency with all those individual shots I don't want to have to move my light from person to person so this needs to be out of my shot I'm gonna bring it down I want to give myself a little more tilt to get that bottom edge up a little more and then this is going up now I backed it up I changed exposure let's give myself a couple thirds of a stop there I got to get it back to f ate I wanted dead center because what happens is when I bring the band in I don't want to side like the bands too much I want that light coming down dropping a shadow come back in take a reading f ate right their fate I call it fate fate fate I will stay consistent with everything I'm going to f ate all right mr tilson I won't get my focus putting it up the top of the frame taking a knee and taking a shot wait I'm losing a little detail in his white shirt but it's very flat it's not wrinkling so that I'm not expecting to see much detail plus I know I'm looking at a j peg but my background is blowing white where I need it to be good we're good all right let's go up the light room real quick awesome love it like where you were done right please see that you see this picture of you look at that see what kind of a photographer I am might have overexposed gee a little bit you're looking a little light waves that's right way talked about that yesterday in class yeah all right so you watch out sixty inch umbrella will take your hip hop artists and turn them into like a norwegian you know mom so you've got to go back to the hawk to bank right no all right you're doing great right there it's just getting my final tests in I want to make a look here I'm just going to kind of test everything it looks good everything's white where needed to be at like the floor floor might need to go a little wider for me I got a little detail left in you know what dan take them both up half a stop perfect alright tilson all right now your feet need to kind of stay in that general direction area but give me a little stronger of a stance like separate your feet just little bit more alright good give me a little attitude give me some of your own like on stage kind of attitude good what what is that you got the bathroom attitude eyes that what it is good that was a question more of my life yeah coming out like that really strong kind of uh people told me I do not like you ever being life is great great b subpart might not ever happen and in turn whatever happen is I met david trent and I was like well I can handle these dude because I never get any taller so everybody's told me that hang around because it keeps me like at that thing work there's something I can't do because my head I want to be lacking anything right like right now if you like you can shoot this old place like five minutes even love them in the foundations like we'll have foundation classes because I'm going up under in shooting the foundation that's how I make it and then it never makes sense to myself or anybody else stuck right right here taking pictures like this wei need interpretation eyes all televisions is coming all right what I want you to do some rich what's that kind of stress yeah construct I haven't done anything all stretch like you're staying here in the middle all right why don't you turn your body like your face in that way that way but that way go all right and then what would you do is a stretch that's your stretching now scoot back this way just a bit center up right there do that but your face is directly to that white board hanging against the wall right there okay and then so you do your stretch yeah yeah uh bring those hands down just a bit there we go I got to keep him within the white seamless perfect alright one arm kind of forward tilson one arm kind of forward one arm kind of back running man do the heisman but back up just a little bit and I want that left arm further back running man kind of thing right further back with the left arm further back with the left arm all right good now switch hit that arm close to camera is starting to cover face so your left arm out your right arm back and uh let's put a uh yeah right there perfect all right bring me up to a light room real quick everything is looking good there dan grab one more sheet a tile bored watch this look at the floor in light room see how we're getting some of the uh we're not getting a real long reflection let's grab one more tile board I usually keep three or four sheets of this stuff around if I need to make it wider or longer again tiling it over top wear we go and you're back on your spot now I can just extend that white floor I can extend that reflection still running keep it on the light room right now good so watch the bottom floor on light room goto light room now watch the next shot we've extended it so if you need more reflection just add another whiteboard extending out to camera if we're going to do this for the whole band shot I'll flip it around the other direction all right mr tilson I won't come in for some head shots real close and tight come straight on to me right there to cut your fingers off here go from switch this coming in real close calls uh back up just a little bit right there just looking at your arms in hands up china I want I want this really strong we all really serious way is strong on the outside I smelled when you came in I'm not sure I if I'm feeling comfortable with a client I will make jokes like that if I'm just not connecting with the person I don't make jokes like that all right just so you know so hands get real strong real siri's this's your moment till c perfect heard that before that's what I wanted right there great go have a seat who's up next we're gonna work three days now all right let's do the blazer and the flowers for sure fresh face awesome way got those just for you all right so you're going to be centre right here it's an autumnal kind of thing and come forward just a little bit bit backup just to wear your heels hit that edge you feel it's right there on another nice thing of that again having that little ridge is to direct people to it I keep people there so they could you can feel the ledge in your heels back up a bit till you feel it and they're right on the mark where I need them to be that I haven't put tape on the ground or something so I I came in close tilton's last shot I'm going to start close here perfect that's right where I wanted chin down just a bit excellent now notice tillerson's a little darker in complexion right on this goes back to yesterday's question from the internet will if there in f ate light shouldn't I don't have to change exposure between tilson entrant right I don't have to it's the same light now if he was just porcelain pale pale pale very little skinned you know color very pale and if tilson was very dark dark dark dark dark dark dark dark uh black complexion those two would I might need a third two thirds of a shift stop and light to kind of compensate one third on one side one third on another all right otherwise not a problem all right here we go I want I want it out kind of to the side right here and rotate yeah they uh come back a little bit right no way commit quick I want it like that and write this grab that perfect thanks chin down just a little bit good hold that I'm still shooting vertical I'm getting a shadow under the chin I have a good clean white background coming in in the front again with the flowers on bringing him up just a little higher and then lean forward just a little bit for me right there perfect told that good making sure I'm getting light in the eyes chin up just a bit I want a little more light in the eyes so chin up we'll come back and shoot a couple of uh full links I am at somewhere around one hundred millimeter from my focal length perfect right there chin down just a little good out again to the side rotate them into me right and come back right there no let's see give me one one hundred eighty degree rotate keep rotating keep turning keep right there that looks good and till them down notice I am mirroring what I need him to do tilt them if it's a little bit or it's a lot right mirror what you need your subject to do and straight out perfect right there very serious looking off camera uh real quick can we bring some music just lightly up in the house monitors I'm in shooting mode now I'm taking pictures this is my client I want to impress them I want to give them pictures that they like and it's kind of quiet I need my music I need that sound the soundtrack of my life all right and it's typically hip hop excellent right now really wide stance with the feet perfect and just I want just a lot of fire kind of attitude yeah exactly perfect right there awesome great great now looking off camera this way just profile just turn look profile at that white board over there look at brandy perfect now looking at me and I want you uh come up stand up just a little bit more rotate around that way just a little bit good come back to me just a little and what you're going to do is you're gonna rear back like you're gonna throw those flowers at me I want to take that don't put it too far back like that's good and you're looking right in the camera and dan I want to shoot that picture and then I want you to throw them straight to me all right so actually actually throw them straight to me that picture go all right you do it again okay you stay on mark and I'll throw it back to you or dan if you could just run up and um just can't catch flowers and thrown back alright you could be a flower girl and throw him at me by writing his face yes right in his face that's a great picture cover your face and go baseball lineup yeah sure yeah ah that's almost it right there all right so back on your mark I want to shoot a little wide on this on and go well hi throw a little lower like you're hitting the edge of this like you're trying to just get it to here all right and go awesome that's it all right next who's up next zahra europe excellent all right you weren't being jerky man you were all beef uh no but we sure smelled the cheese all right so come on forward right through that line right there perfect okay tall tall on my seamless only goes so far right I'm back here okay it's starting to get a little better I think I can pull it off I still when I take a knee from here I'm barely keeping her in that seamless barely take a little half step back way just where your toes are on that scene all right and then just a little tiny just right there perfect that's it right there on I may have you killed the beads we'll see we'll do some with yeah I may do some with and without not yet not yet yeah hold on uh could bring him right back to where you were perfect and just kind of playing with the beads that's good right there hold that take a look make sure I'm still at one twenty fifth of a second half hate eso one hundred perfect do that again like he like oh I can't believe I'm here hey I can't believe I'm on the internet good good good good doing great uh rotate for me that way perfect right there and look that way towards that wall and then just come yeah looking at the wall again right there and then just look right in camera perfect good and let's just drop the beads way go good very strong stance very defiant I am woman hear me roar turning straight to me straight onto me separate your feet just a little bit very strong stance good chin up big guy excellent right there chin up along gates the neck pulls that chin forward a little bit rotates straight onto me right there perfect good right here lean forward just a little bit right there good chin down just right there perfect hold that got to make sure that I'm getting light underneath the hat making sure that I've got a shadow under the chin good now I want a big ha ha ha almost like maniacal like a kind of sort of that's the face I want now that's not that a full attitude but I just want like a big happy yeah exactly like that all right good and go excellent actually do this for me I want you to just scream now don't act like you're screaming if you act like you're screaming you're acting like you're screaming I just want you to come out and and sorry internet hold on ahh just like big like bob kind of like attitude all right on dh oh great and go okay go on and go and screen that's it that's what I want light room I'll explain what I'm doing light room no awesome I love it all right what I'm doing there great I'll wait wait not yet hold on one second what I'm doing there are times I'm asking for an action what I'm looking for is the reaction I'm asking her to screen do I need that picture of her screaming not necessarily maybe it's a good picture I don't know but she's not expecting to walk on set and scream so I'm gonna ask your screen and she started reacting now you started going somewhere else in your head right with that request I did so I'm just waiting I'm waiting away either sometimes they'll just go okay ron and I take that picture and then as soon as they're done screaming I'm waiting for their reaction to themselves screaming what I like about what you just did is you just came up and it was really it was a real moment now it's a fabricated shoot it's fabricated this is all set up this is all scheduled it's all planned it's all metered but I still need a moment from my client that's real to them right so it's stuff like that like scream jump twirl something like another one I like uh talk about my dvd is clap like you're in a full gospel band not that's golf club no you're a full gospel sunday morning band like just start clapping and it gets people out of their comfort zone and then when they stop they're real all right action versus reaction what I'm looking for is the reaction and I love this reaction here yeah so that's great all right all right here we go ladies as a couple close shots up here good that's perfect right there looking down you just stay looking down right there and then just look okay down again and camera perfect and arms down just a little bit um perfect elbows off just there we go right there I don't want you pulling him and just kind of come in like this kind of thing all right now on both sides yet let's do both sides what I'm watching for is right in the armpit if the arms come in to close it gets a little weird they're in the armpit now I don't usually say ok look your armpits are getting weird lady you know but but I've got to teach it so I'd like watch out if the arms come in they can flat now and not tone but look kind of fat and then like get weird creases and stuff like that but all right looking at looking at you're getting a little tough oh look at that look at my cute little muscle all right great all right next all right greg correct greg greg like a gr great but craig with great greg greg greg okay all right all right larry come on for I am bad with names I just am I bad meg laughs knowingly I'm bad with names I usually it's usually the band member that books me I got that one and I will bump into someone on the street and I know every pore on their face because I've had to do a re touch or something like I remember that crease between your eyebrows man dude I don't know your name you're a drummer for that band and dave's the lead singer called what is your name I'm bad with names and so I let my clients no you know I'm bad with names I'm that guy I'm bad with names because I'll get it by the end of the shoot I usually kind of have it down all right all right larry what's that um all right let's uh let's have you stand on that line back up just a little more to wear your heels find that little line backwards a little more a little more keep going back keep going back keep going back all right there we found that line right there good right there one thing I want you do I want you hands in pockets all right and I want you like this yeah you need tilton's belt buckle right alright right there good now I want your cowboy can not leaning backwards leaning forwards just a little bit come forward like just lean forward so you'll step step back step back a little bit not that part of your body for it let's bring your head head forward a little bit yeah and elbows out so you're gonna be like this so if I'm not directing very well that's me bad on me I'm not I'm not giving the right direction so you're going to like this just don't look all right there'll be like this but you're kind of leaning forward not backwards not a whole lot not this much just not that much just a little bit right there forever elbows out elbows out good looking off camera that way a little more like profile awesome great now change it up uh just kind of loosen up just a little bit about way alright go for it yeah I love it and when I want to do is I want your right arm like really back like that and your front arm like that perfect like I'm gonna pass the smell like a casting a spell now cast a spell that way there we go awesome that looks great right there yeah all right so back then hands in pockets just coming in for some tight shots right now so just kind of in here kind of close typically I'm letting clients knows you know I'm shooting this much of you kind of thing right there great looking down on right back to me perfect that's the shot right they're great and we're shooting someone with glasses I've got his chin down just a little bit way don't have any reflections to deal with we gotto light room alright so light is here shin is down a little bit so the glasses the front of the glasses are down an angle all right let's go the back of my camera quick we'll show you all right uh we're not actually getting any glare like we were earlier ok there you see how uh here stay on me way pushed the right button alright glare pointing up right you see the glare on the glass angle it down and it's gone it's there it's gone sometimes it's that much of an angle shift alright awesome now we need dave dave's our last one and then we're doing the group shot uh inter the dave inter my beer in my hand where to go I want the fan on this one all right who will bring in a fan all right we're gonna bring in a fan actually do this for me dan grab we'll start with on the floor it may need to go on to a stand we'll start with it on the floor all right so mr day what I need you to do is I need you to back up to this line in the floor right they're on your heels are going to be on it so come right there that's your mark all right so this is great the red against the white it's gonna look nice all right I want to do a light test real quick I'm checking my shutter speed my aperture my I s so make sure I haven't bump anything sometimes I get really excited about what I'm doing I'm getting excited you having fun having fun on not one of those dials on then I pull him up in light room later and I go d'oh stupid all right all right little makeup a little lipstick and eyeliner now you feel good good all right give me its start clapping hands good throw some punches perfect I gotta remember not this suit too fast and you're going to need to stay on your mark and dan pulled this fan just a smidgen out it's just sneaking into my shot a bit perfect tell me some punches right camera right the camera good keep their own keep throwing them bring those punches right to me perfect all right now I want you your your feet are staying at that scene but give me some twirls around so that's that cape is floating it's flying all right all right and go wait let's do this let's try this so you've got your cape right off your feet or kind of planted you're going to come back on dh swing around to me your face stops on mai lin's but your body finishes it it's motion all right so you start over here you swing to me and we just get that flowing draper listen if you're looking for my reaction for you day I'm looking for your actions like your reaction is your action all right all right and go bring in your face right camera okay dango good again kid up a little more when you come in there we go oh that's great right there hold that this's one of those things I'm asking do one thing and then he drops into something that I like I'm going to shoot it good right there chin up a little more look over that shoulder all right and swing and go just go back and forth real fast crazy crazy come on you crazy me I got to remember that not out shoot my recycle time alright give me just not a too high of a jump but just jump in the air not to high jump start back there we'll start back in the land of the line exactly I'm yes I'm locked I'm ready for you your way win perfect you can stand on that mark and just kind of jumped from there let's try that one on and go perfect and again excellent and again that's great right there goto light room we're there already I shoot these a little loose because I never quite know where their group to be jumping in the frame as long as he's come completely encircled and white I'd like that to be a little bit tighter I don't want to be shooting that loose but I am on a five d no you're fine it's it's me uh it's not you it's me okay just know that all right I'll always have a special place in my heart all right and again with the jumping you want to call it out and go again that land can save him right perfect all right I filled up the frame a little more not throwing so much resolution teo the dead white pixels great we got the full band now we're going to go to group shot oh wait wait wait fan we brought the whole fan and for this reason now all right let's do this this way so you're gonna be this way perfect way great yeah with yeah all right airy out there a little bit dave huh jackson all right great so I've got to make sure that this is all staying within frame just a smidgen closer fan here perfect right there hold that wait my frame drop it um back up just a little bit damn he's got going back to that line right there on didn't move the fan more in front of him again like slide it back towards the cove now come back the other way I'm afraid that's gonna push it too far keep going that way towards that wall you kind of shooting it right up between his legs basically awesome pan tilt it up way there we go all right on then I want your your left hand to be holding your boa up close like off of your face but you're you're kind of like that with it perfect alright on go right there is perfect that I'm just watching the fabric just let it kind of do its thing good I want you bending over more on like goa that boa and I want you to be kind of floating right there good right there perfect I'm just going to watch that fabric do what it does doing well on its own right now dave I want you looking straight into that wall on actually take a little step back dave and then lean into the wind like yeah like this you want me to be more like that maybe more straight up and do that like actually not at the weigh so much but as though you're kind of leaning yeah like you're doing this kind of thing all right shut up arms in just a little bit right there perfect on look right over me all right good looking right at me on drop on again I got to shoot this little little loose because I got to catch that fabric and drop one more it will never be just one more hand go let it go do its thing dan moved that fan closer into him wait right there just it's doing its thing it'll catch it good way I'm just waiting on the fabric there we go
My name, if it isn’t obvious already, is Zack Arias and I am an editorial music photographer based in Atlanta, GA. While I’ve been working in the music industry for the past seven years I’m now branching into more editorial
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.
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 !!!
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!