Shoot: Dancing


Skin. The Complete Course


Lesson Info

Shoot: Dancing

We're going to get some motion going in them. We'll see how you move, okay, so hopefully we have some music, we confuse a music and leave before we do that. Could you walk through maybe the set up of how? What were the lighting? Our setup has not changed dramatically. Uh, I've changed the ratio of the light, so last time we were using the v flats is sort of the key lights, so they were they were up relative to the phil light. Now everything is balanced. So it's sort of like, uh, this is now our key light and these are rim lights. We turned them down a little bit so that they would balance out with the main light. I'm still looking for that rim accentuating the form, but I'm also want expressions and, you know, so we're allowing a little more front light it's going to be not quite as dramatic, but it should work for us in this situation, so we're going to get a little funky dance action on de so we need music let's see, I'm going to get over here good, okay, so take it away and I'm just...

gonna be firing as you dance, you can, you can do some more clubby kind of, you know, just like fun kind of dancing I know this is more funding for you. I'm sure yeah just like is this music not not doing it yeah there you go a little bounce around a little bit just kind of way those you know way um you like to do slow dance ok um let's let's do some more of that let's do some art yeah do some are kind of wiggly stuff and um try to work it a little closer into your body you know don't get too wide with your poses but kind of be a little more wrapped in no go back to your modern you know, very essential but keep it keep it in instead of out more twisting kind of things way I'm gonna move in to do the same sort of stuff but I'm gonna crop in little tithe sort of twisting it either side or twisting a counter directions that kind of thing um work the arms yeah so I'm now going to be more like waist up so you you know don't yeah it doesn't it doesn't I'm not concerned about your legs as much as your upper body weight focus okay, way back again to kind of smooth way can you tell us what you're looking for and when you when you're clicking you know I'm just looking for interesting shapes uh when she's uh let this we'll play this in the second uh when when she makes interesting bends and shapes and she's got these lovely tattoos that I think we're gonna we're going feature I may want to do some close ups here let's see my plane now they control the display yeah, so it's hard to anticipate she's moving fairly slow but she doesn't hold anything and she's not there's no, I don't know where the peak action is here, so I'm just allowing it to play through the lens and I'm just snapping when I think I see an interesting shape so she's she's doing some cool stuff and gotta love those tattoos cover of my skin book is a fake tattoo that I put on so, you know, having a real tattoo, this is even better. So you have a question from the fx kiran who says the photos out of the camera? Are they the final product or is there any editing involved, like changing the background? Oh yeah are you are you taking out the baseboard and everything? Would you take out everything the floor? What I think I think in this case I will be I'll be removing the whole background, we're going to put her on a whole new background, so I'm not as concerned about, you know, the the wire on the floor or any of that kind of stuff um and I will be oh working the contrast and, you know, trying to enhance some things, and we'll probably do some kind of special effects, and we'll put some motion blur things in there who knows what else we're going to do, and we'll see that today, and we will be doing that this afternoon. So these are the shots that I'm going to be using? Uh, I'm not one hundred percent certain what I'm going to be doing yet because, you know, we're not done shooting. Um, so I I think actually, before I move in to shoot the close ups, maybe we'll have a few a few people a few students get grab some of these shots. Can we get a little more active music? Diego yeah, yeah. Okay, so, yeah, yeah, just a little more. A little more bouncy. God, god, yeah. Okay. Let's, uh, let's. Get a few others here to have to share in the er in the enjoyment of this getting tired? Not at all right, theo internet is having a dance party. Ok? Somebody, somebody jump in. Be bold. Ian's ready? There was a question in the chat room, lee, if he would use the same equipment and settings on location, uh, depending on the location. I mean a location can be like a studio I mean, you know if you're in a warehouse you've got a lot of space you could set up a very you know similar kind of thing um you just kind of work with what you've got uh if I'm going to shoot on a location I have to see the location first before I decide what my lighting kid is going to be so yeah, I would definitely go to location scouted out and that's okay okay okay uh and in a small room you know you can sometimes use the corners of the room and those khun become your v flats bounce light into the corner uh he would take these on location yeah, you know, sometimes I this is too big these big four by eight flats would be too big so I'd take smaller black cards the thing about the big flats is allows especially here for our setups to show what's going on we get we can flag closer to the v flats when we have such a big black when if I if I use a smaller flag out to get the flags closer to the camera and it's interfering with all our video cameras but on a location where I wouldn't be able to use such a big flag I would use a smaller flag and just get it closer to the camera because then it would be relatively bigger cover up, big back lights. Um, but I think, you know, I think we're ready to shoot some more. That more questions are one more. One more. One just again. Teo, drill this home question from stephanie in south carolina. How in the world do you stay in focus with her moving so much? Where do you for focus. And she is jumping around. Well, I'm I'm usual izing the depth of field with the small f stop to stay in focus. So I get a pre focus sort of her mid position over this mark on the floor. And how wide, how much do you think you have in this particular set up for her to remain at the distance? My cameras that I probably have, you know, a good of, you know, four feet made masum. Um and, you know, I've got the camera on manual pre focused, and I'm not touching the focus so I can just instantaneously take a shot and you had on the tripod and I have it on a tripod thinks it's more of a lock down. Yeah, thank you.

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.