Introduction to Shooting Movement


Skin. The Complete Course


Lesson Info

Introduction to Shooting Movement

Welcome to day three uh today is our figure and action day, so we've we've been dealing with skin justin portrait ce and fairly static subjects although we did get a little hand motion action yesterday uh but today we're going to be looking at a figure at sea, so now we're going to look at the delighting diagram, we're going to use this basic setup. Um the only difference between this set up in what we're going to do today is that I'm not going to be using the soft box up here is a hairline because we sort of have limited space um but we are going to be using these v flats to create a really strong rim all that should go around both sides of her body and are our phil like, I'm going to consider these v flats rims as the key light, so our phil light is the umbrella we're going this big umbrella above the camera again very important have black flags to hide the rim lights and I thought I'd show you a few examples using this same style lighting if I can get the clicker to work, he would g...

o so here um here's a shot that I I did it was a body double for a movie um and extreme action stopping right, so the action stopping is occurs from short duration, shutter or in this case the duration of the flashes what's actually stopping those drops of water and um she's literally jumping out of the water and, uh you need very quick strobe durations to stop that yet like a soft box in front on this yes, yes, but it's the saw you know, the front light has started considered the phil so it's not that main key light it's not a strong and it's it's really more about those the rim lights which you'll see helped create the modeling and defined the form of the figure is another example er in this case I mean, I hope I'm hoping to end up with something that looks similar to this uh very strong rim and low level phil um so we're looking for a dramatic picture here in this case of the model is jumping on a trampoline um and uh in order to really do that effectively would need a much bigger space so unfortunately she's gonna have to jump off the floor today. So the main considerations for action stopping is either a short shutter speed or uh flash duration. So, um shutter speeds to really stop action have to be kind of in the navy the neighborhood of five hundred two thousandth of a second to really get reasonable action action stopping our flash duration most flash durations actually are short enough in there they're usually between five hundred to eight hundred of a second, so most flash units actually would provide reasonable action stopping ideally though we can even shorten it further by lowering the power settings um interesting enough the on camera flashes that you put right on little the little tiny units he put on the camera usually have very short flash durations so they can provide a decent action stopping even at full power but at lower power settings, if you can manually adjust that they will shorten the flash duration even further and the variable power knobs like today we're going to be using uh, new dina light packs and they all they have ah continuously varying uh like a power very er like a rheostat kind of knob and when you turn it down to the lowest said and you get the absolute shortest flash duration, so these are the considerations um when we're looking for maximum action stopping because we're shooting flash, you cannot use the motor drive. So uh, a lot of people think that they can just set their camera on rapid fire and then just better shoot a burst and they'll catch the peak action we don't have that luxury because we can't fire this flash that rapidly with power packs have to have time to recycle, so we're going to have to rely on anticipating the peak action and captured it in one shot and the actual secret even even sports photographers will tell you this the actual secret is inaction stopping is that you can't rely on the rapid sequence shooting actually catch the peak action. You could end up shooting a frame before in a frame afterwards, and you don't really have a control over when those line up with your action if you're just using, uh, rapid sequence shooting, so, um, you have to learn, and all the best sports photographers are good at this. You learn how to anticipate and get a feel for when, you know you have to kind of shoot first because he got to leave time for the mirror to come up in the act. Exposure to occur is goingto happened a millisecond or so, depending on your camera there, maybe more or less delay, so it doesn't happen instantaneously when you're capturing that shot, so you really have to be able to just get it just before and it's tricky, and it takes some, uh, take some practice and I I don't know today how well I'm going to be with shooting, shooting the action, so we'll see. Well, see I I've been lucky in the past, so we're going to now fly everything out of this. This room and set up the lights so give me like hopefully five minutes and we'll get everything set up and we were just wanted tio asked me some questions of sureties comments along the way I want to read a comment from khobar siddiqui who says who says lee um that they have not given the internet audience a chance to speak about the course, but I take this opportunity to say a big thank you to you incredible! I've you are truly our teacher's teacher and it is one of the most amazing experiences to watch you live. Thank you. Thank you. I'm actually honored yes, thank you. I love I love reading your guy's comments so great you guys you guys are, you know, wanting to express something, just write it down and we will pass that on the lead. It's very cool. Okay. All right, why don't we ask a couple questions while everybody setting up these air pretty basic? Uh, ron, jon india says what is the difference between using the flats and using a large umbrella? Uh, well, the flats can be a softer and softer source and spread the light a little bit more, but they also have that sort of self flagging and capability because they're, uh they're blocking the spread of the light um, I've used uh two umbrellas one on top of the other it's a very similar look and then it's sometimes it's easier to move the whole set up because the reflector is connected to the light source um but you know it's just it's a more complicated to set it up initially but leaves allows for some flexibility I just figured that v flats actually gives me the softest and the most clean spread in the rim that I'm looking for along the body so um we're going to use that today but yeah, if you need to do quick change and positioning of the lights having a duel umbrella said it was also very effective one umbrella on top of the other and similarly fantagraphics asked about using strips off boxes azra mites versus the people that that could be effective tio yeah if you get the right you know, kind of soft box that's very effective it's another expense and foam core is cheap so that's what we're using today let's see here um clyde I can't I'm not try to pronounce clyde's last name he asked, does lee ever used permanent lights and what is his take on that? I think he means continuous but I guess continuous lights I'm not sure what I'm not german german and lice means maybe clyde can do you know what do you mean by that? I'm not sure some I mean you know, some photographers have like you know, everything is marked down or or locked down or they they're using ceiling grids toe hold the lights and they always shoot with lights in the same position uh I don't have that luxury you know, it's everything I do is always different so I have to be ready to shoot in different locations aa lot so there's no real permanent light set up for me um um it's just the net mind my situation and I find myself in and I actually enjoy mixing it up so I don't like to do the same thing the same way every time it looks like clyde did say continue did mean continuous continuous lights well, it would be important for video but uh for stills of flashes it just it's easier for models because it's not so warm you know and you get a lot of light so for action stopping kind of stuff you cannot beat the strobe lighting so um but if I was shooting video yeah, I would use kind of the new led lighting is quite good that that's sort of a compromise with the heat that normal tungsten lights would have these new led lights are very cool you can actually touch them with your hands so that they don't put out as much light as a as a strobe so you know that's another consideration but these days actually with the the highest dose of the cameras. You, khun, crank your eye. So up to twelve hundred or so. And that looks great.

Class Description

Skin. Everyone has it, everyone wants it to look good, and if you're a photographer who shoots people, you need to be able to light, shoot, and retouch skin. Hollywood photographer Lee Varis has shot celebrities, movie posters, and magazine articles where the skin has to be perfect. He is the author of the popular book Skin, and he's coming to creativeLIVE to share his knowledge with you! Lee will take you beginning to end through multiple shoots with different types of people covering how to pose and light them well, and will then cover in-depth how to post-process in Lightroom and Photoshop. You'll learn how to fix blemishes, smooth out wrinkles, and address other skin concerns so you can make your clients look their best.



Skin tones correction and portraits editing are new to me. This course provides a set of tools for me to improve my portraiture work. Lee doesn't just show you how things are done, but also the reasons for the corrections. The delivery is a bit dry because the topic is quite technical. You can have a break between lessons, if it becomes too overbearing for you. I highly recommend to take this course, if you are planning to do portraits, head shots, or even senior pictures.