Skin. The Complete Course

Lesson 33 of 43

Shoot: Dancer Portrait

 

Skin. The Complete Course

Lesson 33 of 43

Shoot: Dancer Portrait

 

Lesson Info

Shoot: Dancer Portrait

Now my kind of average rating of sixteen eight so I'm almost a twenty two uh this this one was sixteen four this room light this one was sixteen eight so I'm I'm hoping for a kind of balance with all all three of these lights and I'm close enough I think I'm only about a third of the stop different between these two rin lights and we're pretty much were spot on with the main line um um actually now it can we can we turn um I'm just I'm just thinking now s o I'm at six forty and I'm almost at twenty two now I'm going to move in and do more kind of calmer closed tight shots where she's not going to be moving is violently we're going to go back to really slow kind of stuff uh and possibly just strikes imposes so I don't need action stopping so put me back down to one sixty and uh I'll uh open up yeah ok ok um so that would so I can actually because I'm really bad at math I cannot just hold down the meter and change the eye so and see where I need to be uh actually I don't believe that rea...

ding so I must have touched the meter so they could sit this again yeah okay that makes it so we're uh I'm getting eight and seven s o were between eight and eleven hollis was like eight two thirds so that's, we're gonna be and I'm going to go for handheld groups can might I will say, for the sake of our are on screen monitor here and for the internet audience who's seen my feed will continue to shoot horizontal, but my inclination is to shoot vertical, so I just want to make people aware of that and, john, I'm going to get in front of the light like this, and I would like these, uh, flags moved in to cover me because she's, you're going to be a stain really pretty much in the same place we've been moving, moving ok, and on the same on the other side. So you want yeah, you know, like you were doing some great things like this with arms over the head and and yeah, a lot of turning and, uh, you want to go back and forth from back to front, so turn and cindy lee and you move it in. Ok, good. Okay, so that's your much smaller area, so don't walk around, stay right over that that mark, and I'm just for the sake of that auto focus question I'm going to leave it on auto focus now wear stretch out just a little bit more like that that's good. A little too far that's good that's good. Very nice. Very nice. Very nice. Uh, ok. Um was I want to see you looking over your shoulder like like about like that bring your other arm over your heads I'm gonna kind of want to see both tattoos so work basically this position but you know, kind of wiggle around a little bit as shapes in the torso, that kind of stuff. Okay, uh, bring your left arm down have played the left arm lower on the right arm high wearing a left arm down, get kind of a diagnosis stretch there, there. Yeah. That's good. Excellent. Ok, let's see what we way see anything that that you'd liketo change or do something doesn't give you any ideas? Uh, it's kind of nice so that we don't tattoos on the front. Very nice. So, uh, it's actually a nice luxury. I mean, let me just make a comment here to have such a big monitor in the studio. Usually when I work I don't have such a large monitor. I have a much smaller one and it means that the talent has to come around closer to the camera to look at the shots and this is photography's collaborative experience, not all about the photographer, you know, we're both contributing to this equally so the whole idea is to invite participation and way get I mean you know you're you're lovely and I could just treat you like an object but that's not really gonna work so so photography is about both the subject and the photographer you know collaborating to create the image so I'm asking for you know feedback here if you see something right it's going to give you ideas and I want you to act on that and surprised me you know um so something toe pay attention to when you're shooting it's not all about you a cz muchas we sometimes think where the center of the universe uh you're not going to get the shot without the help of a good talent which we are so lucky to have today so uh what do you think should we try a few more you know yeah but but you know you've seen it now you kind of know what's happening what works and doesn't work and leak might jump in and ask the question right before so this is from fashion tv in singapore you had been shooting behind the this front light on now you just moved in front of it can you again say is there any specific reason or was that teo portrait shot or yeah the the intensity of this light the size of the light this is about as close as I want to bring it to the subject right now but they camera can I can move the camera in to get more intimate little glue closer it changes how how things work against the background on dh and also sort of there's a subtle kind of perspective for short and occurs when I'm use a shorter focal length as I move in and in some cases I think it helped the extension of the arms and that kind of thing s oh that's that's my consideration you're not not so much is like do I have to always be behind the light is light of to be always right about the camera it doesn't always work out that way so cool and that light is about is that about eight feet from the model? Oh, no, this is more like twelve feet. All right, it's at the right distance let's put it that way. Okay, so I haven't taken a tape measure out that I don't like that way, so okay. All right. Um well, cue music if we have any otherwise here good to go. Show me what you got like tio whenever whenever you possible, when you're doing this thing try and turn your face towards me a little more it's looking a little yeah, yeah, yeah hey, around this neighborhood is good, so work these work this sort of position change the hand positions yeah, very nice way. Very nice. Very nice. Okay, let's. Just take a look here way. Have some things to work with. What do you think, let's? You know, let's actually do just kind of a portrait because you're so pretty. I want to get just a nice portrait. Um, on let's. See, let's, turn. You know, if I can actually look over your shoulder the other one because that's the one that yeah, ok, no cheat around a bit. Yeah, yeah. That's. Good. Yeah. That's, that's. Very nice on your you're on your mark. Ok, good tilt your head this way a little bit. Yeah, that's, good and let's, let's, do one, uh, with arms up over your head, kind of a little bit, uh, yeah, you're gonna have to sort of cheat around. Yeah, I want to see the other tattoo. So, yeah, that's, right, kind of try over. Over your head, but not in front of your head above higher. Yeah, yeah, yeah, yeah, okay, trying glance at me with your eyes, if you can, I know it's a cheap, uh, stretch that's. Good. Okay, now relax. Get back into a more profile follows your face looking that way. Yeah, yeah, nice now, very slowly. Just twisted the ways towards me. Good right there. Okay, now no, maybe reach around and just hold your arm. You have lower. Yeah, in there. Just kind of looking. Tuck your chin down. Little soft. Yeah, yeah, yeah, yeah, just a tiny thing. Smile. Okay. All right. Uh, okay, well, I'm happy. How about you? You know, ceo something else here.

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.

Reviews

Luis
 

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.