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Studio Lighting - The Power of Control

Lesson 30 of 30

Shoot: 40's Hollywood Glamour

Tony Corbell

Studio Lighting - The Power of Control

Tony Corbell

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Lesson Info

30. Shoot: 40's Hollywood Glamour


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2 Mono Lights & Pack Lights Duration:29:32
3 Light Controls & Shaping Duration:30:36
6 Tools of Light Q & A Duration:13:59
8 Shoot: Painting with Light Duration:26:01

Lesson Info

Shoot: 40's Hollywood Glamour

My question is goes along with what you're saying I really appreciate your taking us from people who don't know how we got there to be in control of our craft and in the spirit of that a lot of experienced people already know the answer to this, but most of us don't now these accessories that come with these equipment are the interchangeable pretty much among all the major brands no, you have to buy bowen's for boeing's yeah okay, they don't all play well together some do there's a lot of accessories for these life that you can buy from second party because a triple we've got a three pronged band at mt, but for most part of the dancer most often is not really thank you you kind of have to buy the brand products, the accessories and sometimes accessories the kind of costly but the good news is you don't have to buy a lot of so you know it's kind like wow that's a four thousand dollars lens we have but you only need one you don't need to buy seven so you know o had no you're back oh, thi...

s is good, okay, so here's what we want to do with the lovely and talented gym this time well you do, we're going we'll just hang on just set that there and hang on to it or whatever come come to me a little bit I think I do want to see it again let me bring that still with you just for the first part anyway there you go you find that really kind of you know edition no okay, so we're going to use the grid on her face and then we don't want to do john is sorry folks I didn't get to talk to john about this before we can remove jen back of quick trip for a second while we bring that way don't we don't want it again in the head so here's what we're going to do first and foremost I want like jim with a grid spot the small grand spot here so this is gonna be my main light source on her face then I'm going to also skim a small strip light off the bottom part of her dress just so I can see a little bit of separation so that'll be a step two in this little process this and then step three is I'm gonna put that cookie back up on that background I want those shadows on with these hard shadows across there just like they would have done in hollywood nineteen forties that's what I'm kind of kind of looking at it that's the direction and I kind of want to go with this so the tricky part with this is john for me I want to take this I want to put this up it's it's for it's for oh let's put it down to three something about like that and I wanna tip this down pretty far and I want to take it really high really high and so I don't want to know what I'll do is and then I'm gonna bring that strip light over here on this I will the power core breach to the side of the set it's not I've got an extension course okay, if it'll go, I'll bring this guy across the and then the extension all right, so in fact, you know what? I want to take this off of the stand completely and you know what I might do if I could get one of you guys one of you studio audience members to maybe even hold this to your chair right appeared my dear for your charity here and just kind of hang on to that handle yeah, just like that just hold that guy like that again, okay? And this is just we're just going to skim this across my idea here for what I'm trying to accomplish is I want to open up the bottom of her dress but just a little because it's black and because it's velvet you know what the definition is of velvet in the dictionary lights sucking fabric it is light sucking fabrics and the only way you can get any density off of black velvet is to skim latte across it you can't lie flat into it just sucks it up you just eat it right it's right up so I don't want to do but you've got to make sure you tip it down so it doesn't hit her face at all even a little bit yeah yeah yeah yeah yeah so here's what I wanted my dear let's get you I wanna have you kind of lean to your left just a bit I want you to turn your head that way quite a bit and bring your head up just a little right there oh oh oh can you all see that hard shadow right there okay so power wise this let me turn this off for just a second and I'll let you just sit here with you for just a second and let me get this established first and we'll see how we're doing there you go down there you go eleven even but john you usually have ten way goto eleven ok no you're looking right about that light right just like that ok so now we're starting to make this happen a little bit we're not there hang on we got way we're nowhere near we're nowhere neil well yet no ash is what I do want to do is I want to tip that light up a little bit I'm getting too much of it below so they're trying so I'm looking at her the top of her dress the chest and I just want this more I want less of it there brit I might need you in a second oh tall one eleven one what eleven one but someone your eyes up ten from just a second right there good okay so I'm getting a little bit happier let's bring that light to me a little bit john and I want to twist you just a little too that side that's it now just lean and so that way just kind of lean this way now bring your head around I'm going up a little bit right there and now let your eyes come whatever you're looking at let your eyes come down just slightly split the difference gopal hard yeah yeah right there right there right there right there good, good, good good good okay so now we're starting to get close now we're starting to get close um let's turn you know brett here's one I need to do I know this sounds goofy but I want to take you know where to get a grid spot there but I want to also take this black aluminum and I want to put this around the top of that and I want to scoot down this life I want this light on here I really want this lad in her face so if I can get that one of you guys let's just lower that down a little bit let's just try to wreck that around and it snowed it down about half the size what this is going to do folks I just want to focus that life and keep it off of her chest and her neck is at least a little bit at least a little bit there you go good oh you're good you're awesome there we go on then john that background we're gonna need the we're going to need this light source on that head on we're gonna shut it through the cookie way go close that up a bit so so we've got a great will be grid off and it'll also kind of be can't stop at the same time so we just want a little we kind of want a little hole of life basically here you go this stuff israel popular and really, really useful so you see what's happened right there that's what we're talking about right in there like that brett you're a good man it's okay it's not gonna hurt me here and I'm looking at the shadow from her nose and I'm really making it shadow pretty pronounced so I've got a small source that's that's really giving me that hard ed shadow isn't that would george hurrell did that's what he did he created those shadows let's take a look at this space right there good okay so now we're getting closer now we're getting closer what's this think ok so now we're getting we're getting closer we're getting closer uh not yet let me get this accent set first so let's go ahead and turn that on and let's set that means that the power that that its lowest setting yeah there you go and tip it down a little bit more even ok here's what I want you to can you just put your hands kind of on your hips for me and lied to me a little bit you're going to turn your head away and then up a bit wait nice nice nice, good, good good I got nothing that didn't fire that fired that time. Okay? We're okay let's turn your head again gin it up just a little bit right there. Good. Great. Yeah. So now so take a look at the way it's opened up the bottom part of her on this shot right here so we can start to see just a little bit of light down there on our arms but it's not really hurting me uh in terms of what's going on on her face and that was that's the main thing is I don't want that to hurt me on the face at all I'm going to raise this up a little bit further let me look at you again for just a second right there john hang on one second okay good good good do this for me jenna this isn't the kind of goofy but I want you to turn a little bit more of that side now bring your head around and I want you tend to be up and so that your eyes closed for one just for fun and if we could zoom in on that mike you can start to see these little shadows from her eyelashes kind of pop in yeah we're talking about and see the pronounced shadow in fact I've got your head europe your chin up a little high if it's down a little bit that shadow from the nose is even longer so yeah kind of like right down just yeah right in there yeah yeah yeah good down just ten down a tiny bit down right there good your eyes back up great great. So running there were getting pretty darn close ok so now let's take that guy we're going now we're gonna light up this background wanna put this cookie on the background? We've been talking about this cooking we used it earlier. What I want to do is that remember this the sharpness of the edge of the shadows that we talked about yesterday the more I can move this away from the cookie the sharper the sharper the shadows will appear so I can come back here john can raise that guy up right about there that's going to be probably pretty good and I can come over here and you can start to see those shadows on the wall back there so now we've got these these nebulous shapes going on in the background behind her why didn't we didn't meet that guy I am at f nine here now I'm gonna open up toe eight just because I see what you got there ready set go go ahead and get in one of the openings so that light hits the meter come down a quarter nancy right there no back up up up up right there stop there you go. Okay so good so I'm gonna take this up full too good I think we're gonna like this I know this is a pain in the butt and it's all a slow process but it's pretty pretty darn fun but now that light is hitting her face oh yeah we need to go by that sorry sorry sorry bad shot quick delete it might before anybody sees it stand up a little bit for me good, good, good, good, good good eyes up a little bit higher and I'm just gonna open up just a little bit here great good relax your hands just a little bit I'm gonna come in a little bit closer on your face yeah that's good that's good right there great your eyes are cut a little too far over that way. So bring your in fact what happens if your eyes come round about here in my hand is something like that. Hang on one second till john get this gets this guy clamped there you can go ahead. Go ahead. When? Thanks. Yeah, just a second, buddy. Any questions? What we're doing this? Yeah. Can you thought processes were going here, right? I was just going to say I think that white wall might be working as a huge reflector back on her could could be yeah, it could be a good point. Yeah. That's that life still hit this home we will fix this. Everybody grab the end of this we really do we really do know what we're doing, we're professionals, you know, way doing with this. I'm going to get in the black side out like that when you're standing over there and I got just okay. The fun part about this kind of work is you just dig in it's in its final, its production stuff and it's little fun little widgets, you get to make things and you get, you know, look at little snoot lighting and you've got all kinds of funkiness going on, and then when the smoke clears, you turned out with this great picture that there's a black and white film noir looking thing it's it's a pretty simple thing to do ok, so let's take a look again here okay you know I mean I really need that shoulder I need you to really do some leaning this time yeah yeah turn your head around quite a bit in a pie up up up ten up chin up chin up right there good don't move don't move great great great, great. So now we're talking you start to see what's going on here we're still getting a little light from right here I think done I mean I can correct this a little bit I think I think that right there would block it but what this cookie in the background uh we're starting to get some some action here. This is fun good your eyes right there. Good. What do you think? Well, should we change? I kind of like that. I think I want to bring that light down just a little bit and I want to do one with a little bit more. Uh, let me just see your eyes this way a little bit right there maybe even a little bit more uh come down like this and then I'll just bring this up a little bit way go right there, I will bring this around front just a little bit more and again I'm watching her nose let's lawyer tchen just a tiny bit right there in your eyes right at me and for this shot and we'll let your eyes go like right about here so find something right there to look at for just a second you got that yeah you just bring in the background light down about one stop yes sir can you go jen don't move don't move don't move try the same thing and look a little bit more pleasant think of yourself in a popular parade magazine nineteen fifty one there you go. Oh jin ho jin come on jan there we go one more of those good, good, good, good good good yeah. Drop that back drum background power a little bit more you know the background oh yeah you're no no background no quick yeah and so let me close back down here just a little bit because now we're getting a bit more light on the face I'm bringing it back down another third uh john I mean yeah john do me a favor just move that cooking anyway anywhere you want but just moving a little bit one way together just to give me some friday back there that's it that's it good here we go again good one good one good one nobody moves nobody gets hurt okay, now let's do one where you're just goes to the same shot but with you can you set up and relax for just a second? Yeah see it's not easy, is it? Well, you know what they say you have to suffer if you want to be a star couldn't have a seat again and let's put this stole around your shoulders let her hold on to this and this when you get to look at me so I have no idea how to put ashore so a stole around your shoulders but I kind of sort of think it goes that way. All right? All right good, good, good. So for this one, I might back up enough to actually show the strip like skipping off the bottom of her arm. Uh let me get one up type first so let me take a look at your face right here. Turn your head that way just a little and your chin down a little bit right there. Good. Let me just check what's going on here that's kind of fun on I think your face looks good in this angle let's open this stole up just a little bit on both sides yeah, yeah, yeah, yeah, yeah, yeah that's it that's it that's it you wouldn't leave your hands where you had him that we're good there what the tricky thing about hands and with females, especially when they're holding something like that in their hands or gripped all you needed it to soften it all left is let their risks when hold onto it, just like you are. But I'm guessing that your risk been to the inside slightly and it just softens it up and makes it a little bit more film and just let the wristband just a bit. Okay, and bring that thumb down because it looks like a steak fingers taking up there. There you go. That was the humor part of a program. Good, good, good, good that's kind of fun. Look at that one right there. Good to see that one more time when you just go that was dead on that's. Really fun. And look at how the look, how the cookie on this one is kind of going around her head. I like that a lot. What do you think? My. Can you do some of that one mikes in the control room going? Sure. Whatever you say, he's. Going to go get it for me. I'm going to give a big thanks to mike for, uh, well, he's awesome beyond for the seas. Awesome, great, so way asked mike because we wanted to be able to show you guys these these images, as they would finally be edited. So we're having mike, our broadcast tech do the work really quickly behind the scenes apply pre said, you want to talk about what you're what he's using tio actually convert it? Yeah, so what we're doing right now is mike and I met at lunch and we talked about the the benefit of silver effects pro plug in from nick's offering what's great about it is it comes with all these presets and there's one set of presets called vintage. Well, you'll see what's going on here in just a second. I'm not sure if you're live on that or on me, but what you'll see is exactly what I had in mind. You might bring that buying this up just a tiny bit. Uh, mike, just a little bit bump that brightness slightly er the overall brightness just a little bit. Yeah, go up brighter. Up, up, up, up, up, up a pr right in there right in there they're now we're cooking I think you got it right there, buddy. Quick. Ok. And let's, go back. So here's, the idea. The idea was in my brain all along. This was going to be a black and white shot. With some kind of a period look to it and I think we can wait kind of got their take is a little bit time to get there but imagine going in the studio if you got all day to work on a shot like this or even a few hours to work on a shot like this more than twenty minutes uh you can really do some good work here and you can really start to find tunis and you can see how chiseling out those features can you zoom in on your eyes let's just make sure we state good with our sharpness everywhere are you kidding me what's wrong with that could we sell that to the client to would would would people magazine's circa nineteen forty six killed at and I think that looks hot I think that's awesome you did it you did it ok I think we got you you can go I think that's great mike thank you that is that's a great job mike that's exactly what I would have done with that picture that's really nice before we step although this too far let's talk about some questions from this set what questions do you guys have bob this is your day to be quiet bob we're going to let you be quiet for much longer I would have pulled that the flood actually on the other side so that you would have gotten better contrast on the shoal there is to me that looks a little bit blown out, okay, um, great, but that's just and in a real situation I probably agree with, and I probably do the same thing. Yeah, it's, great it's, great observation. I also would have probably darkened her arm just a little bit more, and I might have gone in and pulled there's a grain. Look to that. That effect. I might have pulled that out just a little bit, or mount a vat it's morning and looked at it to see if I liked it sometimes on something like that. It's. Not about you, it's, about the client, and sometimes the client is the the editor of the photo editor who hard you for this job and they're like, I don't like that. Can you give her that then, yet or what's all that whiteness in the back? You never know what you're gonna get, but remember that that rule to his beauty is in the eye of the checkbook holder. So whoever is paying the bills gets to tell us what they liked, what they don't like.

Class Description

Get ready to learn how the lighting secrets every sought-after photographer needs to know. Join creativeLIVE for an in-depth immersion into understanding and controlling in-studio light.

Taught by award-winning photographer Tony Corbell, you’ll explore how to work with a wide variety of lighting tools. Tony will explain how a photograph’s look and feel are influenced by the size, shape, and placement of its light source. You’ll learn about correct light metering techniques and the role logic and physics play in metering and working with light. Tony will cover basic, subtle lighting adjustments that transform photos. You’ll have a front-row seat as Tony applies his one-of-a-kind lighting techniques live in-studio as he shoots both portraits and still-life photos.

By the end of this course, you’ll have a new and improved skill set for working with light and achieving jaw-dropping results.


AJ Photography Ireland

Watching this Course from Ireland live, and at my leisure having purchased the course, I cannot praise Tony Corbell enough. I felt I was right there in the Classroom with him and gained so, so much from stunning course. He really does explain the techniques he uses so well and is one of the greatest Educators that I have seen in photography. Worth every Euro ( Dollar ) !.. Thank you Creative Live and Keep up the good work ! Andy Jay Cork Ireland.


I learned a lot from Tony´s class. Very experienced, talented, smart tips and funny comments. Generous on sharing his knowledge. I am passionate about learning portraiture since about a year or two, had bought a couple of flashlights, stands, modifiers and now the most difficult part, to have my wife and kids be patient and let me practice with them. John Cornicello did an excellent job helping with the lights and bringing his own comments too. They both did an excellent match. This is a class I will watch again from time to time. This is the second course I watch from Tony and about the 15th course I watched from Creative.

a Creativelive Student

This is just a tremendous class. I love Mr. Corbell's teaching style and appreciate his levity. Most of all, I value the expertise he brings to the subject matter. After watching the entire class, I have been able to make adjustments to my lighting that I love and feel like I have a better idea of what I am looking for with my lights. This is a terrific value at any price.