Build your Lighting Knowledge

Lesson 16 of 32

Live Shoot: Shadow, Kick & Fill for Men

 

Build your Lighting Knowledge

Lesson 16 of 32

Live Shoot: Shadow, Kick & Fill for Men

 

Lesson Info

Live Shoot: Shadow, Kick & Fill for Men

[Peter] - I'm gonna give you my men's settings now for where I start base, this is base. Alright, Aidan come on in. We're going, John it actually... hold on. Aidan can you step this way? [Aidan] - Yeah. [Peter] - This is why these have to go up a little bit so they don't block the kick, got it? [John] - Yeah. [Peter] - Lemme just see that. That won't block the kick and the kick has to come in a little bit. Hold on, so guys I'm just manipulating it. You have to play with your kicker... (laughs) Sorry. And I usually keep it about, sometimes I like a low kick and sometimes I like a high kick but we're gonna start right on his shoulder and see. And we're gonna keep it pretty far back if it gets in the way of my strobes you'll see the shadow of the kicker on the background but I'm not using strobes yet. We're gonna mix strobes at another time. So, we'll mix strobes and I'll show you my mix strobes setup and we'll do that and if the kicker shows up on the background I'm gonna have to move it...

and I adjust it and I move it around. But I'm watching, where's the money on these models? That used to bug me so much, they had all this, right? It's right here, right? (audience laughs) He's got it. There it is. Come forward. Come forward. There you go, hold that right there. Wow. Look at that kick. Alright now, remember we're gonna go back to the inverse square. We're gonna get the light back in there. Where it was before, really tight on him, and we're really cranking it. Aidan, you've been a trooper today. Don't think you're getting away with my shirt though. (audience laughs) (Peter chuckles) Alright, awesome. Again I can see exactly what I'm doing. Geez man, jaw line's awesome, holy smokes. Make sure you get all these images for me, okay? Okay, here we go. Uh, put the hands in the front pockets though. I'd like the arm, it's fine, that's fine. Turn a little bit this way. Scooch forward just an inch. Right there, lemme see, that's amazing. Alright, now I got my kick hittin him, filling that cheek. Can you put... Let's bring, let's not go crazy with fill yet. You have to be careful with fill because if I had strobes going off and I had fill like this what's gonna happen? (off mic chatter from audience) Is this gonna be a reflector or what? Even though it's not on, fill's not even on. But if I have it positioned what's gonna happen? You gotta be careful what you're doing. You gotta know you're awareness to light and you're awareness to detail of light when it's bouncing around the room. That's why when I was in that little room with the 10 foot walls and all white around and I started blowing strobes off lights going everywhere! It was crazy, I couldn't figure out... I'm telling you it was like a gift that I learned about this continuous lighting stuff. Jam the forehead, there you go, hold that. Let's see how our kick is, really nice. Let's make sure we're functioning. We're functioning, we're funtioning, hold it right there. I love it, that's great. Hold on, I'm going and I'm gonna position it a little bit different. Hold that, I like that. I wanna get under the collar point. See how I'm moving around guys? I'm adjusting, I'm adjusting my framing rather than zooming in and out because I want to stay at my... I wanna stay at 92. There's no 92 written on there it's just, you know. Oh, now what did I do? See, I didn't adjust my settings and I moved the light closer. Alright, rookie mistake. (audience laughs) Here we go, we're going back up to 500 right? Let's go 400, 500's gonna blow it out. You see what the kick did? See how I lit the bottom of his cheek? He's got the cheek bones, you know, he's got it going on. Aidan, turn straight to me, there you go, chin down a little bit. Good, hold that right there fantastic. Now that's at 20, is that a subtle kick? It's awesome. Three, two, one! Shebang! [Audience] - Shebang! [Peter] - Is that a subtle kick or what? Look at this. I love it, I love it, I don't want area out at all, right? I might wanna wrap it a little bit up in here. I love it and I don't even have fill on him. Fill isn't even on. Scooch a little bit closer to that light. There, try that, try that. Okay, so that's about, that's good. He's a little bit closer. Somebody's gonna have to re-touch the... You have to use these images. You gotta re-touch the mic off that sucker. I'm really tightening up guys, here we go. There you go, hey John, wait let's do this shot and then... Hold that. Now remember if I don't hit him with this light, if I don't hit him with this light I can re-touch it out, right? Did I hit him with it? I didn't. I barely... You know I was paying attention when I did that one. [audience laughs] Alright, so I don't wanna hit him with it but my re-toucher's got it, right? And now, did I get a little bit more shadow density getting it closer? Let's see. Little bit more, little bit more, little bit less kick. Okay, stay right there. John, do me a favor. I want you to slowly walk that kicker forward for me. Slow. No straight towards the window, not towards me. Keep going, keep going, keep going. Stop. That's it. Chin up. Now, when I... Go forward again. Go forward again John. [Aiden] - Oh I thought you were talking to me. [Peter] - Stop. Aiden, you just look straight ahead. Chin up, good. Now, since I'm not using fill right now, I'm gonna bring fill out of my way for a second, and I'm just gonna... Cool. Now in my studio the windows are over here. I've always got got the V-Flats on the black side facing my clients, always. What I'm doing is I'm having John bring the kicker forward so the light from the kicker is wrapping around his cheek a little bit more to fill that space. Keep that brow activity, just like that. No, I like that. Like this. Yeah. Like, furrow your brow. There you go, good. Anchor you're brow, pucker it. No just gimme some. (everyone laughs) I told you about the veins. I was right. (more laughter) I had to throw in some of my stuff, come on. Alright, here we go let's look at this. I love it. Brow activity to me is freakin' awesome. Alright, so I definitely got that shadow density. Look at the difference just taking light away. It's a little darker. The spin... This is what we're gonna do. We're gonna go there, John. [John] - Yes. Bring the light a little closer to him and bring it closer to the back of the board. Closer to me, keep coming to the window. Stop right there. Aidan, right straight at me, face straight at me. That's it, I'm starting to fill that area. Keep coming, John, towards the windows, towards the windows. Hold that right there. Chin up a little bit. Good, tilt your head a little bit this way, hold that. Come forward a tiny step. Scooch that way a little bit. Come forward again. Step back that way now. Right there, remember it's a smidge. Jam the forehead out, chin up. Tilt the head a little bit, no. Follow my hand like I karate chopped you in the face. That's one of my moves. I'm just trying to see how much kick can run up his face and where I want it then I can move it the whole time and then I'm gonna show you when we add a lot of kick and it really messes up the shot and we subtly, or we pump it up a little bit to match the other side of the face. Scooch back like a schmillimeter. (audience laughs) That was like two inches. Don't you know what a schmillimeter is? It's like this, there we go, hold that. Stand up straight. Chin out and down. Forehead out, hold that. Chin down slightly. Chin down slightly. There you go, good. Really nice. Now, I'm running the kicker up the side of his face cause we got it really in there. See how it raised it up. It's up here now too. It went from the cheek and up here and it came in here. So stay right there don't move. Can you jack that thing up. [John] - That one? [Peter] - The power. What power is it on? [John] - 30. [Peter] - It's on 30? [John] - Yep. [Peter] - Really? [John] - Yep. [Peter] - I thought you had it on 20. [John] - No. [Peter] - Wow. Alright. You know why, this is not like standard settings cause the key is at 80, that's why. [John] - Yeah. [Peter] - Alright, so that's at 80. Usually, what I would do is I would... But since Aidan can handle it I went 80. So, I can go way up on the kicker cause I'm at 80 over here. So go, keep going. I'm gonna watch it. Keep going. Keep going. Keep going. Keep going. [John] - That's 60. [Peter] - Stop. Wow. Don't move Aidan. Don't move. Let's see how this looks. Hold that right there. Good, let's see it. Let's watch it. Wow. It's still not even coming that much. But now I lost the eye, he's a little bit forward of the, forward of the thing. Go like this, with your face, with your finger. There's something on your nose. Is it your skin? [Aiden] - I think so. (laughs) [Peter] - That's alright. You're skin's on your nose. That's fine. You're skin's on your nose. It's fine. It's a little joke. Um, put it at a hundred. What are you at? [John] - 60. [Peter] - Go at a hundred let's see. Scoot back an inch. Now I let you go an inch. Now it's really opening up. Bring the light a little bit this way now. It's really lighting up his ear, holy smokes. Well, now it's a good thing I got the lens hood on. Jam the forehead out. Chin up a little bit. That's nice. Good. Watch the difference guys. I like it. It's still subtle. It's still subtle. It's not going crazy. I don't mind it at all. What do you guys think? (audience agrees) So the thing is, is when you get a guy... So this is what I'm doing. I'm shadowing here, right? I have no fill on that shadow. All the kick is doing is filling here and it went up and down the side. One thing that I want you to be aware of that is pesky, is this. You're gonna get a shadow from a collar. So, raising and lowering the light here will work on that. Or, you can get a fill in there work on it. It doesn't really bother me. It's something that happens with a collar. It's just gonna be there. So you gotta work with it and work with other lights or a reflector somehow to open it up or you're gonna get this kind of shadowing. Which in this case it doesn't really bother me at all. It's Okay. Aidan's rockin it. Alright, I really like what's going on here but I've only shot him straight on, right? I wanna show you this is left. This is my key light to the left. Let's go key light to the right. But first, first let's do this. Go nose this way. Go nose this way. Yeah. Keep going. There you go. Now just keep you're feet that way and your shoulders that way but bring you're nostrils back to me. Bring your nostrils this way. (laughs) I could say nose right? What's funny? Yeah, come on. Mess with people. Drop the front shoulder down. Okay, good. Step a little bit this way. Good, that's it. Drop this shoulder. Turn it. Right there. Hold that. Lemme see what this collar does. We're gonna get the chad on the collar in a big way. Tilt the head this way. Turn the shoulder this way. That's it. Now the nose that way a little bit. Hold that. Nose back to me. Guys, this is amazing. Don't move. I can see everything because it's continuous light. This is why this is one of the awesome reasons to shoot continuous is just because you can see everything. If I had a strobe what would I have to do? I'd have to shoot it, look, change, shoot it again. Now I'm just, I'm like okay, I got the... Tilt, fall, yeah. Hold that right there. Look at this cheekbone on this dude. Holy smokes. Look at this. Look at that. Aidan, did you know you had this in you? You see that? Like that is, if somebody in front of your camera has that and you can accentuate it why not do it? It looks cool. It looks really cool. I can work with that. Aidan, you're firing on all cylinders. (laughs) Holy smokes. Let's just, before I switch the lights the other side We're gonna bring in my buddy fill. So guys, this is men's lighting continuous, continuous lighting for men. Alright, now that we're filling we can get this out of here. Gimme five, gimme... Well, we're at a 80, I'm gonna go, I'm gonna go 10% on this. I'm gonna go nuts. Okay, so let me see. Yeah. Can you do the camera in front again? Watch this. [John] - V-Flat out? [Peter] - Yeah take the other V-Flat out, yeah. Oh, I'm sorry guys. I've been blocking you the whole time? You guys are kidding... Nobody said anything. (some laughs and off mic chatter) What? Okay good. Alright, You could see that? Are you Okay? Why didn't you tell me I could have taken it out of there. I couldn't see drew either. (some laughs) Okay, so guys, I want you in on him right here. Watch. I want you to go back in your position you were... Hold that, hold that. Lemme see. So that's about where you were. Tilt the head this way a little bit. Hold that. That's about where it is. So right here guys, is where we're... Who's in charge of this shadow density on this cheek? (off mic audience noises) Uh-huh, and who's been just shooting it without being in charge of it lately? Raise your hands. (laughter) At home. (more laughter) I know you guys are I teach this stuff all the time. I know nobody pays attention to the shadow densities. My shadow density is really important for me. To the point where I'm gonna show you and I'm gonna show you how to watch fill. Hold that. Scoot a little bit this... There you go. Tilt the head this way Aidan. Right there. Hold that. Drop this front shoulder down. There you go. Nose back to me. Jam your forehead out a little bit. There you go. Good. Now I got the shadow. Now watch the fill. I'm gonna shoot it in fall. The minute I bring it in, I see it. I can see it a mile away. You guys seeing it? Can you see it on the screen? Look, there it's in. It's out. It's in. Look at it light up. This guy's money with the cheekbones. You just gotta stop. This is amazing. (Aidan laughs) Stay right there. Hold that. Hold that right there. Let's take a look at this. Now, we got our buddy fill. Fill is my best friend when I'm shooting. Right here. My best friend when I'm shooting, is my buddy fill. Let's get the cheek on the same angle as this one. Let's work towards this. Go nose out. Like go nose this way. Lemme see the fill. Okay. Now I can either... I always keep fill... I always let fill fall off. I don't bring fill in like this very often. I always bring fill out here and then I just watch it. So I'm gonna open up the shadow even more. Tilt the head this way a little bit. Hold it right there. Drop this. There you go. Good. Jam your forehead out. Work your nose that way. There you go. That's about it. Jam the forehead out a little further hold there. Lemme see if that's it. Nose back this way a touch. There, right about there. Right about there. Little bit this way with the nose. Right there. Don't move. Now fill's getting in my way. Fill's getting in my way but I'm gonna show you. Well don't smile, we gotta get the same shot. What are you doing? (audience laughter) I gotta get mister cool. Can you bring mister cool back please. Look at he difference though right? For the fill it's already... There you go. Good. Jam this jawline out a little bit but go nose that way a little bit. But then, bring your jawline toward your shoulder but nose that way, like this. Hold it. Like that. Kinda like that. Look at me. Like this. Nose here. Hold that. Bringing this towards here. Nose this way though. Look at me. You're doing this. Go the other way. That! Freeze. Don't move. You got it. Nose this way a little bit. Hold that. You got it. Chin up. You learn some stuff today? [Aidan] - (laughs) Tilt your nose. [Peter] - There you go. Good. Serious though. Aidan, you've been amazing. Both you guys have been amazing. Tilt the head this way. Hold that. There you go. Good. Jam that forehead out. There you go that's it. That's more like it. That's more like it. So, let's look at the difference in the shadow. Now, I'm not saying that I don't like that one better. Whoops. I'm not saying that, you know... I do like this shot better. However, look at the shadow densities on this. If I'm shooting somebody like Aidan who's got this I'll do the shadowing. If I'm doing a corporate job where I have to match the women's lighting with the men's next to each other I'll use fill up the wazoo. I'll even open up more than this and do a less subtle kick so it matches more the women and open it up a lot. But this, you got to, if somebody's got this and you can give this to him you gotta do it. Amazing right? Okay. We're gonna do the other side of Aidan real quick. So John, flip the... I'm gonna show you how you do it. You just flip the whole operation. Move the kick to the other side. I'm gonna flatten out, this is my new fill. I'm gonna work... Alright Aidan come on in. There you go. Stay right there. I'm gonna go 80 10. The other way. Wow, Aidan, you're awesome I never go 80 on these suckers. Let's go 10 the other way. There we go. We're at 80 10 and you're at what? [John] - We're and 30, no. We're at 100. [Peter] - You're at a hundo aren't you. [John] - Yep [Peter] - I told you at a hundred. Now work your nose towards the key light. That's what we're doing. Come forward a smidge. There you go. Keep coming forward. I need you forward. There, right there. Is this one brighter or something? You alright? [Aidan] - (laughs) Yeah I'm alright. [Peter] - Lemme see. 10, we're at 10 and 80. And here's our buddy fill. Let's shoot him without fill. Let's do the same thing. Turn the shoulders a little bit more square to me. Yeah, like that. Jam the forehead out. Now watch the nose and everything and the look of his face. We're changing it cause we're changing light. Take a tiny step forward. Another one. Your good now see. He's got me now. He's on my program. Alright, stand up straight. There you go. Jam the forehead out. Hold that. There you go. Hold that right there. That's fantastic. Let's look. Let's see how we did. Wow. He's good on both sides guys. So how are you gonna know that? Do you like it? [Aidan] - Yeah. [Peter] - I like it. [Aidan] - It's good. [Peter] - I like it. Look at the subtlety of the kick. Haven't gotten fill in there and I could either move him or I could move my light to change it a little bit. Okay, so he moved already. So it's fine. Stand up straight. That's it. Turn your shoulders slight... Stay right there. Stay right there. Square your feet off so you're facing straight. Yeah, just like that. Stay like that. Jam your forehead out towards me. Don't pay attention to the camera. You're right here. I'm gonna move the camera over here. Jam the forehead out. Guys, do people do that to you all the time? I'm moving them and they're looking in the camera. I'm like, I'm gonna move the camera. Why you looking in there? (Aidan laughs) That's it. Stay just like that. Real straight. Now, yeah, that's awesome. Face is freakin... Call your parents and thank them after this please. (laughter) There you go. Okay. Alright, now I'm where I wanna be. Alright. You guys get how close I like these lights, right? Tell me why. (off camera voice) I wanna make sure there's learning going on today. Okay, good. There you go. Jam that forehead out for me. Hold it right there. Beautiful. Amazing Aidan. You can't beat it. You can't beat it. You can't beat it. I want you to work your nostril towards that light. Stay in that same position. Let's look at the side of the face. Yeah, work you nostrils that way. Yeah. There you go, good. Yeah, I don't know. You got the beady eye in front. (laughter) Look at that. But look at this. Is this glorious or what? Are we rocking it? Right? And look at what we got here. Aidan, this is what it's all about. This is amazing. Would I know that if I didn't flip the lights. Are you flipping lights on people or what? Are we flipping lights? We're flipping lights. Now, I like the shadow density. Do I even need fill? I didn't even bring fill in yet. I'm still getting fill from the outside, probably a little bit I guess. Alright, that's it. Let's bring in fill. Stay right there. Work your nose towards the light. Oh my gosh, that's a lot of fill. It looks like a lot. Tilt the head this way. Go nose out. Yeah, that's perfect. Right like that. Nose back to me a touch. Hold it right there, that's perfect. I like that, hold it. I like it. Good. I can work with that. That's a lot of fill. Stop clenching the jaw stop doing that. Don't do that when you model anymore. (laughter) You don't need to do that. See, when he clenches his jaw look how severe it got. He's already got the stuff. He's got the goods. He doesn't need to do that. Give me one without doing that. But look at the subtlety. There you go. Tilt the head this way. Nose back to me a little bit. Hold that. Good. Squinch that eye one down though. You know what to do. Don't overdo it. Don't go crazy. Little bit less. Chin down, forehead out, a little bit more. Good, there you go. Don't move, don't move. Don't move, don't move. Don't change it. I love it. Stay right there. I wanna open, I wanna get my shadow density. Work your nostrils a little bit this way. Hold that right here. Look here. Good. Let's look at it. Okay, I wanna compare the two and I wanna end on that note. Look at the shadow densities. You with me? You guys with me? Are you with me on this? That was just, how much did I move fill on that one? Guys, that's amazing.

Class Description

Understanding how and where light is found when taking a photograph is one of the most essential learnings when taking a portrait. It's easy to spend a lot of time working on complicated lighting set-ups when your best light is often right in front of you. Join well-known portrait photographer Peter Hurley as he simplifies the process by walking you through the fundamentals of lighting. He’ll explain natural light and how to work with what’s available. He’ll discuss how to work with continuous light and the best way to use strobes. Over the course of this class you’ll be able to photograph a portrait using: 

  • Natural Lighting Continuous LIghting 
  • Strobe Lighting 
  • A mixture of variable lighting to create a dynamic portrait with a simple set up

Reviews

user-d02154
 

I truly enjoyed this amazing lighting class. Peter Hurley shows you how he achieves his signature look using all forms of light shaping tools from natural light, to speelites and high end strobes. Seeing first hand how the placement of the subject to the light source and your lightning set up is so important to avoiding the hazards of flat light and haze. He teaches you his unique methods and secrets on how to make eyes pop and get the best color contrast without harsh shadows. You will leave this class energized to hone your own creative vision with light and shadows using the methods taught by Peter. It was a privilege to learn from a master like Peter Hurley. Thank you Creative Live for another amazing class!

pete hopkins
 

Peter Hurley is the real deal. Not only does he know and share a ton of really practical knowledge of studio lighting for headshots and fashion, but he cuts through the crap and tells it like it is. He is very encouraging and serious at the same time. He had our attention from Day 1. and never lost it. *Bonus Gold - You've got to check out his Hurely-isms. They are priceless! Aside from the new bag of industry tools to work from, Peter gave me a real, sober perspective on what it takes to be PROFESSIONAL fashion photographer! And CreativeLive provided the perfect setting as well. The whole CL staff were warm and inviting and the food was great! I highly recommend CL and P. Hurley to anyone who wants to learn from the best of the best! I can't wait to start shooting with my new skill set. Sign up for CreativeLive! Take advantage of all that they have to offer! Build a foundation, own your light, and Shebang!!! You'll be at the top of your game in no time!