Shoot: Beauty Light


Skin. The Complete Course


Lesson Info

Shoot: Beauty Light

Welcome back I'm almost set up here to do a change in the lighting we were using very dramatic lighting before uh rembrandt lighting was coming from this side all I've done now has moved my big light source over and sort of the beauty light position and I'm just covering him completely with this very large umbrella with diffusion panel across it so it's it looks like a really big kind of soft box type light and it's it's lined up so it's it's in line with the camera and on our subjects bernard and we've we're gonna like cover him from about head to waste because you know those girls out there I want to get a better look at you and I'm on lee right now I'm just waiting for the flags to move in to cover my rim lighting okay what do you want it it's it's just like this kind of and the same on this side because I because from my camera position I'm back here and I want to just make sure that I I hide the v flats which were forming the rim lights of from cameras so that this one could move ...

in just a little bit john on that side okay good um all right so the my intention here was to just show you uh uh full lit version like this would be more of a classic sort of beauty look and I'm still keeping the edge the rim light now is going all the way around the body so let's see let's see what this looks like uh give me a little test shot here. Okay, so um he's really lit now okay? Chest planes of his face and we still have edge rim light and a hairline so this is sort of kind of maximum wraparound light but I'm not using any phil cards so I still have a little shadow under the nose a little shadow under the chin but because that light sources so big it spreads the highlights look on his chest you know well, highlights just spread very evenly over his chest and he's really lit up not going to be a problem of that his skin is so dark um and uh all right let's just shoot we're going to shoot a little bit uh and then we're going to get right into a photo shop here all right? Are you ready for nine good. All right, so uh yeah laurie changes a little bit just stare right into the camera like you're looking at all those people on the internet yeah a little see how that's going a little smile that's great. Okay. And, uh you know, I think, uh I think you know what's that that old spice think old spice yeah, okay, look at your man look at me may raise one eyebrow dizzy and give me that old that old spice guy look yeah ok turn your face a little bit yeah that's good that's good let's go on the other side let's check that out so here I'm kind of looking at how the rim light plays on that turned away cheek so there's no place that he in turn where he's not really being fully lit on dh it's still yet the land still has some drama because I'm not using phil it's only it's only his uh faces that's that's receiving the direct light okay, and that also gives me good muscle definition on his chest so put uh both hands on your hips. Okay, um all right, now you're you're like a gangster gangster serious? Really, really serious. Very serious blood curdling lee serious. All right, let me let me just review these so I'm gonna I'm gonna looks like they're reviewing it for me. Let me, uh let me play these back, okay? So you know, there were what a great look that is so serious there that this was the set up. You know what? I was setting him up for this shot anyway again see how the the rim light and the hair light wraps around the arms he's going a very dark suit against the dark background but everywhere he's still being separated from the black background all right, well I really you know kind of think I have enough here bernard so that was a real quick shoot and then we're gonna we're gonna fly all this stuff off but let me let me ask before we totally break let me let me see if they're any questions relating to like the lighting or groups gonna stand over here I want to do another great we're in the center here it's the same the same like it it's really the same so I don't need to shoot another great card s o questions always okay technical question from lighty uh who is from israel? Do you always use the middle focus point when shooting in a studio come again? You always use the middle focus point when shooting in a studio the middle focus but I'm not sure I understand your center camera which how are you focusing your auto focus I'm what you are using the middle one oh yes, I got it sorry, yes, I typically I'll use the middle focused one and I'll just move it wherever I wanted and focus and then recompose I'm sort of like there's too many buttons to move, I get confused, I'm kind of I'm the same way on the computer I like, you know I'm keyboard challenge so I tend and yeah, I tend to do the simplest thing on the cameras so I don't usually move the focus point around unless I know I'm always going focus at a certain place I may move that little focus point and leave it in one place rather than moving around all the time. So a question from kim photo from norway could you talk just a little bit about the difference in that set up with the white flag versus the black flag of the old friends or why did you choose it that way? Usually uh and this may be some confusion from yesterday because yesterday we had a white card appeared to act as a flag in almost every case, I'd prefer to have the black side facing the camera uh, it just seemed were a little rushed yesterday and getting things set up in the car that was available was white on both sides. Um so flags are almost always black and ideally it would be, you know, use a black card that's black on both sides so that I'm not contributing in this case you know, this flag the camera flag here wasn't receiving enough light to act as a fill for him, um and just lives positioning so is ok that the white side was facing this subject, but, um, if I'm trying to flag off the lights always important to keep the black side towards the camera and in some cases if you don't want to contribute any extra phil, if you're really looking for contrast, your flag should be black and both sides so you're not, you know, throwing more light back into the set good, great question from jessica in florida would you the rim light if the model was either wearing white had white or silver hair or was vault uh, good question uh in in in this case with a black background if they're wearing white, I don't have to worry as much about separation from the background thie concern with wearing any white clothing is that it can get lit too hot so if you have ah confuse a rim to give some shading her modeling but it was more difficult to keep it from burning out just blasting out toe white and looking like a speculator highlight um and again also with with a bald head the position of that hair light would create a hot kick and it's almost impossible to avoid that so almost never with a bald person what I using a hair light so I would just let the let it fall off naturally yeah even eat more questions in the audience questions guys that were good all right way have some more questions okay? While they're still working on that a question from ronnie j in maryland leak could you have used uh stripped like with egg crates instead of those white cards uh yeah strip lights with egg grades is a way of getting a sort of a directional look out of a soft light so that the the egg crate kind of thing is like a grid so the grid channels the light a bit so that as you walk off axis you don't see it so it's sort of self flagging but it isn't is quite a soft as the v flat look so um and you know it xhm or gear you know, I I've made a conscious effort here in my lighting to just use stuff it's readily available you can everybody can get phone core from the heart story phone corvi flats a lot cheaper than a strip light with an egg crate but you know if you have the budget you have access to this stuff or you want to rent it if you can rent and then just charge your client for that rental it's nice to have a little extra control and that that option and it would only really be critical and your change moving lights around your quickly trying to modify this set up so if you've got the egg crate set up there sort of self flagging you know and and it helps you uh reposition them without having to worry about moving additional equipment control the white okay great added far I would like to know what is the best way to interact with a model if you are quite shy, who are quick? Uh, you know, kind of defense. On the first, I tried to joke with people a little bit and just like trying not to make it seem so serious. When models are very, very shy, you need to give them or direction so they get more confidence when you're telling them exactly what to do you so you would use the opposing strategy of okay, turn your head this way. Look, lower your chin glance back, you know, give them very, very specific directions until they kind of get comfortable. And, uh, yeah, it's, it's, it's an art form. You really just need a lot of experience. You consider yourself to be shy. Are you introvert or have you had to work on being extroverted, or does it come naturally you but does it come down with you? Uh, you know, I don't know, I, um I used to be very, very shine and I normally on the photographer, I don't like to be being on camera, but I don't know you get gray and your beard and do this kind of let it all go.

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.