Senior Photography: Break the Mold

Lesson 13 of 33

Outdoor Lighting

 

Senior Photography: Break the Mold

Lesson 13 of 33

Outdoor Lighting

 

Lesson Info

Outdoor Lighting

I'm gonna start off with eccentric lighting outdoors. We're going to break down all the barriers to show you exactly how to get it going right from the start by yourself, and then I'm gonna touch on do it yourself set ideas if you do have a studio that's going to be awesome, and if you don't have a studio, we're going to follow that up with how I gain access to all amount door locations and all my outdoor says so it's really multicultural, if you will, and we're going to touch everything, and then we're gonna wrap it up today with some very, very unconventional marketing that works in a very small market. So if it works on a very small market, obviously would it would just go like wildfire in a large market, so if you guys are ready, we're gonna go and jump right on in there. Lighting is one of those things that's what makes an image? And I see a lot of people really, really struggle with outdoor lighting. We want to get out there and we want to go, but what ends up happening is we say...

, okay, today is the day I'm gonna take this flash unit outside and I'm gonna make a difference. You walk out and you put everything together and you take that first couple of shots and you look at your camera back and you say that's just doesn't look like what it should and I get so frustrated and I'm just gonna put the flashback in the bag and I'm just going to do it like I always have done it doesn't mention yesterday your fears we'll keep you from getting there so I'm going to show you how to break down those fears and I can promise you this is going to be probably the easiest demonstration on outdoor lighting that you've ever seen were on a break break it down and away we might even break it down dancing who knows but outdoor lighting this is some of the things that were going to cover I'm going to show how to get it done with one light how I go out in the middle of the day when it's twelve o'clock the sun is just screaming bright and show you how I can just manhandle that song show him what the deal is and not even really have to think about it anymore because if you can break it down in a way that you don't have to think about it anymore and you just walk outside and you say this is going to be two hundred s o f ate uh sixty second and three quarter power I've got it and bam, you take that shot and you look at it and it's like, wow, I can really do this so we're gonna cover the one light were moved to the three lights set up outdoors now this does take a little bit of effort, but this is what I was talking about yesterday about putting your best marketing images forward, you know, go out with three lights one day just stretch your boundaries and get yourself out there. Does it take more work? Of course it does, but hey, the best fruit is on the end of the limb, so sometimes you got to get out there on the end of the limb to get that get the best fruit. Another good quote there I'm loving these quotes, we're going to talk a little bit more about reflectors and just how important they are and why a lot of people don't carry them and I'll show you where to carry them, how to carry them so that you don't have to worry about it anymore and you're not gonna be lazy anymore. We're gonna talk about some continuous lighting for outdoors. This is mainly for nighttime or when it's dusk or you know are when I was getting really, really dark right before the sun goes down and then own into when the sun goes down, have you ever been out on location and you've got a cityscape behind you and it looks really really all someone you think yeah I'd love to photograph this this senior right here and get that whole skyline and the parents like oh that's going to look so beautiful and you're like yeah, not not so much so I'm going to show you how to do that is well, one thing that I struggled with big time when I first had the idea I said, why can't I take one of these studio lights outdoors where you can you can do that and I did and it didn't didn't didn't fare out so well, so I needed to figure out a way to get the studio my camera my bag, my battery, my inverter everything that I needed a place to put my cell phone my keys everything to me it looked very unprofessional toe ask a parent hey mom demon during this twenty six pound battery for me I know you're paying me a lot of money to do this but demon carrying that for me and then dad if you don't mind we'd be so kind as to carry my camera bag I would really appreciate it that's not a good look either, you know you don't want them to do that it's not a good look so I came up with the l r o to explain what that is in in a minute my goals were something that would allow me to work with no assistant because an assistant for me I'm too wild. I'm all over the place. I'm crazy. An assistant would slow me down I would say hey, give me no, just move! Let me do it. I'll get it that's just my nature that's I think that's how you stay so skinny as well. But if I hang around here much longer I'm not peace skinny! This place is awesome. The heat no getting I wanted to be able to shoot in any conditions because like I told you yesterday my schedule is very important. I want to take my last appointment at three o'clock used to clients would call and yeah, I could do your session at six o'clock because that's when the best lighting is here. Yeah, and that means that I won't go to see my family until not and that's going to be great. Great! No, I want to shoot through out the day. I don't want to chase the sun and shoot early in the morning and late at night. I want to shoot any time of day and be able to create a great look that would fit my brand and that's how I'm able to do it is through the use of lighting outdoors. No more broken lights that first time I took my studio let outside had this idea and I told my wife I said you know what? I'm not coming home today until I figure this out I knew what it was capable of and I knew I could figure it out I said if other people could do it, why can't I do it? And I tried you know, I watched a few people do it and the way they explained it just overwhelming and I said, well, you gotta use a guide number that is half the equivalent of a theory that when two trains leave boston one's going to chicago one and I'm like man, just wait a minute you are messing me off right here so I went outside and I really thought about it and I said there's a theory here of how this works and I'm gonna figure it out and then once I get it if you down I want to be able to help others and enlighten others that when you're after today's program you're going to say are you serious? Like I can totally do that now but it didn't come without a price first subject put the light stand up I was so excited I thought I had it figured out I we're ready to start shooting and I hear the parent go take a deep breath and I was like what and then I heard well, the light fell over busted. I didn't have a backup plan we had driven, like thirty minutes to this location. I looked like an idiot, so I was like, okay, no problem, we're going to go this lighting out here is beautiful and I'm like, yeah, it's twelve noon the lighting is awesome it's like enough to set your hair on fire so and there's no shade anywhere it didn't pan out very well, so I'll give you a rendition. I went back to the studio that day and I'm like, I'm a guy I ever got it's just if I had to move that couch, I would get it on my truck without everyone touching it without picking it up. I like to make things as easy as I can and simplify because I'm used to doing all of my shooting by myself because, it's, just my style, it's what I'm used to, I didn't grow up with a lot of help everywhere, so this next video is me is a young man saying, you know what? I'm not gonna take no for an answer. I know what I want, but I gotta figure out how to get there, so watch this next video and you'll get a sense of my motivation and exactly what you're going to be capable of after today, no thus the birth of my new best friend, I went back to the drawing board and I said, I've got to be able to carry all this stuff about myself and I've gotta figure out a way to do it or I'm never gonna be happy with my work there's just no way because I'd already got a taste of what it looked like with that lighting and all the different characteristics I could use from it so it's not gonna take no for an answer when the drawing board I designed a few different things even fabricated a few different things and I got almost there and I said no and blair phillips fashion that's good enough isn't gonna be good enough we're going to make this thing right so I went through about four prototypes finally got it to where I wanted it and about three and a half years later, I'm still using the same one that I had every every every since then. And I think as a year today that it's somewhere around three hundred fifty of these things that we've sold the other photographers that have just has changed their life so that was the birth of the el oro to that's my white rover, my light card I guess you would say and I'm going to demo it here and just a little bit and show you exactly how I use it we're gonna talk about different aspects of it different expressive lighting depending on the time of day when I show you all kinds of things with it so here it is actually in use this's basically what allowed me to walk out of my studio and say you know what? Unleashing this whole another animal that I didn't even know existed in me and it opened up so many doors for me and it gave me such confidence saying, you know what? I can totally do this my style can I can be this guy that I thought that I wanted to be but I didn't know I was capable of now I can do that and that's exactly how it happened so that's me I'm a one man band using one light outside but now I have a tool that I can carry everything on or push it around and everything is good so that is how we do it this is ah probably two o'clock in the afternoon and I'm able to get straight from camera a really nice looking image now I'm not having to go back in photo shop and do a lot of damage repair just to get back to where I wanted to start from so now I'm starting with a good image now I can just take four five seconds and photo shot running action on it and you're done is completely finished the eyes air cleaned up there's no reason to go in and retouch every little piece every little piece you have soft lighting is gonna take care a lot of that let's look at some of these images like I said yesterday I'm a j peg shooter I know a lot of you are saying all boo on you the reason let me tell you the reason that started shooting j peg are the reason I shoot j peg now when I first started in photography I was ajay pig shooter because and I'm not embarrassed to tell you this was because when I pulled my camera out of the box it was defaulted two j peg so that isn't what I shot hand and as you know again I trained myself to get it is as good as I can and I realised that the parameters air not as broad as they are with a raw image, but again my processing time is is ridiculous a shoot a session bam it's edited that quick and we're going home we're not spending hours upon hours and photoshopped. This is one of the first images that I shot with this at the junk yard I took these girls to the junk yard I said, please let me photograph you there and they're like, oh yeah, cool whatever had never seen any of these images, obviously because I didn't use the lighting yet but that's a j peg straight from camera I mean I can work with that all day straight from camera I'm now excited to show my clients the camera back I get inspired by my camera back and I say hey, look look at this this is what we're doing and I do it really quickly I don't let him have a long time to study and I'm like look at that and they're like oh no no no I want to see what a salesman I see you later some building that excitement by showing a little sneak peek of the camera back whereas used to you might shoot an image in this thing well I want to see no no no no no no I have to let me let me work on him a little bit I got to get to where they're presentable if you know what I mean now you don't have to do that so little bit of levels curse skin softening maybe ten seconds and photo shop and you're done now you have to understand going from a solely natural light shooter when I was outside because I was so intimidated by all of camera lighting obviously I wanted to get to this point but I thought it was never possible I figured you had to be, you know, some famous photographer somewhere this work for twenty five years to go to figure it out well, when I went out and I saw like, okay, I'm out here in this area and it's getting dark outside, but I'm able to create something gets something recorded that I really like something I would never be capable of doing this time of day there's no way I got so excited and it opened up a whole another door for me. You may ask, what is this light cart thing you're talking about here? I'm gonna pull it right over to you here and basically it is a cart that we fabricate I have a fabricator that fabricate some for me and on the bottom I have a battery and an inverter to create good clean power and then there's a shelf here that I keep my camera bag on and I strap it to these little islands right here and I have must my studio studio strobe, I have my collapsible soft bucks and I only have my transmitter hooked right here, and when I get to my job, basically just pull this little pin out right here when I get to my job, pull the pin out, raise it up, and I just simply put this guy right back through there and I'm ready to start shooting, I'm ready this is a one man band it's weighted down at the bottom by the weight of that battery so if you're out and the wind is blowing it's not going to blow over, not theirs, gale force winds, of course, you're probably getting these shooting outside, but this is my lifeline. I cannot imagine doing it without it. So let's talk a little bit about what on this thing? What do I use? What is my gear bag per se? When I'm using this and it's very, very simple move this over just a little bit more, so I can see everybody here I shoot with the alien be eight hundred, so I use the a b a hundred. Why would I use such a light? Number one it's? Not that expensive number two it takes probably I'm going to guess around four flash unit's, so for s p a hundreds or four cannon flashes to equal the power I can get out of one of these lights, and this is a small fraction of the price, very small fraction of price I think is you're like two, seventy nine or something, so I used the alien be the eighty eight hundred and I use this folded, foldable, medium soft box. What I love about this south box is you just pull this look and it folds down and goes right into your car so you don't have to worry about undoing a bunch of stuff and all the aggravation of putting it together super super streamline their um again the foot that's the photo affordable medium soft box I use pocket wizards you have to have something that will transmit a signal to make this life flash when you push your trigger so I used the pocket wizards and the bag that I use that goes on here is the thing is the fifty six thirteen, fifty six thirteen and that's where I keep all my lenses my iphone my keys my client's keys I know may end up keeping a bunch of their crap in here I've got everything that I need and for a battery I use the old school vagabond too from alien bees it's not necessarily they don't say that it's available but if you call them and say I want the old vagabond to then they will they do have some they replaced it with a newer one but it's really really lightweight and the plastic housing I'm not a real big fan of plus I like the way to this that's what gives me my counterbalance and a forty two inch reflector I've folded up and I stick it right down behind my camera bag and it just I love love love having that when I've got a client out I could just float it out and I'll put it where needed profit right up against my light card here and there you go it will stay the night if it's windy of course you know, I may have to put my foot on the reflector to keep her from going anywhere, but I'm still over here doing and what I'm excited about is showing all the different ways that we can use this and how we how we manipulate us on how we do it they had a quick question so the height of it does it raise up higher and then a comment too I'm assuming it looks like it's nice because it's short so you're able to fit it when its collapse right right into the probably even a car in the back seat of a car or yeah, so you're able to transport it really easily but I was wondering about like the height as faras if it's that height and that's a great question actually the reason that it is the height that it is now is because when I fold it down and I put it in, it'll fit in a suitcase the way it is now for my destination weddings that I do I can fold it up put it in all of it in a suitcase now that is a great question because this right here there's a male end on the top here and there's a company called lowell you go there you go adirama and at around ad a rama dot com and I make what's called a half pole and it goes up another four feet so you just put it on screw it on and you're easy you're good to go and it's adjustable from there so I haven't this height just because I feel like if you get real rawhi becomes more susceptible to the wind on dh this seems toe work really really well for me another thing I wanna point out guys is what I do with myself box and the reason that I photographed with my soft box this way you'll notice I've taken one of the layer the outer layer of effusion off of myself box because I personally like that little bit more of a harsh look when I'm outdoors so I removed the outer baffle it also gives me a little bit more power as well eh so that's kind of my frame of thought behind that so take a look at some of these when I can go out again twelve noon I found myself searching for shade I would walk out and I would say okay um if you can maybe get up underneath this table here where there's some shade and this is gonna look great it's all I had so I found myself really struggling but now I can go out this is like road construction out in front of my studio it makes no sense whatsoever but just whatever is there I can photograph with it and middle of the day that's virtually bust straight from camera I'm able to retain all the clouds able to retain all the detail and it's nice, vibrant colors I'm going to show you also how to use it as just a simple feel flash all in the same unit and then those evening shots that we want to do just say to pull in the ambient light this in the background if we were photographing here and there were lamps back in the background from streetlights or something like that if if we fire a flash there's no way I can dial it down low enough that we're still going to be able to retain all that information in the background I want to show you how to use it as some continuous lighting to be able to pull in the ambient lighting in the background. Now this next one we're finally going to get teo okay? Well then show me how you do this and how you make it so easy because I don't really quite understand you keep saying it's easy but you haven't shown me anything yet. Now I'm going to show you take just a second to set everything up here and I'm thinking we're probably going to be demo back this way I think that that works for everybody now this is the time we get our awesome models come up and help us out today because she's a lot prettier to look at than I am that's for sure thank you for helping us out again today just stand right on the other side of this life hey, so I get to my job now I'm not stressed about lighting because I've got it figured out easiest way to do it for this past month for this image right here here scoot over this way just a little bit for this image right here we got overpower the song there's no other way to do it. So what we have to do is we have to under expose the background, bring all bring it down but then by doing that it's gonna make her dark so I have to add lighting back to her so I show you how to do it meter for the sky you have to set your camera to spot meter. Okay, that means that when you point your camera to something it's on ly taking a reading of what its point of that in the very, very center if you d'oh won this all of us a valid of meeting is going to take a reading of the whole entire area and you don't want that kid you got dark and light, so here I'm gonna point must put my camera to this guy and I'm gonna find the darkest part of the sky I can which is usually on the opposite side of the horizon where the sun is so the sun's coming up over here the sun's gonna be darker over here so I'll point it over look up towards the sky and only set my shutter speed at two hundred just say two hundred of the second and then down my aperture either up or down so that when I'm looking through my camera and the little meter that's inside the camera on the bottom when you're looking through, I wanted to be at zero so down my aperture either down or up so that it as at zero and then I'll under expose it a little bit so I take it just slightly into the negative slightly end of the negatives you want under expose it and then just simply take a test shot, turn back around of where your sergeant is, take a test shot of her with no lighting, all right, no lighting his own at that point. Now what will happen is is your sky will be nice and dark and your subject will be very dark because you've under exposed the whole scene because you want to get you want to retain information it's in your background and your sky, right? So hope you're following me on this now she's gonna be really dark and I got my light right here and let me talk about light placement is well known to keep it a good wing span away so just by doing so I'm gonna put my hand on face I know that I'm about a wingspan away so just separate your arms it's gonna be about four feet or so maybe for four and a half feet that is the placement of my life now from there you've taken your test shot she's going to be really dark so what do you do from there you turn your light on set it toe have power and that's the cool thing about these types of lights you find something is easy less mohr bless floor less lord it's really really complicated right now I've got the light on her how set it at half power that way when I take a shot of her with the lighting I know which way to go don't adjust your camera at all don't adjust your camera you've got your background your sky the way you want it now turn your light on you add light so you don't have to do you take another shot with the lighting if she's too bright what would you guess she would do it's oh my gosh you're getting it this is making sense you just go right here and you just you just move it over a little bit less like and she's too bright what do you do thinking you did you just go a little bit more so depending upon the time of day you may need less or more like so so so simple so let's talk about placement here again like placement isn't only about four feet away I generally use mine off camera either left or right I never want to shoot right here with it because in that's like having directional own camera life so it's off there and just stand right in there and what we'll have to do is just just do something like this right here with just your hands in your pockets just make it really, really easy for you there you go perfect do you films in your pocket a little fist hey go now just like yesterday I'm going turn her face back towards the light all right? And I have a tilted just look right in there so I'm taking the image from here and the light is coming from over there which is going to create a little bit of fall off over on this side to a shadowed side which is what I want now if I had the light coming schrade into her face it's just not gonna look nearly as good I want ah highlight side fallen off to a darker side so that is where the light placement is going to be and I'm generally it's like a little triangle like a little triangle right here and I'm probably three to four feet away from my life she's three she's probably four feet away from my life and that is really quite a simple as it is do you guys have a question about how you would set that up like how you would go out at twelve o'clock and overpower this song do you think do you truly understand it or the only they have recap just a little bit did you have a question I have a question is usually I would like you gonna use one light and then use a re factor huh do you carry a stand with the reflector and how you do it all right now that's a good question I don't for this method and I'll tell you why I use the sun as basically my reflector so right like right here you know the sun is back behind my subject so I always position my subject with their back or at least their back shoulder towards the sun which is going to give me a separation light from the background so for this method I'm not really using a reflector very much and some of the other ones out wheel and I'll show you how I'm doing that but for over powering the sun I don't ever use a reflector never the way I get around now having the having to have a reflector is turning her face back towards this towards the light there you perfect now that light is going to come straight into her face too just like that right there and not really you don't really need anything on this side of the face yeah quick question so the height is about where you have it now typically it's not real high I personally use mine just like this all the time you know if you wanted it higher obviously you know it's very easy I think that pole is like nineteen bucks or something just put it on there and then you're all so you're going out like when it's terribly bright out two hundred two hundred yeah shoot two hundred all the time so again recapping that meter for the sky get your meter to where it's zero and an under expose it just a tad take a test shot got your sky the way you want it and then just add light and that's really I mean guys it's really that simple I mean we could go outside right now and I would bet you a hundred dollars or creative loves money that that the very first shot just doing it for so long you do this for two weeks you can walk outside and say this is going to be f eleven it's going to be three quarter power two hundred the second eso is two hundred and I can guarantee if we spot on bam then you move to somewhere else lighting's not really going to change a whole lot so you just pam bam bam bam bam it makes it so much easier so much easier and then another thing that I'd like to do is if you sit her down you know I can lower this light all the way down or I could just tilt it towards her. I use it a lot of times to as if I sat her down there eileen this thing down and use it use it like this use it is up lighting you know, let me tighten it back up from where I just moved it applying your subject now I got light coming from above and from below and above so that I can create some pretty wicked looking stuff here so I'm just not afraid toe break outside that boundary and say, you know what? I'm going to make this stuff happen and it's just like having your studio but having your studio outdoors just just like it so again that's great. You just showed that player because at least have that exact question how do you show she from like wavell? Oh yeah so you're spot on and the good thing about it too is the way I got the handles design is like if it if it should fall like completely over it's not going to crash your light either I got it got it so that that that handle is going to protect your life from hitting the ground should've rare occasion common it falls over so kind of had to think about a little bit of everything because trust me I've wrecked quite a good bit of equipment and trying to figure out the easiest way to do it so thank you, sweetie have a seat over there for me so again, yeah if you're ever interested in that we've got plenty of them in the studio that ship right out right to your doorstep so uh moving forward here kids, I wanted to take kids when you have kids that are not really cool with sitting in the studio because they're like it's dark and I'm freaked out and I don't like it but now I can take these little rug rats outside and they're all of a sudden when you get outside they're like, oh, this is much better this is way cool this is all right natural light they're not natural light but using this lighting out doors opened up a whole other realm for me now I can take these kids that instead of wanting to choke him out in the studio I don't mean that literally but when they give you a fit I can not take him outside straight from camera because look you can see my sensor dust back when I used to be three I didn't have the automatic cleaning system I was really negligent on that and my wife why did they kill me because of it we go from there so there and then a quick not even having to think about it see the right side of his face the right side is a little bit darker than the left side that's what I was talking about you want that little bit of light fall off so that doesn't look so evenly lit that's what you're going for so answer that question if I went back with with a reflector there it may kind of put too much light in the face for this particular image so now here's a guy that just started because I have lighting now I started posing with like the most random stuff in the world like I'm just yeah I'm good with whatever let's just go down here guys and well there's a hey let's just use this truck right here this makes no sense at all and now I could start focusing on my posing and being more creative because I knew now the lighting was gonna be there so this is we can look at the light here I can see where her shadow is this is too it's probably two o'clock in the afternoon and a super bright sun now I'm starting my wide angle lens more used to never use the wide angle because if I was using natural light everything in the background just gets blown out you know and I say, oh no, no no I shoot everything at two point eight because I really wanted to be on you no it's because my background socked really bad it was everything was white like I struck by lightning I mean seriously so there was very little retention in my background when I'm in the bright sun just like the seventh year there's hardly any way for me tio properly expose that song and her without using some additive lighting is just not gonna happen so for me that big bright sky is what makes this image right here and again great illumination on her eyes and there's good elimination on her hair we've got light fall off I'm loving it a little bit of photoshopped you gotta finish image bam you're done now I'm going out into the city I can just walk out on the end of the city here this was in minneapolis and just walk out into the city and just like come on let's go we'll find somewhere well blair, don't you want to scout your locations first? I'm like scouts like I was a scout when I was like eight dude, I'm not a boy scout anymore like I will I will make it work and that's part of being a successful photographer is not always having the best opportunities, not always having everything laid out perfectly, you're never gonna have that, or at least I never have that that's why I wanted to be so real with you guys and show you what I have to deal with and show you ways to overcome it walk out in the city, I can create this image straight from camera with one light and that's straight from camera. I'm pretty happy about that now. Is that gonna win me a kodak or fuji award? Probably not, but as I don't get me paid and get me home with the end of the day at a decent hour, absolutely a little bit of photo shop and you don't do you really need to do any photo shop to it? Not really, but that's, the great thing about it is now you can put your style on it and do whatever you see fit same thing here, these are girls that I'm just now I'm having so much fun with my warburg, I used to really not love photography, to be quite honest with you because I knew I wanted mohr out of my work, but I just didn't have the motivation to do it. I had the motivation, but I was scared that I would never be able to figure it out. So what I did and what I encourage you to do is take a lighting system outdoors whether it's mine yours or if you have to steal one from somebody I'm kidding don't steal one that's a joke when you get home if you have a saturday that's free, find someone to watch the kids find someone to watch your husband for you um take that lighting with you outdoors and make that vow to yourself and say you know what? I'm tired of struggling on these sessions I'm tired of struggling with these weddings why am I struggling? Take a day to learn it seriously when I should struggle with lighting at churches I took a day off and I went to a church that the interior of the church was horrible. I set up multiple lighting situations I figured out how to make it work and I wrote it down I wrote my settings down there at the time of day down and wrote my f stops down a wrote everything down I stuck it in my bag next wedding I went on, I was like, all right, I can get close so I set everything up bam it was almost perfect. All I do is make a couple quick adjustments on my struggling anymore so I get so aggravated when people just make the same excuses do you know who wants to hear excuses the person giving him that's it that's the on ly person that most hearing excuse I don't want to hear your excuses I don't mean that in a bad way but I'm just saying think about it next time you make an excuse and say your client well yeah I would love to shoot here but honestly this probably isn't the best time of day to do that you're making excuses and you can't lay your head on your pillow at night and have a clean conscience knowing that you did all you could if you really did it so here straight from camera photo shop I don't even tell the difference to be honest with you and what did this light cardio what it outdoor lighting do for me it opened up a whole another animal ho yeah started taking my bride's outside and that's when instead of getting the bride's it wanted this I started getting the bras that said hey dude I'm loving what you do I just want you I want you to do your thing that's what I want so my weddings took a big change now when I showed up with the churches and let me tell you opportunities there not always around in my area we have like the v f w building or like the bingo hall and we're supposed to do a high end wedding in there there's no where to shoot outside so what I'll say oh I'm sorry you know your pictures they kind of suck because you know where you got married you picked a really hard place no, now I get my wedding party said look we're gonna do is we're all going to just take off walking just like my life whenever it started I said, hey that that crossroad I said I already know what's here I don't know what's here but it's got to be a whole heck of a lot better than was back here, right? So we just take off walking and now I'm starting I'm just using the city you're using wherever and this random locations and I've got it straight from camera three o'clock in the afternoon I'm creating awesome brodell porches and I feel so confident with and this is setting the tone for the wedding day that she's not going to say my cash player I don't want to get my dress dirty by putting it on the ground me they're just they're just like let's go I don't care I'm never gonna wear this thing again anyways course being from the south they probably well, you know you get married multiple times there but it's it's nothing against you guys now how random is this ok, a changeling fans really is how crazy it is I've got people that are paying me to just do whatever I want to do and I'm making art out of the chain link fences behind my studio. I'm like, hey, um, you know what? Let's, try something ever stand stand right in here. And now that I got this lighting, I can make this looked like a portrait. This would be kind of cool, so I get my safe images, and then I kind of stepped out of out of my comfort zone a little bit girls bring their cars, okay? And they were like, all there can you take images of me in my new car? I just got it from my senior graduation, and I would love to do him out in this parking lot that is ah, it's got really light color pavement and it's so bright out there that is just going to be ridiculously crazy to take a picture. But, you know, I've heard you can do it because you use all this fancy lighting and stuff. Yeah, go out middle of the day, I can create these images straight from my camera because I have lighting photo shop, you're going to go get rid of my sensor dust back in the day, and I'm good to go who's not going to be proud to shoot images like that now, like I said, our these like the best images in the world, absolutely not. But these sellable images that I make good money from yes, do I enjoy my job now? Absolutely don't have to think about my job. I just now I have good banter with my clients, and I'll build my brand throughout my session because we just have a good time. We just kick it and have a good time.

Class Description

Are you ready to add a new, lucrative dimension to your photography business? Join award-winning photographer Blair Phillips for an introduction to everything you need to know about taking portraits for high school seniors.

In this three-day course, you’ll learn about how to market yourself to the high school audience, no matter where you live or who you know. Blair will discuss his signature techniques for effortless, versatile posing. You’ll also learn everything you need to know about both off-camera and natural lighting, including how to create foolproof lighting setups, even if you’re working without an assistant. Blair will also cover strategies for creating a productive workflow and working confidently in a wide variety of settings.

By the end of this course, you’ll have be equipped with the core marketing techniques and one-of-a-kind photography skills needed to connect with high school seniors, give them results they’ll love, and grow your business.

Reviews

David - Muse 10
 

As an experienced photographer myself, this class was both helpful and inspirational…we're never too experienced to learn from someone. Blair is really a lot of fun to watch and listen to. He has a way of making things fun with his high energy and dry sense of humor. To be completely honest in my review of this class, the lighting and posing sections, while VERY good, have been done over and over again by lots of photographers and didn't offer much in the way of new ideas. The real value was in the customer service and marketing techniques presented here. Blair's use of video as a marketing and communication tool with his clients is very unique and sparked TONS of ideas I would like to implement in my studio. His simple pricing structure and the way he presents it to his clients is also unique and has helped me rethink some of my own methods. "That being said" (Blair should appreciate that phrase) this class is totally worth the price and will continue to be a good reference for me. Some photographers are excellent at their craft but are dry teachers; others are great teachers but their "real-life" work doesn't live up to their classroom presentations. Blair is the real deal and makes this class very exciting.

a Creativelive Student
 

Blair is great. This class is packed full of great info and is a genuine good hearted person.. Really like his approach with high school seniors. I recommend it.

a Creativelive Student
 

This has been my favorite class on Creative Live. I loved how Blair explained exactly how he landed dance and sports contracts. This class was packed full of ideas for marketing and selling products. There was just so much great information. Thanks, Blair!