Build your Lighting Knowledge

Lesson 19/32 - Live Shoot: Signature Set Up with Speed Lights for Men

 

Build your Lighting Knowledge

 

Lesson Info

Live Shoot: Signature Set Up with Speed Lights for Men

So don't you think if I could do that with Yoo-lin, I could do it with Cameron? Don't you guys want to see that? I know the viewers at home probably want to see, wanna see me take a guy and see if I can do the same thing. I'm up for the challenge. You ready? Come on up here, make a move. Make a move, so let's do this, since this one's on the other channel, we'll move this one, let's do this, no. Let's take this one, no because I want this one on the other channel. I care more about these two than, so let's, should we switch stands? Sure. Or you just wanna, yeah, just switch the stand. Take that stand and put it as a kick. So wait, hold on, first I gotta, come up here Cameron. There you go. Go nose this way a little bit, go nose that way. I have no idea. What do I do? I start left usually, right? We're gonna shoot him straight on, so we'll go, we'll go, let's go. Let's go left. I'm gonna bring my buddy, so which one should be my buddy Phil? Okay, let's do this. We'll work, we'll wor...

k the left side of his face. Now again, this is the difference with speed lights, I have no idea what I'm doing until I take a shot, right. It's gonna take me a little more time, I gotta finesse it, I gotta watch my light. I shoot and to capture one, I gotta see it, I gotta see what's going on, and then I can tweak it. Otherwise, I know basically where I want it. You just keep looking straight ahead, it's perfect. All right, let's try this. Let's try it right there. And then I'm gonna bring my buddy Phil in right about there, and you are just gonna go, since that's on channel A for now, let's just very, how else can we decrease power? Remember inverse square law? Let's just move it away, move it back. We'll keep that the same power as A, but we'll move it way back, plus it's a kick, so we'll see what it does. So I'm gonna keep the settings pretty much the same on this. This just turned off, okay it's back on. All right, we're going with channel B is our buddy Phil, I'm gonna bring him way down, one 32nd, one 32nd. Flash at one is still at an eight on here. Oh, I have to, I have to fire it first, hold on. (shutter clicks) Let me fire it, okay. One 32. Okay, there we go. Yep, fire it to set it up. All right, now we're going. Yeah, Cameron right there, jam your forehead out towards me a little bit, there you go, little bit further, that's good right there, hold that. Good, all right, cool. Come on, I just start, you not having that bad of a day, are you? (shutter clicks) There you go, good. (laughs lightly) All right, here's a start, look at this, right off the bat, we're close, right. That's a good guess shot, right. Are you with me? What do we got? Cameron's got the jawline, same thing, same thing we're dealing with with guys, we want to hit this cheek, we wanna fill the shadow, and we want the kick, I like what the kick's doing. He's hot, right, so let's see what we can do. He's a little hot, you know why? Cause I was at Yoo-lin's settings when the lights were back. So all we have to do, is bring our ISO back down to 100, I was at the previous settings. One one 60th of a second, there you go. I liked what you did before, jam that forehead out, hint of a smile, good, that's it. (shutter clicks) Slightly more handsome than that for me. (laughs) (shutter clicks) There you go, good. Don't overdo it, we got a long day of shooting, don't go crazy, okay. (laughs) Guys, three, two, one. [Instructor And Class Members] Sha-bang. Come on, that had no energy. It's either got to be a whisper, or it's gotta be big. (laughs) Cameron what do you think of the shot. It's pretty good, right? Good, it's excellent. It's not bad, there you go. It's good, it's a nice mellow smile, you see the reaction. So I'm working for my subject, so I'm giving them an atmosphere that allows them to create an expression like that, so they don't have to do it for themselves. Whenever I modeled and people didn't give me anything, I was like, I'd lose my mind, I wouldn't know what to do. I was terrible. If you look at my pictures when I'm with photographers that gave me some direction, my pictures are phenomenal. I look good. (laughs lightly) I looked like a, I looked horrific. There's this one picture I want to find, I just look horrific in it because, it's not lighting-based, so I'm gonna keep moving on. All right, I love this. Guys, I love this. Does this look similar to what we did with my setup? Well I didn't mean, it's not, come on, it's not completely that. (laughs) So he's got a really nice brown color in his eye. He's got a very, very, subtle little brown that's not too brown or too dark, but let me see your pupils, me see the situation here, his pupils are pretty small because of the light. Can you close this up? Yes. Guys, one thing, when you shoot in a dark studio, and I'm gonna move this in, when you shoot in a dark studio, we're gonna try and get, can we close that one too? John you got it? Close that one, look here. Are those pupils getting any bigger? Dude you got tiny pupils, you're not helping me out. (laughs) He's got tiny pupil syndrome. (chuckles) Let me see, look here. They're getting bigger now, close that thing down. Now we're getting bigger pupils. All right, so guys, this is the standard thing, obviously, and some people like big pupils, that's totally up to you, I happen not to love big pupils, I'm not a big pupil guy. I like my pupils small so I can show color in the eye, all right. Who's got the bluest eyes in here? Oh boy, she's not getting in front of that camera. You do, yeah, we gotta try your pupil situation. Do you mind? Not yet, just settle down, let me try, (laughs loudly) let me try Cameron first, let me see. That's pretty big on the pupils. That's way better. You can't close that little? Yeah. Just get that closed, it's pretty good though. All right, let's try the same shot. What I'm doing is, guys, can we get in here on this pupil? Look at this. All right, chin down a little bit Cameron, there you go. Right there, hold that right there, why not? Let's see, all right, here we go. Let me see, there we go, okay, we're good. All right, I'll move the V flat now. All right, wait, I'm not gonna open up the studio yet, cause we're gonna get Erin in here. I'm gonna show you what we got here, okay. I want you to look at this eye. Real estate, I'm talking about real estate. This is highly valuable real estate here. If this was like on the island of Manhattan, you would not even believe how expensive this would be. (laughs) It's important, now I just, I just lost some of my real estate, right. Look at this, I got more real estate, cause a little bit more, right, a little bit more.

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!