Skin. The Complete Course

Lesson 30 of 43

Students Shooting

 

Skin. The Complete Course

Lesson 30 of 43

Students Shooting

 

Lesson Info

Students Shooting

If you want to try just want to do things you tried before it yeah I feel like yeah probably because you're using fifty might back up a little bit okay I was shooting somewhere between thirty five and fifty so you may just since you don't have a full frame tio all right not a full frame across frame so oh in that case yeah you're using a crop frame type camera yeah, that fifties more like seven years okay yes uh I miss um your shutter speed said that uh changes shot of speed you were somehow won three twentieth you should be more like one twenty fifth or something okay yeah, ok, yes, go ahead. You need a watch from going right a voice saying get your like yeah you may you may wanna back up and she just shoot more why you're going to get a wider lens for can I ask you they will sure doing that why wasn't that she needed the ship the lower her should she needed the lower the shutter speed because the flash duration is uh is not synchronized with the shorter shutter speed so that's why we...

're getting part of the frame was occluded by the shutter curtain moving across so the strobe went off while a shutter kurt was still moving and that's generally the case with eight cameras you need to use a smaller a shorter shutter speed uh with the with the roll film cameras they use ah on iris type shutter release shutter so those you could get you could sink up to about five hundred of a second but none of the dslr cameras these days use that type of shot of these if they have a curtain at all uh it's ah you know it's it's like a curtain shutter so that is it's quite possible to get that in in the frame if you're not shooting at the correct shutter speed so you have to check your manual each cameras a little bit different but generally about one twenty fifth is about as fast as they generally sink so um bear that in mind and now he switched lenses so ok yes, go ahead weigh mister be ready tripe refocusing yeah I'm that I usually a toggle focus yes move up to the focus mark right on it now focus on her and then switch your camera. Emmanual another thing that can happen with these cameras if they don't catch the focus will refuse to shoot so the only way around that is to pre focus pushing to manual and then there's the camera will shoot whenever you push the button instead of waiting until it catches focus yeah you had to switch the lens to and then you don't focus okay, so once you have a pre focus uh huh good alright I double click double wait tosto all right? I don't know why it's doing that let's see in committing dark it's because I accidentally double double sorry I'm made to studio so many things I'm not a student ok? Does somebody else want to shoot so many people watching our e I e I will say you're also you're also at a slight disadvantage I think you are left I'd write your like to look at the camera, the left I think so yeah because of the ergonomics of the camera you're right eyes blocked so you can only see through when you're holding the camera only see through your left eye, which is looking through the viewfinder one of the little tricks um when shooting action and it works for me because I'm right, I'd write so I my right eye's what I'm putting on the viewfinder when I'm shooting, I'm shooting like this it takes a little kind of mental uh kind of gymnastics to get it so that you can see both what with this I see the live action and with the right I am seeing what's through the camera, so when I when you press the shutter, the mere comes up and you can't see anything when you're looking through the viewfinder and it's much harder to anticipate the action because you're going blind for me that moment before the shutter goes off and it's much harder if you can somehow managed to get both eyes open so when I was shooting I had both eyes open and I could see and keep seeing while that mir was coming up it's a subtle thing but it does help I have to start working on it I don't think I can automatic yeah so you know you have to work you know it's ok you know you're not going to be the best but this right off the ballast give it a couple more shots you gonna get a couple more shots just you just just knowing that that's an issue yeah I'm just curious about the settings I mean are the settings right it's really really dark it wasn't it's fine it's a double five yeah okay she hit it twice and we're seeing the one that went off after the stroke okay thank you uh the same jump is that whenever you're ready way try just shooting horizontal on back up a little bit yeah where it's ok to have some of this stuff e I would it's okay to get these things other things and you're jumping so I could be okay whenever you're ready just barely got the toe there that's good but that's ok that's ok ok working try one I was to one more and then give it to someone out way you're ready go ahead waken see that she's just off the floor here because the drop shadow is like an inch away cool something I need to work okay, that was also thank you for powering through that that was great. People were really going to say we've got a lot of comments saying you go girl you're thank so many of us you have a case let's switch you off with somebody else who wants to go next and nineteen you always want to go bad but somebody else can go if they wanted way we've had a few people haven't gone yet who's absolutely clyde etienne says this is the stuff that we want to see so thank you for a nation of your states over number when he said you are all of us so people oh, you got something there for sure all right who's up already come on in let's so you want to be set at like one twenty fifth or you might sink it a two hundred thousand it should be at sixteen sixteen I would do sixteen and a half for you ok, I guess it's urgent we haven't done very jump you haven't done yet can you do something where you're like just bending both needs and maybe doing a little twist just this way okay, way don't have any lens shades for these lenses doing okay that's always my my big thing gotta have a lens shape but well try and try and be conscious of being protected by this thing this flag you know yeah so let's get a pre focus get out there over the mark and you focus on her first and then change said to manual ok good right okay so ok I'm good interesting ok let's see what happens very nice twice the amount of this yeah you're single make sure on single mode continuous is not gonna help you hear it all like I said before yeah great okay let's go again keep going and going just like ok ok whenever you're ready interesting guy shoot a little early and then whenever you're ready get yeah just be thankful this is a wooden floor I've had people have to do it on a concrete floor that after a couple of jumps it's not too happy ok it's good is anyone else let me shoot um can I ask you a question the other night from nick? Hey, is there a way to get any motion blur for artistic effect while shooting with flash like uh well there there is there's two different ways to do it you can use additional continuous light sources in this room is like just filled with ambient light and uh if you had sources continuous sources that matched your your lighting setup with the flash you could use a slower shutter speed to get the continuous light sources and the flash duration would do the action stopping so you get a little bit of both and then you have to be concerned with uh where your flash sink is so some cameras can do can sink either at the beginning or at the end of the long exposure so ideally what you want is to sink right at the end of the long exposure so you could get motion trail that's that's coming behind the figure um so these are things you can do in camera uh I'm gonna show uh motion blur technique in post could give you a little in control we can use motion blur and photoshopped to get a very similar look and with a little more control it's not exactly the same thing I always like to if you can capture it on camera I think it always looks a little bit better but I'll show you how you can kind of cheat it later okay so we shoot somewhere going you only captured a couple do different job do uh yeah uh leave the ground uh you know you don't have to just just so we get some some action yeah ok that's nice let's see did you get it uh too too soon shop too soon yeah yeah that would be nice okay, there you go. There you go. Yeah for something like this because she's not leaving the ground that you don't have to worry about her bouncing up and down so much so you know stay locked on that bottom foot make sure just stays in the bottom of the frame you know um in situations like this I've locked the camera on a tripod so that you know you didn't you didn't have to shake around too much but go again you got you got at least one more good one in you I don't know if you can see it out here but your hand closest to me is out getting maybe uh turn that so we're seeing the narrow side of it but uh one that goes up with your tech to just have you just have to actually get no the other way around right not like that way already flashed still a little early that time it was my fault right whenever you get yeah well this's a hard one because she's gotta locker need you know you got either just before or just after we could fix that and photoshopped but wait uh jiminy gym in read and a couple over there folks are asking about mirror the mirror lockup option or using a meritless camera for this type of work with that would you suggest that that could help you know is long as you can anticipate where the subject's going to be you could block the mirror uh you'd have to shoot kind of something like this you know this you pretty wide so that wherever she was, you'd be captured because with a mere locked up, you can't really see you in some cameras can shoot in a live view mode. S o you could lock the mere up, and that might help is well, just and the marylise cameras there knew. But a lot of those marylise cameras I found actually don't shoot as fast as the dea solares, so it's kind of there's a lag in a lot of them, even though you'd expect the mere list designed there's no mirror, there shouldn't be any lag often, I think it has to do with there that you can't turn off auto focus on some of these cameras, so they, you know, they just always want to focus it's worth investigating. If you're looking to buy a mirror marylise camera for that reason, make sure that you get one that actually doesn't have a shutter lag or, you know, um, because otherwise there's no point and in my experience, the the dea solares air fast enough and you can learn to anticipate anticipate the action better because you couldn't see through the lands. Um ok, are you satisfied? You wantto shoot more? Um I'll get one one more person that come on one more she's she this is her her baby she really wants to shoot some action so let's let's let her in here and ask the model in question this's from kim photo caymus from norway she says she's such a graceful dancer lovely what exactly is your dance style? Thank you, adam I train a cornish college of the arts and it's the kind of program where you do ballet and modern and take other things like that I am much more of a modern dancer and I'm a it's if you don't know what modern dances it's just kind of it's very it's very low and like bent and uh wiggly and that's that's kind of how I dance uh it's all very it's not as pretty as you know bella would be anything but I do do it all I just that's where I go that's my thing thank you very much rookie says that you have great energy and attitude I agree. All right are you are you hooked up? Are you set up right f stop like right? So you got it. All right um hi. I'm calling likes me so I was thinking I just turned around to see your back tattoo I actually wouldn't mind getting some of that and with um with the back of your arm so is there any that you could dio um exactly I would like strong back and almost have your profile your head profile toe just like that yeah um yeah definitely like the last when you're doing with the long lines yeah, so we'll try some that and see how it looks yeah for sure whenever you feel comfortable doing well just kind of see how it goes good got a pre focus and say and then put it on manual all right you ready and we'll help to say one two three are ok do that okay, so one, two, three and then go yeah, I want to three yes, that looks pretty good. Um I didn't get a lot of your leg in go I like the long lines I'm actually thinking yeah a little bit more with your fingers out if you can yeah like that good all right ready one two three e I was actually thinking was doing that still with turning is there a way that you can just hop a little bit to kind of get your foot off the ground if that's okay with you really want to three go all right, we'll try that again ready one two, three go night I got I got off some of your fingers you mind try it one more time, alright let's take that huh just just a little wider me and it's ok to get garbage because you khun clean that up later okay yeah all right all right ready one two three go alright nice way another another shooter no no joe you jo jo can't do it yeah alright questions asked earlier where it is here it is david rohde oh thank you david soto earlier had asked and I'm not sure what the settings are on everyone's camera but um they had asked why six forty and not a lower eso flashes not power a very good question and I meant to talk about that earlier what I've done here with the with these flash units as I turned the power variation all the way down that way the flash duration is the shortest possible and we're talking like, you know, one for thousandth of a second something like that. So in order to now turning the power all the way down means sweet I have less light so in order to get the exposure I want to carry depth of field I've used six forty so normally I try, you know, to be around one sixty uh um but in this case since we've gone two stops down uh in the power on the strobes, I'm going to stop up in the ice so way ready ready for action nice to meet you um I know it's kind of about jumping and everything but I'm interested in seeing what she likes to dio as far as the modern um if you want to just kind of move way are going to do a dancing okay never mind okay well then let's because I know you come in to do some more modern action if you want to move rapidly you know and yet it s are better do you want to keep going with the jumping way are you going to do sort of club dancing in place remember we talked about and I was so many things to think that would be cool yeah ok focus and then put it on manual once you've got your focus I think yeah ok so put you back on me yeah way all right go ahead book about her there it is will you be able tio strain was the back leg straight I don't know yeah all right that would be great yeah yeah yeah can't go ahead you're a little slow yeah, that was definitely on the floor what interesting. Yeah yeah that yeah from the side yeah. All right go ahead. Okay. Cool. Very cool. Now what about if she uh spun are kind of theworld like could try it is going to be hard to catch catch right on a catcher when her when she's facing you are good sure try it you want to go ahead and try that? All right, go ahead. Quite alright. We're trying something. Um go ahead. I kind of like the split of the kick that you were doing earlier. Can you do that again for me, please? All right, go ahead. Very cool. Thank you so much. Autumn. And you want to shoot? You want? Okay? That's perfect, joe, things get just switched out there. In the meantime, can we ask you a question? Yes. Hey, also anywhere s o that's what I'm supposed that assistance is supposed tonight. I'm so used to, like jumping in to do that. Okay. That's. Good that's. Good. A question from mike's stevens, who is curious as to why speed lights are not ari are not used instead of the studio strobes he's saying that high speed sync and even at one two hundredth of a second could freeze the action as well. When do you choose to use by speed lights? Does he mean the on camera flash? Probably off camera, but the the speed light mall you have a little small portable strobes. Yeah, they actually have ah, very short class duration, so they're good. Um, they're low power, but again, you could use high rise off my experiences with lights that have modeling lights you know, the speed lights don't have modeling light so it's harder to place them and be able to visualize the end result. I know some people are really good at that. I actually new and old time photographer that used to shoot with, um, with those magnesium ribbon, you know, like a flash, it was extremely powerful, but you couldn't you didn't have a modeling light, so you couldn't really predict what that would look like, and he would he would sit there like this go ok, flash. And he liked it in print in his brain and go ok, move the light moving over there and then he was lighting large auditoriums and things. Um, but in general, I have to see what the light looks like so that I can place lights and get the look that I want, so I'm not. I'm not as comfortable with the speed lights and just kind of guessing, you know, um that's why way ready? Yeah. He's gonna be my question. I really like moves, but I like your face too. But I cannot request that you just do a showing showing off your your that bruce was going like yes, this yes, yes, are a point. Ok. What's the action. Just a jump here. Yes. Ok, joe, I'm gonna turn your land shade around so that it's actually working. Get a get a pre focus on then turning your focus to manual. Okay, when you're ready to quest to early, we'll see. There you go. You got you got something there. But now it is a loving the tattoos. What can I say? Um, and then with your face, your turnaround whichever way, whichever side, you can show your face with this instead of yes, yes. When you're ready. Just offended with a little bit. I wanted to see the full. I can see the full pull the whole side of your fat tuesday without yes, no, but about a question, models, I understand that you can't trust them, right? Uh, I understand you cannot touch them. Well, problem. And I'm just going to go a good idea. But, you know, you can, you know, she's. Not gonna mind if you toucher appropriately. Yes. That's. What? When it would be better if you could manage to do without touching. Yeah. You get permission? Yes. I kind of thought you are. So so it shows your okay so the fullness yeah actually fullness like yes yes I tried that once and then whichever side you you can show your face that's good when you're ready you should be changed. Yeah is two you gotta change the shutter speed he told the first time changed itto one twenty one twenty fifth or something like that yes ok let's try it again when you're ready it is my experience that witht answers always more ready than the photographer so usually and model's professional models are also usually ready you know whenever you are so just say and go or something you know and then then she can kind of just go for it okay what's right with it and go ok so when I'm ready so when you're ready to shoot just say and go and shield look jump into her thing okay and be loud be bold and go yeah yeah I'm happy okay all right thank you have we covered him as everyone got a chance to do this all right and you hold him back would you like to wait? Can we ask you a question? And I'm not sure if all of the students had the same camera settings but helio said if all the students are using the same settings what is attributing to the fact that the brightness level is different between them is that the lens choice or the camera manufacturer of the model are both uh yeah I mean every camera like well like I said in the beginning it's good to calibrate your equipment and things are slightly different for one camera to the next even same camera model can be off by you know a third two thirds of the stops so um that's probably the case although it could also be that somebody is knocking the f stop inadvertently or you know it's hard and you know we're all kind of moving in here pretty quick so it's hard to kind of locked down and make sure everything is equal across the board and it could be the ones that could be it could be the lens could be the lines as well so before ian shoots I'm wondering iceman six hundred is saying about the lights could you again explain where is the strobe light coming from are all of these life continuous lighting I can see the room lights but I can't tell if the which is the key light is the key light the strobe light they're all strobes all of the lights in the set that we're using that air flashing also have model lights so when you look into the into these v flats you can see a continuous light source that's that's a little incandescent bulb that's inside the flash you could turn off the model like yeah let's turn off the molly wei you community still gonna flash yeah ok so the modeling lights help me visualize the position of the light so I can see how the light hits the it's the model uh without the modeling lights I have to flash and my brains not fast enough to register the flash on when I'm looking at it so you have to use the modeling lines eso even even the umbrellas using ah modeling light to give me a sense of where how the light looks so but the flash is so much more powerful than the mauling light that overpowers the exposure that you would be getting from the modeling wives I just learned something new I love creative life thank you. Okay hey, very artistic I'm high I'm in it's very good to me, you know, I've got an idea so that happens from time to time. Have you seen any of the photos that show people like dancers and they're in suspension like they're they're just floating in midair because it's been stopped it's a little bit of a trick where you take the picture and you turn it sideways and it looks like they're falling. Yeah, so I'm thinking about doing something like that so in order to do that the way I'm thinking I would be shooting at your side and maybe something long yeah, yeah, you could you could just literally jump straight up and just arch your back bank throw your arms back and then he's gonna take it and turn it in post so get a little more just where to me them awesome fantastic I would love it if you jumped whenever you are ready I'm ready to go waken tried a couple of times in a couple of different ways that some good thank you so much one two three go see what happened here yeah very that's really, really good very nice that's going to look wonderful want to try a couple more fantastic second here let me focus um which actually you see how we have your back leg is infront can you do the same thing but with your back leg behind okay fantastic all right one two three go um it's pretty good but I'm almost thinking a little knee bend if we could work that in there and really with the head more back a little bit back me just a little bit okay when you're ready one two three oh that's really cool what do you think I think you got it ok I'm good I'm super happy I know I'm easy very good thank you so much. Alan birch says is there a benefit to using the bounce trip lights set up you are using versus a strip light soft box or is this a matter of using the equipment on hand er I get I feel like I get a softer slightly more even spread in the in the room light using these the flats but a good strip light if it's if it's big enough we'll give you a very similar look so way kind of talked about this before it's really just that if you have access to this kind of equipment where you can rent that and it's it's convenient than it's all good uh v flat is probably cheaper you know and if you have a place to store this kind of stuff you go to the art story by the phone court tape it up you're good to go and that's that's not going to be very expensive requesting is big because strip light into grids probably three or four hundred bucks versus the foam core at forty or fifty bucks for this year so so way have control weaken spread these the wings of this week we're keep the blade from in the background you need to get grids to the light so that so it's cost effective I think also it's kind of what I wanted to show here is that it's not so much about the equipment it's about how you know understanding light and you can you can work with very inexpensive stuff and get really very good results so I hate it when photographers say you know I only use the best equipment I only used the high end I shoot with ellen chrome on leads the best late you know, really, uh, you good photographer. If you give him a flashlight and an empty room, they should be able to make magic happen. So, uh, uh, don't focus so much on, you know, the equipment. Focus on concepts in the technique.

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.