Final Exam: Silhouette and Hollywood Glamor

 

Real World Lighting: Advanced Techniques

 

Lesson Info

Final Exam: Silhouette and Hollywood Glamor

Who do you going to do this way gonna need um andrew with half house yes. All right let's set up our flashes first okay, I'm gonna need two volunteers try putting it on the stand to how about that I'll put it understands and then that way we'll be out of the picture sometimes the stands um class okay, what setting are you going to use and how are you going to determine your setting? Well um first we're going to create a black box okay? You know, complete darkness on the setting should be on f eleven okay yes, at least eleven s oh, maybe one hundred right and as full flashes they will be we can start at one eight. How far away are the sixty six feet? Okay, well, according to the chart in case you might not know uh f eleven at six feet is a za half power. Yeah. So how far away do you want this from your subject at least sixteen okay, six feet. Ok, so let's just go start off with half yes, let's do have we'll do that and then you're just going to do um backlight only for right now, right ...

is going to do an outline around him yeah and actually one of them maybe slightly closer so I can get them into the lens, okay let's do it right I'm feeling right here, ok? Yes yes it's even ok um maybe if we can move them well but the best one ok and when you know motto injured you make up this great um if you want, you can take them all for now yeah, I saw one hundred and if we can put the white balance for incandescent oh wow. Getting fancy okay, what does that do? It will give a blue glow all right? Because we will assume that there is a lot of ambient light so, um shutter speed this hundreds taking off the lives they can actually see what you're focusing and if we can I don't know do we need to bring the lights down? I don't think so because I think a black box in here already. Okay, so the sightings basically I saw at one hundred eleven in uh one twenty five. Okay, um can you look way? Because this is a silhouette shot. We need to mainly focus on getting he's still and maybe your profile if you look to the side a little bit even whichever side it won't matter because we won't have we're not adding a new grim life right now, so if you look this way left as far as you can yeah, you content just to be a little bit? Yeah, yeah, well, not a lot just turn your chin up move you cheat a little bit that way okay up there you go and if you want you can even we can try one of the shots him holding his head oh if you want you can try on your head yeah like that but we need your profile okay way need your chin up higher chin higher and this is low very difficult you just like michael jackson you know michael jackson is okay chin will the higher you go the middle of the flash yes ok one two, three actually that's the cool thing about it every time I do still supplies oh, hey that very night no if we want to get more flair into the lens yes it would probably go more directly into you. Okay this way okay. And I could drop this bit and weaken so it's gotta go mohr into the camera lens to get more flair so let's try this. Um the only problem is too is if you want the bigger bulbs than you'd have the lawyer f stop but then we may be lettingme or ambient light in at that point so it's kind of bright in here so let's just keep do it happens let's go for it. Okay, because do you want to repeat the same post? Okay, well, we need we need the profile of your nose all right that's good to maybe futian kind of um hold you a chance to do something like that is thinking move you each in this way you go put your put your hand underneath your chain barely touching your chin all right chin up higher there you go all right ready one two three I I'm not getting the flare though yet well that's probably because you probably have to really drop your f stop let's just do the heck of it you're gonna let more ambient light in this drop it down tio like five six or something versus sony might live in a little bit more ambient light but the the larger you make the whole of your aperture the more flair you're going to kind of get so we'll see that I might have to pull it back some or two on what happens if we put jails on them um I don't know I've never done that I've just done this can we try that yeah so what's happening is the cameras giving blues so whatever right jail what it is you're adding blue to that jail so if you adding red and you add blue is gonna look purplish problem I guess I have no idea but that's what's happening you tell me can we try that okay um I have one read and what pink that works get it from gaffer's tape yeah first is somewhere on one of my flashes think what's that they're ok too much crap on there so that's why you should you know actually you know what I do a lot of times if you don't have the gel kid to put on there I just put a bunch of tape on my camera just to have it on there for the heck of it yes ok what did we say I'm doing red two reds right yeah it's gonna leave big is gonna be purplish way are going into new territory here folks I've never done this before I'm interested to see actually what it does look like but who knows think if I pull it back too it will maybe get bigger if we use the twinkle lights theory ok but do we need to change the power than yeah, we could all just put it up for a fall yeah, okay. All right um wanted back more strike this I'm gonna move it back this far that that works thank you I do do you have your own pose that you wanted to try weii can try and recreate it again. Okay, okay. All right, you know do you want to hold your chin again there you go that's been one two three that's what we're going for yeah yeah that's very cool yet you're right we have more indian light there, right? Yeah so but that's workable that's cool. You know what for the heck of it let's just do something crazy ridiculous put it back up at eleven o on sony way it's the same ism there's a delay because ok so okay so the settings that back at eleven this little thing was not flipping up so the pigment we're losing pigment I want the pure color here all right like it that's creative using jill and the white balance that is a good idea where to be creative yeah yeah I know that's all right ok now I've got a really close and really strong it's that full power all right you just go for it see what happens simple forget that's good those flashes going into your lens they will okay ready one two three this is different yet yeah there's a lot more life flowing around that's when you do just experiment to see see is just experimenting to see with look looks like so yeah I like this one yeah look at that so red and it's more defined that way so when I pulled it back you get a blending but if I get it closer then you get to define wow hey, a class on that one thank you. Did you have any questions I love about this is I mean like if we've got a shot of the room we didn't take the house lights down it's not dark in here this's not in any way a lake a concert venue on yet look what you did again this is real world lighting because a lot of people are constantly talking to us in wedding of course and I'm like well what if you do if you're in a venue that's not all that great what do you do in a location that's not wonderful because not everyone is shooting and million dollar venues in anything like that you do best you take control you make the light what you wanted to be and create the images that you want for your plants I mean you know you take that model if you want it had a bride and groom you just make him kiss or something same thing same concept right so black and white with you know you can do whatever you want it's beautiful how what was the experience like creating that I think you know you all signed on my face you know I was like wow you know um I loved it and now I have more knowledge thanks, tio scott then I know how to make a boring environment look more interesting you know at that wow effect. So what was yes question what do you normally just leader like stands in on your final you know what? Sometimes I just take the whole thing darn thing out and just leave that I wanted tio the only reason I haven't been this because I'm showing examples of what I did but if it was a real shot I could just take it out if I actually put it towards the edge and firing it will be more kind of misty, I think right, so and the further back I put the flash, the bigger these lights become, but then the less defined these these colors are too. So so is that where you use assistance a lot that way you can just keep the lights stand out and just kind of put it on edge, so yeah, yes, yes. So I think we're doing this particular shot is better to actually put it on to stands because then you don't see arms and hands and bodies back there so you know, express people jumping and bad stuff just better to have it on stands but see yeah, it's a little bit of set up let's say you're doing this at the reception or whatever you find a quiet place, you test it in the reception hall, you get your stands ready, you get your seat ready, you figure out the polls. How long will it take you to bring in the bride and groom and do this? Literally thirty seconds they shoot it, you look oh, my gosh, that's amazing. Okay, go dance or go drink or whatever, right, so he set it up beforehand and then do is very simple great all right moving on we've got what uh one more one last shot okay and we are going to do the kind of hollywood style glamour shot right and who is going to do that one all right, great channel is going to do that one who we want is your model I'm gonna choose jodi actually well, what was going on with it pay back so I'm going to create a blue oh kind of use myself yes yes so I'm shan a styron cheryl starnes photography and I am actually here in washington state and I specialize in wedding photography perfect with a great great plays stupid like lead me alone I had into this hour and you are alone now everyone knows that fantastic s o tio I'm gonna like the back with a gel okay uh sixty four sixty fourth hour many blue you yeah. All right, that sounds good. I wanted to do some texture but I didn't bring anything so well just skip that I think and let me know andrew's hands we could use a good okay? We'll use andrews hands maria was terrible on and we're going to use your hi tech which you're going to start selling soon, right? Uh hardboard hi tech card for uh where is the number being a faster daddy always do it better? Yeah that's right, I guess hold on not really going to drop this tape might be a messed up way got more we have a little in congress did it skull all right, so we are creating our little um oh, you know uh yeah, I want to do the right thing. Okay, so, um just take this down just a bit here's the lens do you want? I think eighty five eighty five ok, I need to sit on the ground and pointed that's not always the worst baby clyde where's money ok, sixty four right? Okay, okay, way out half the lights all the way down if possible on this last shot let's start off eight hundred s so I guess I can't remember that's what? I was kind of thinking and I'm going to do I'm going to put this back in live you so you can sell wait, we got white balance so yeo so right okay, let me do the eye so white balance back to clash where's my daughter last night, okay? And then I was going to move this the live view so we can actually what you're doing all right let's see that's pretty any higher are I think we did at sixteen hundred when I did practice with the girls sixteen hundred one time I do that thirty two as well, but ok, so what we're gonna do is create a little mystery and um, well, I got to take this on, and we need more gabber state here are about that and we're going to put this little to this car board on here just to create a little boy, a bit of light to come out of the video light and it's going to kind of act like my strip reflector, but this is a lot easier to control, and it gives a pattern. I don't know if you could see the pattern on the eye, so we want to make sure we get his eyes and his lips in there. Oh, okay. Yeah. Let me oh, five years is tony filled your virgin? Yeah. What's going on? You're not sure. First. Oh, there's, nothing back there. You have fingers, fingers trying to move back. Yeah, we'll do. Article. You know what it looks like there's too much light on because they're not seeing any contrast. You don't say yeah, I want you up here, your shutter speed toe like one twenty five or something? Yes. Would you do that? I figured it out. Figure it out. Quick visit, because I can always go closer to I think that's actually, actually, no. Go back where your, uh yeah, right there, perfect, you wanted tio three still it's getting there actually I think there's too much light so we should go down tto s o eight hundred because it's allowing too much ambient light in there so we're not getting that contrast in his face that's actually really good because people will try this and at home and it worked for me so just kind of dark right ok yeah so let's see this and because I can see that khan does it look like that in the camera what does it look like it's really dark and somebody hold this right here and then I can help with lining it up it's even darker now gets even darker but everything's darker oh yeah okay so just lower the center speed the top on this one you're the other one are you could do the yourself to yeah right there and then just dial it didn't do it against a little worse more it was during one sorry yeah okay yeah now it's just that light because it's right on his forehead and you'd be right, right? Yeah, very good. Perfect clarity one two, three that was in focus there is there you go see that now let's try to create some more shadow there. So what were you kidding in your hands say there you go was the one pryor ok? Well, there you go yeah, that looks good actually okay so there we not going in but I like the saddle back there okay so what did we do prior to that it was the shutter speed higher yeah go up higher to the shutter speed okay so that we drop that down to fifty it goes back to oh just raised just eliminating the ambient light um and dialing it in okay ready one two three didn't work but yeah but that effect is still there though so I like that one actually so that's very blurry yeah ok so if he could I like the background okay let's push that light in a little bit closer to make so make him there we go right there ready one two three thank sandra you're doing a great job but yeah it's definitely getting that moved in there yeah there you go something like that all right good all right very good nice all right. Well that's it then uh any questions for shana of that particular set up to bring the house lights up obviously but I mean look at that how do you like that judy what do you think a good expression you got you got a good expression out of it but again how difficult was that too difficult but it's good to practice I hadn't really practiced it prior we talked about it but I didn't actually do it so now that I've done it when I'm at my next event aiken and going in I mean, is this is this what you envisioned? Or did you kind of changing on the fly a little bit? I think he's a little bit more like this. A little more brightness, just a little like one more touch on the line, on his eyes, or all over in his eyes.

Class Description


Impress your clients with gorgeously lit photos using lighting methods taught by Scott Robert Lim in Real World Lighting: Advanced Techniques.

In this fast-moving class, Scott will teach you how to create dramatic new lighting looks, on a budget and on-location.

You’ll learn about the physics behind light and exposure so you know exactly what it takes to get the lighting you are looking for. Scott will get you up-to-speed on the gear you need to get fantastic shots and he’ll show you high-end lighting effects you can create on a limited budget. You'll also get some solid marketing & business tips for attracting the clients you want. Scott will cover:

  • On-location composition
  • Long exposure magic
  • Colored lighting effects
  • Clamshell portrait glow and more.

You’ll develop a deeper understanding of light and how to use gear and composition to maximum effect. Scott will also cover the business skills you need to thrive and create lasting success in a competitive industry.

Scott builds on his popular Crazy, Stupid Light class with this advanced lighting training – Real World Lighting: Advanced Techniques is guaranteed to inspire and take your location lighting skills to a whole new level.

Reviews

Dan Frumkin
 

I read several reviews on this site which gave me hesitation to buy this course. Nonetheless, I pressed on. Now I have a suggestion for those considering parting with their cash. Before you buy, go to any of Scott’s galleries online. If you can shoot at Scott’s level move on. If you cannot see the artistry in Scott’s work, move on. If you cannot conceive of the technical proficiency Scott has with flash, move on. But if you are mortal photographer that desires to improve your work, compare your personal portfolio to Scott’s. He wins awards for good reasons. Invest the time and money. You will be amply rewarded. Real World Lighting: Advanced Techniques is worth every penny. So is Crazy, Stupid, Light. I purchased both and now use Scott’s advice and techniques daily. Plus, he provides a good dose of inspiration and humor. Scott is an awesome professional, fantastic photographer and a wonderful teacher.

user-f9ff5e
 

I already own Lim's class, "Crazy, Stupid Light" as well as two of his Strobie 230 flashes with transmitter (in addition to my Canon speedlight). I appreciate being able to get into lighting with flashes and equipment that costs much less than Profoto lights etc. that I couldn't afford yet. Lim has a very organized and energetic teaching style. He is a great speaker in that he is excited about what he is doing and seems to love to help others learn how to be successful with their lighting. He is very animated and funny and has the right blend of being confident yet self-effacing and admits his mess-ups during class. I find him very engaging and interesting. If you have less than $500 or $600 to spend on lights, but want to start adding lighting to your photo shoots, he is a great place to start.