Two Lights & Ring Light

 

Senior Photography: Break the Mold

 

Lesson Info

Two Lights & Ring Light

I'm going to still let you sit there because I can still borrow her for a little bit now we take we say one life now what if we wanted to really vamp this thing up and we wanted to add two lights in here we would leave this is our main and then we're gonna walk over here and use this one and I'm going to drop it down just a little bit so bear with me just one second I'm gonna drop this down drop it way down about her level here and then now this we're gonna talk about some separation lighting and I'm going to add a reflector this because here we're opening up to start to create a ratio meaning I won't just like an ingredient baking a cake you want two parts of this one part of this that's what we're gonna do I want one part from a main light two three parts from this kicker light over here so I want this to be a certain setting I want that to be three times stronger than what this is because I want the lightness on this side to be a lot brighter than the light is on this side so that's...

where we're gonna add and we're going to create image is kind of like this where you can see the left hand side of this image see her hair how it's brighter on the left hand side then it is on the right hand something that's creating a ratio and again she's sitting here to reiterate this is three times as powerful as this one I want this one brighter than this one here again you can kind of see it see how her physical on the left hand side of this image if we're looking at it see how her right arm has illumination on it same thing in this image here there's some separation in there the guitar is lit everything is looking good there was some separation lighting that's one of the biggest things that I see people not doing enough of as even an amateur photographer or even entire present I see all over there have two lights facing their subject just like this equally apart from each other I don't have him on the same power output it makes him though since it's like two headlights with two headlights everything's going to be equal but if you condemn one headlight down then it's going to look a little bit different do this go over to a window at some point hold your hand up and just rotate it a little bit and watch the light change that's what we're looking for we don't want to go like you shot ahead a flashlight straight on your hand, move her hand around a little bit and watch the light change that's what we're trying to produce here with separation lining now when we moved to one of my favorite types of lighting and my wife says all the time blair, if you don't start doing more that three light stuff I'm going to divorce you she didn't say it like that but this here this is a three lights set up in a three life set up is much like you see here where we have back over her her shoulder here is one light with agreed that's a strip box with the grid and then unfortunately walk back over here hang tight guys wait on it wait for me when I bring this one up so here way have to separation lights so instead of just one now, obviously we have to what that's going to allow is going to allow a little bit of a light that's gonna rim off her arm that's going to separate her from the background they will have our main light here is gonna add just a proper amount of lighting back to her face. So with two separation lies, we're creating a strong ratio really strong ratio that's what we're looking for and this is what I use a lot of times if I'm shooting with a model or someone that's doing like pageant type stuff that's what I use for that I'll use that it's good model lighting and if you look here you can see again where they're stronger light coming from the sides than there is coming from the front. Can you not see that? Okay up there so they're stronger light coming from this side then there is the front now this next one I may not shoot it, but I can show you somethings it'll make a lot of sense with the ring light shimmering light at eight hundred eso hold tight. I'm gonna give you some secrets about the ring light that everybody needs to know if you're gonna if you're going to use one number one you can't put this thing in their face like this right here. Okay, look right here. You can't just put it in her face and the colonel is going to blind them. They're going to say no when the world is that when I'm using a ring like this is how I get people introduced to the ring like a tear up my camera, I will turn this ring light on and if they're standing right here, I'll turn it on and I'm talking to him and I'll just kinda slowly, you know, ease it around and I'll keep walking around this way and I'm slowly introducing it to them slowly, slowly, slowly, slowly because if you look right into that really hurts your eyes, doesn't it? It doesn't hurt your eyes this kind of kind of weird that way, but the one that I use is dimmable dimmable, which I love it's the only one that I know of that has a dimmer switch really, really, really cool when I'm shooting this, I shoot eight hundred eso this is basically shooting natural light this is basically what we're shooting were shooting as natural light the keys to this and I'll turn around and use myself as an example here where you can really messed up with a ring like turn these off to or take the zone is placement of the ring light jazz if you get your subject like way to close, the ring is way too big you have to back your subject up just enough so that that little ring goes around the iris, the little black people of their eye. If it's too far back it's too big of his too far forward, it looks goofy so you white positioning is very, very key here and also the height of it you don't want the height of it to cut through there. I it's got to be a just a right position so that a completely circles the eye, so light position is very, very, very key here I see a lot of people using it but don't have it like off camera this way. And it just it doesn't circle the I will pull the kino back up in a few minutes and I'll show you some examples of what I'm talking about where it needs to be that's kind of a pretty tough light to look right into, isn't it? Yeah, but now do I sell images from every single session using this? Yes, do I sell wall portrait is using the ring light? Um, not not very likely, but this all this always goes into an album because there again is that sixth lighting source that you can use or the fears of the fourth, so I love love love using the ring light, and again, we'll pull back up the keynote here in just a few minutes, and we'll get you some images from there, and I'll explain a little bit further of why I use a ring light and how I use a ring light. But again, anybody know what ring light was first invented for? I think it was dental photography, and now here we are using it for portrait, but again, my general settings, whenever I'm using this is eight hundred s o and I always shoot on the kelvin white balance, which on those seems crazy people, so why don't you just use the custom white balance? I like to control it through my trust, my camera where it is where it said I go to kelvin and I will dial up the color temperature or doll the color temperature down depending upon whatever look that I won't if I wanted to be really cold and looked like ice than I make the color temperature really cold if I want to really warm really warm, obviously so I use a coven white balance again eight hundred s o I generally shoot most of these images and around two point eight two three point five because it's all about the eyes that's what I'm using for the eyes but this is one of those things I couldn't imagine doing a session and not coming over another chip that I'd love to give you on. This is if you're using this get a hair dryer just a regular hairdryer turn it on cool so that it's not blowing hot air ask your client if they have contacts because it could draw their eyes out really, really bad and take that take that hairdryer and as you're photographing you would be on that side obviously take that hairdryer go and set your camera the way you the way you need it hold it with one hand and take your hair dryer and just kind of blow it and blow it out, blow it and blow it out and it's going to get their hair to going all crazy and blowing everywhere and that's another thing you don't have to have an assistant for. You don't have to have a high dollar fan. You can just buy cheap con air. Uh, little little handheld deal there again. Settings one one, sixteen seconds. That's generally where I am at five point six kelvin white balance and again, that was my ring light dot com. And if you got this is a code. I don't know what she would have chosen this code here already catching up flak for this but it's blair hair ten if you if you want that discount, I don't know, I don't get it what's with the hair jokes. Course I make enough of those myself a cz well, so moving forward. Look at some of these images that you could get, see how I was talking about. You have to have it just right on the eyes, or you can really goof it up and we'll move forward here. This is what I was talking about with the hairdryer. Just that little bit of softness of blowing the hair away from her head makes a tremendous difference. Just that quick, little little flip of the hair dryer and you're there, I've been out of hair dryers before, and I've taken a piece of cardboard. And I'll have someone I'll do like this right and say I own three and they'll phanor back and forth back and forth back and forth and I'm getting what I need so we're almost there and you think you're finished back up and try something again now I want to talk about window light window light was one of those things that I didn't have in my studio I didn't have window light but let me tell you this if you're gonna try to create natural light don't do what idea especially if you rent the building don't uh don't hire people toe tear half of the wall out and put window light and don't do that that's not a good idea without permission thie old man that I was buying this building from I was renting it at the time and he rode by and saw what was going on and he literally just about had a stroke so don't do that window light every one of us has a window somewhere but be careful with when they're like I'll tell you why in a minute this is my window like that I used right here I went teo I kia and I bought four of these little like translucent window panels hunger curtain rod got four of them on there they're back to back and that is a gigantic soft logs it's also so even in your home if you're working out of your home put a white sheet up in front of a window you'd be amazed at this softness of light that you could get from there you'd be amazed these images here like that is one hundred percent natural light it's just like coming in from the window same thing here light coming in from the window this next light for this next image rather is the use of my reflector from underneath and what I did here I'll go to it here is I brought this light if she is my subject, I brought this this reflector and from underneath her you can see it on on the subject's eyes they're in the picture, I brought it from underneath it was coming in from the window so instead of bringing from overhead, bring it from underneath so playing around with bringing from underneath bringing from over top from the side wherever, make sure using a reflector and make sure you're trying to use of natural light in there somewhere. If you don't have a reflector, a piece of white foam core piece of white poster board mean that will work wonders take someone outside, throw it on, throw it on the ground and have him stand in front of it be amazed how much light comes back into their eyes from doing that concrete same thing walk outside and look at where light is coming from it's coming from somewhere she bouncing all post something there's a building there's there's something that light is coming from so don't walk outside and always think, well, this is a place shoot, walk outside and walk in a circle and shoot the same image about four, five, six times and look back through and see which image looks the best. Look at your light and see where the best light is. When I talked earlier about some continuous lighting, this is basically a form of continuous lighting, the differences and continuous lighting. If you're just starting out and you're, like, really scared, the studio lighting stuff was continuous lighting. What you see is absolutely what you get, right? So with continuous lighting, my preference is the westcott, the tv six spider lives which, like I said, they're replacing that I think with this with the sky logs, that is just crazy. Awesome. And lay these images here. This is one hundred percent. This is one hundred percent lighting. That is constant. You see what you get matter finally pulled us over for a second. I wanna show you guys this thing. This is awesome. I just got one of these actually, probably about three weeks ago, and I used to sing at wedding receptions, I use it at birthday parties I used it when I used it. In a matter of fact at my own daughter's birthday party toe light up an area where some things were that we want to showcase brought my westcott studio like too toe like that up so I get up, I'll show you what we got here, hang tight uh, see what I was talking about about cords how aggravating the order if you just get rid of all the chords and put him up somewhere, you don't have to worry about it. This is another form of constant lighting way put this on our subject here she's going to get aggravated, I'll turn it way down way down here and I can move it around I've got constant light on her so as she turns her face, look at the speculum highlights in her eyes right there. I mean that that looks like itself a magazine right here. And then I pull this guy and look straight ahead there, see how this side of her nose is kind of dark. Pool this guy and get rid of a little bit of that shadow and I'm using now amusing constant light with reflector and this thing is super super bright mean, you, khun man, you can light up a whole you could light up a whole room with one of these things so for interiors and all kinds of things, but I love you, my seniors, to be able to photograph them and be able to pull in all the ambient lighting in the background, then I'll use a constant light like this and I'm loving, loving, loving the sky looks that they've got now let's move forward a lot of people, a lot of people have trouble with posing there's just no way around that there's a lot of trouble with posing, but before we move any further this segment, you know, it didn't work out quite like we had hoped, but I've got a backup plan that I share with you just a little while let's go on the internet and see if there are any questions about some of this gear, and I appreciate everybody online being really patient with us and understanding that there are a few technical difficulties that happened every once in a while, but let me just go on record and not go on wood if this is the worst that can happen today, we're in good shape, so let's see, no matter what life throws at you, you know how to make way we'll roll with always for sure, all right, there is a ton of questions coming in, so I think this is wonderful that we have the opportunity to shout them out p down this wondering about using a strobe oring light they notice that you have a continuous one is that for a particular reason the strobe bring light is one of those things that you know david lesha pale he made it very popular I mean he's probably the best in the world at it and I love his work it's a lot more powerful then this would be so this is what you're gonna have to crank your esos off it at four, six seven, eight hundred whereas a flash or a strobe you're gonna be able to shoot and pretty much just about any environment whatsoever so that the advantage to a strobe as you could take it outside and photograph whereas with this this is going to do you not a lot of good when you're outdoors because the sunlight is way more bright than this would be so that is the advantage of using it outdoors where is this you will only be able to use indoors okay and then when you are using the ring light do you ever actually retouch the catch light in the eye, right? You know if you get it in if you get in the wrong spot you can always just grab it and kind of move it a little bit so normally way leave it in there because that's that's what we won't you know, gives almost that cat I look and most people when they see their like less cool that's awesome so we leave it there for for that purpose, you know, because we could achieve the same look with a different life source, but we're shooting because we want that circle around the people that's that's what we're shooting for so we one hundred percent leave it in there good question, and then do you ever use a beauty dish beauty dish? I've got a beauty dish, but I just for me there was a little bit harsh for what I was looking for. I didn't really use it now, that's not to say that in the future, I won't back up and say, hey, you know what? I want to start using something else, so I'll add that I'm a phase that in and then instead of six light sources, now I'll have seven, so you know, the beauty addition? Ah, we didn't really get along that well in the very beginning, but I think ninety percent of that was due to use your air. I didn't really I didn't really know exactly what I was doing with that thing, but I went out practice where they understood what a beauty dish wass and when it does and made sure I was I was photographing the right subjects with the beauty dish because a beauty dish, you know you need to have a beauty, if you know what I mean. If you're shooting it. So with her beauty dish will be perfect with me. You want to leave that beauty dish in the studio because you're going to create a mess.

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

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.

Sean
 

Loved watching Blair Phillips. He has so much energy and is very entertaining to watch. He was extremely well prepared and did a fantastic job.