Shoot: Glamour Portrait with Female Model Part 2
Shoot: Glamour Portrait with Female Model Part 2
12. Shoot: Glamour Portrait with Female Model Part 2
Class Introduction07:04 2
Understanding the Foundation of Light31:03 3
Understanding Light Quantity18:54 4
Understanding Light Direction25:03 5
The Lighting Equipment Part 132:55 6
The Lighting Equipment Part 212:47 7
Lighting Equipment Q&A23:19 8
Shoot: Portrait with Female Model Part 122:03
Shoot: Portrait with Female Model Part 237:44 10
Shoot: Standing Portrait with Female Model20:25 11
Shoot: Glamour Portrait with Female Model Part 129:43 12
Shoot: Glamour Portrait with Female Model Part 210:30 13
Shoot: Glamour Portrait with Color Gels25:56 14
Shoot: Fashion Plus Family21:55
Shoot: Glamour Portrait with Female Model Part 2
This this is a piece of construction insulation that you basically buy it one of the home hardware stores very I mean it's very industrial uh but it's a great surface for photography they think it's used to insulate your home that's just a byproduct it's just a photo reflector that you can also inflate your home with so that's what I think let me take a look at you kiddo tin down just a little yeah, totally different you're looking pretty good there don't get around here and take a good close look great send out oh you that's a great expression don't move don't move don't move who one more just a tiny bit of a hint of a smile right? They're beautiful relax for just a second why couldn't we publish this picture what's wrong with that one let's do that saying I do I don't see what's wrong with it I got a little bit of a shadow from her left nostril because I've got a just little bit off center that's my bad I'll fix that I'm gonna move this I'm gonna go ahead and bring this back around i...
n front just a bit and I'll take you back up a fraction house just being lazy that's all that was and I got but I got caught every time you do that every time you get lazy and take a little tiny shortcut photography kicks you in the teeth it doesn't it's like now stop that you know better don't do that don't be taking those stinking shortcuts hey uh yeah, that looks pretty good let's just leave that right there was going to say something just let me look one more time but I don't think we need to let's just take a picture great perfect gorgeous gorgeous again yep here we go good. So I'm doing now guys I'm not worried about my focus because she's not moving I'm not moving I'm just shooting now let your head roll over a little bit to the side great now turn your head away little bit send down a little bit a little bit more with smile on this that's too far away come back come back come back come here yeah, right there. Good, good good big smile in this one come on good, great relax for just a second. Okay? I like that a lot that's publishable. You know, when you're doing when you're when you're on a roll, you guys know what you can feel the energy you're getting the energy from the model it all comes together and it all starts sort of working and you know, you know when when you're when you're getting it so I think this is a real good look and one that we could certainly use for her so let's do now let's change a little bit we have any questions before I move because I am about to change this whole thing a little bit so let's go to pam if you're ready with a question could you use a different out of fire and achieve results that looked like that because you earlier you said to use it use the mar far that's relative to the size of the subject you've to use because you're not make you're not photographing very much ever you could actually use a smaller one I probably could accept that the bigger the source, the softer the shadows and the softer the highlights, the larger the source, the larger the highlights and the less intense the highlights are so to really smooth out or face the best I can I need a big source close so I'm over I'm over stepping what I would do with a traditional portrait kind of thing because I want that look I want that glamour cover shot kind of a look one like that if you had a three before through before is great moving in as close as you can get until it's in the shot then back it up one inch that'll just change the catch light shape it will yeah now in this position no where I'm aiming this at her it is hitting that background you can see there's there's exposures density in that fabric the paper in the background so for the next picture I want that to go black I don't want any of the detail in the background for the next one so I'm gonna try to hold that back a little bit on the next one okay anything else before we rearranged a little bit keep rolling yeah. Okay. So let's move that out jon and let's let me rule this guy out of the way and let me pull back a little bit and I'm gonna drop this guy to the side more I want this to be in front of her and I'm gonna come back a little bit uh let me just a bit like that, okay? So if I come back and let's bring you forward quite a bit away from that background like write one more step maybe I just want her one more step right there. I just want her army the edge of that box it's the same thing we were talking about earlier. I just want the edge of that because this is really gonna it's really going to have a lot to do with the background and it's gonna have a lot to do with the offside the shadow side of her face on the left side of her face it really does make a difference so let me pull back a little bit over here like this and so right here I've got a perfect cropping for three quarter uh length shot at about I'm about eighty millimeter on my focal ing so just so you know in relative distance here you see how close I am to her and then from her to the background that distance on eighty millimeter will get away with pretty easy on eighty five if you've got a fixed eighty five uh some like that you could even use a seventy but you might want to move up just a little bit if you got a twenty four seven year working with for example you go to the longer side of the of the twenty four seventy so let's get a reading on that john here we go eleven and a half you're kind of stuck on eleven half their jam okay let me just hit this for for uh a quick test of the background I'm just I really want to try to keep that light off of the back back back behind her don't have to go one hundred percent black but I want a pretty dark back there that's great let's try that right there way go nobody moves here we go good what'd you get back their point seven so let's do this so let's do this try that again okay here we go to pointing okay so so now let me have that and let me just show you one thing to think about when you're looking at meters so the l seven fifty eight in the side connick line of meters is really unique and one feature I can take this big knob right here and turn it till it clicks now got a one degree spot meter that reads flash so there's there's not very many other meters that'll read flash had a one degree spot okay, now you can take off on the other meters of five siri's and three siri's you can take off the dome and put on a reflective receptacle and then you can walk up and take reflective readings as a reflective meter but you can do with one degree spot this way the media this is oh and it's not cheap this this this extra it's an extra hundred bucks probably for that feature, but but I never have tto leave my camera I can stay right here and I'm in the studio by myself and I'm thinking ok, I'm shooting at eleven and a half what's that background doing back there and I can put that nobody will put the cap on land I can put my one degree spot right back there and take a reading of the background if I could find the button here we go and right there I'm reading f four and a half at the spot right behind her left shoulder that's black without detail if I'm shooting it at fourteen minus three or more below tells me the background will fall off too black why do I care about it falling off the black? Because I'm gonna had color in a second and when I had color I don't want there to be any pastel color I want screaming vibrant holy moly color and I can't get screaming bright holy moly color unless I could make a background go black then I'd liketo then I get a pure return of color only that's the reason for doing that way so let me take a picture real quick let's just double check our black and yep that's great let's do that and you're right where you're standing perfect. Just bring your head to me a tiny bit more this way right there. Yep. Oh, that's nice, nice, nice, nice. Okay, so in that case, if you'll notice on the screen we got we got a girl, we got a girl with a dark background and now we can introduce that little bit hunt for some reason. Let me close it down just oh, I see what I did. I did I'm a goober. I'm going over goober that's what? They that's what they say in germany lets your elbow come back just in time yeah, yeah, yeah good, good, good little smile just a bit great, perfect
Ratings and Reviews
Excellent class. Tony does a great job of highlighting different ways to work with light without being prescriptive. He's also a great speaker - very clear and easy to listen to. I would love it if this class came with a gear list and some basic guidance on the different lights as a starting point - I think the class does assume a certain amount of pre-existing lighting knowledge. Still worth every cent though!
I love watching Tony Corbell. He is such a wealth of knowledge. He is one of the Great Masters. Tony is an excellent teacher and he both freely and honestly shares his immense experience. It is truly a delight listen and watch to Tony teach.