Studio Lighting - The Power of Control

Lesson 27/30 - Shoot: One Light Appearing as Four

 

Studio Lighting - The Power of Control

 

Lesson Info

Shoot: One Light Appearing as Four

We're going to start with photograph in michael here in just a second and the fun part for me is you know, I started my career began photographing students I photographed a ton of high school seniors my brother in law uh who gave me my first job in photography head contracts with thirty four schools across west texas little funky little podunk ce mellie little schools with bad stages you know and we would leave the studio at three in the morning and drive for two hours in the middle of a desert go into a back door into a stage unload set up do you know, one hundred high school senior kids get in the car at the end of the day and drive back and we did that friday that for two or three years the good news was it was a great proving ground because I got a lot of work I got a lot of shooting done and I mean I learned every possible combination of problems that could exist from from electricity than finding the guy with the key to get in the door you know, tio having the wrong gear with you...

and you're still there and they're still lined up out the door and you got to shoot this all the way up to and including the problems that I learned which was I was shooting in a high speed situation and I didn't learn to slow down so that when I left his studio and I joined another studio before I open my first build business uh the second guy that I worked for was a very, very high end studio really high end work five sessions a week instead of two hundred and I my first section I did I was done in about fifteen minutes and the owner of the studio came back in he says what are you doing? We're declined going until I'm finished they're gone what they're going what did you do to him? I said, well I finish the shoot and he's and he pulled me aside he said listen for the money that we're charging you better put on a show even if you can shoot fast I don't care slow down and make it look like it's a little more trouble because you can't do a four minute session with these people and I had so he was right so one of my bad habits was shooting fast and not slowing down and I really didn't slow down enough to pay attention to the close details the longer I've been shooting the longer I've been doing this the more you do take a deep breath and you do slow down and think ok we do need to fix this and I do like this but I don't like that and you do have to stop and pay attention and you've got to take care of those details if you don't, it'll bite in about every single time. And so that's what? That's, what this is all about for me is I've learned an awful lot about control, but I've also learned an awful lot about paying attention to the little stuff and if it's something that's bothering you now, it's going to make you insane a week from now when you're looking for those files, so go ahead and fix it now, you know, one little straight hair I could just reach over and make that one list right here. Go away or I can look at it and started to think about I gotta retouch everyone of those poses for the next week. You know, it's all about you. So pay attention to the details and that's what today is so let's begin. Michael yo there, you ready? Come on over and we'll get michael appear on the set and we're going to do. I just wanted a kind of a normal kind of a head shot with him before we get two foreign of this. Thank you for being here. We'll try not to let it hurt too much. It's. So far, we haven't killed anybody. It's pretty painless, so come on over let's, uh, let's, have you have a seat right there? And uh we'll take a look john glenn bring that to me about a foot if you would there you go there you go and I just spend it back in a little bit a little bit more a little bit more the height white height is great yeah good maybe even tip it down just a little bit and turn your head this way for michael just turn turn, turn, turn, turn, turn, turn and send down a tiny bit right there yeah, this is good. What a good look this this great jacket works pretty well and don't too don't get too concerned with what's going on the background we'll get there in a minute we'll take care of that separately yeah, go ahead and get me reading there. Let me grab my camera eleven, seven eleven seven all right, no it's fine for right now, let's leave it. Leave it at that. Oh, sorry. I do want to swap places. Go back to my other lands. Sorry, let's go let's put that seventy two hundred back on. Well, I'm doing that. I just wanna get say thanks to john this is john cornyn teller who lives up currency elonis great great photographer in his own right and have him a system he's quite a treat for me that that doesn't happen very often I get to have an assistant that really is on the ball and and also, I mean, he thinks like I think and we've had a lot of discussions and all the stuff that I'm about to do next, he already can kind of see where I'm headed and he's on it. So it's it's been really, really helpful having here? I don't like him very much and I don't want to hang around in very much, but you know, that's beside the point that he's a really good guy, so eleven, seven, eleven, seven all right, so let me just bring this up just a little bit here and let's, just check my exposure here, so eleven seven is about eleven two thirds right students, so that puts it at a f fourteen fourteen fourteen that's the digital equivalency that's, the digital equivalency and that's where we that's where we live these days so let's, just drop your chin down for me a little bit. There you go right there. Let me just fire one often will just take a quick first peek here and see how we're looking, how we're looking here, that's looking pretty, pretty decent. One of the things that I want I want to point out is, if you can, when you're when you're working like this, consider looking look where the catch lights are and and I don't always subscribed to this notion but I do kind of like it when the catch lights are all in the iris of the eye as opposed to being in the whites of the eye. So in this case, it is a little bit far around to the side. So let's, just bring it toward me just a little bit. We'll bring it around. Just come straight to me about another six or eight inches. Something like that. Let me see your eyes right there. Perfect. And I just want take the same shot. Your eyes right here with me. Good, good, good, good. So now you can see on this one if we can put those two blow blow there you go. So when you put these two side by side and zoom in, can I make sure if you can do? But go look at that so you can see on the on the left. You see how clean the catch light is in the iris and on the right it's a little bit messy because it goes into the white of the eye. Folks, I know you're some people are saying, well, I can take care of that photo shop. I know you can why should you? Sorry uh I'm just going to keep busting you all day because that's what that's how I roll but you can see by bringing in a little bit forward we also flattened out his face just a little bit we've took a little bit of that shadowing away uh that we had there's if there's a happy medium that you'd rather live in that's fine too but the main thing is just a least be cognizant of these things at least be a little bit aware of these things, okay, so I kind of like the look on the left I think it looks pretty darn good I think his face looks great notice that that we've got great detail in the highlights how does exposure look to you guys? Can we look at the history graham on that one on the left that last one we just did? Yeah, can we, uh if we could do that, that would even be very cool. There we go look at the size of that gap on the left so we're nowhere near spiking anything. His skin tone is not too too light either. So his he's fallen right where he's supposed to fall ok, shadows are a little blocked up I don't care about that that's fine with me it's the left that's the right side of the history and that I'm most concerned that's the part of the pipe or all the information has to exist and if I miss that that's when I get in a little bit of trouble so I think that looks pretty good so let me do a couple of variations here so here's what you need to just shake it out a little bit shake it out move your head around uh yeah there you go there you go there you go good link forward around over your belt to me this way just lean this way yeah yeah now bring the head around just a little bit more a little bit more yeah yeah right there good good good good good let's do one more a little bit of a sparkle in your eyes this is the one for your you know your new facebook profile come on dio things guys going wait a minute wait a minute I gotta blink on that one we'll get rid of that one there mike there we go good good good that's a nice pleasant look and so I'm gonna tow this camera link let's take the top your head straightened up just a little bit right there yeah yeah yeah not like that perfect perfect perfect good good good you know it's funny how how with his hair as high as it is uh when I first started in photography high school seniors we did a lot of cap and gown as well as their tuxedos and shots and stuff formal stuff well, in those days the girls all one of their captain down there cap pushed way back on their head which took the point of their cap like a foot above their head so we had to back up enough and leave enough space so we didn't crop out the hat and we had some of the goofiest, goofiest movies compositions that you could imagine but that's the only way they would buy those pictures in those days if you don't shoot it to sell, you didn't pay rent, so but I like that then looks good so we're on the right track there good face a good friendly looking at trying to head this way just a little bit right there that's good. Let me just get one more that I'm happy with their so now let's, do this let's change this up a little bit. This is one light on the set one light, no pair light, no background light, no feel like nothing else, you know no other visible means of support, so to speak. So let's pull this let's pull this out of the white, we'll kill that power and just get it all the way out and I want to talk about this light here this this, uh, this light source a little bit I think I might let me move you back just a little bit. Um I just want to keep playing your space between yeah that'll be good. Let's go and have a seat again. Right there? Yep. So I want to talk a little bit for just a second on un defusing this light and working with these panels and you know, we spent all day the second day talking about size of sorts in your in your face guys size of source relative to distance size relative to distance here's what I'm talking about if I take this diffuse material, this is translucent it's a shoot through it's not opaque reflective surface. If I place this right against the front of this guy here, look out small. The area is it is still a small source. I didn't gain anything here. The heart and shadows still exists, but if I start moving us away now my life sources about a ten inch reflector size see it now as I'm moving here now I'm about a sixteen or twenty inch parabolic reflector size. Now as I get out here now I'm about like a close up umbrella size get the idea and as I show as as I move this source further and further away from the strobe head which is sort of the origin of the light now all of a sudden things changed and now out here, if this is fully illuminated on all four sides, then the size of the source is indeed the same size as the panel. If I'm anywhere closer than that, it is not the size of this panel. You guys get that and that's the beauty of working with a panel that's the beauty of working with the diffuser as opposed to a soft bucks. I love my soft boxes and you private from my cold, dead hands. But there are times where I need to control the distance of the head to the front skin and I can't move it with this I can, because now this gives me the ability to send light through here at any place that I want. So for this portrait, I'm gonna put it right about here. Probably in about that position right there. And once you put him yeah that's fine. You put the front side, it will not matter where you go. I mean, let me looking and we might want to just a tiny bit, but that's going to be pretty darn close. Yeah, good. So let's move it um, just a little bit more that way, here we go, so now let's, let's, give me a reading right there now to the naked eye in this room you look at this new thinking boy that's just too dark don't even worry about that and this goes back to what you and I were talking about, brit said the light quality that you need adjust the light quality that you're after vince that the quantity okay don't try to do it backwards because you'll be there all day long trying to make sure that all meets up I don't care about that I just want to make sure I get the quality first and I was only quantity there were a couple people photography one a one in a blanco who were commenting so isn't there lost detail in the blacks for printing with history and pushed to the left like that? Sure, but this is just you're just starting to build the image we're finished that's just beginning cool we're going everywhere you're starting but but I will say at the same time also I'm not too concerned if I lose detail in the blacks even in printing even in a jet bringing I'm okay if I lose detail in my blacks there are some shots say well what's the true exposure of a black car it's black it has no detail but I am real serious about my highlight side on the right side of history ram is one I really, really care about the left side I'm cognisant of it but I'm not as concerned about it as you might think but we are depending on what your intention and what the intention is and what the job calls for sure sure so my exposure now is at eight f eight f eight so when we roll down the f eight point oh and that means good in here on dh here we go so again let's just turn you that way michael just a little bit in fact no no no never mind let's turn you this way good now I want you to set up good in tallinn is lean forward right over your belt for me yeah there you go and I want the top your head you just kind of roll down this way a little bit let me see your eyes oh yeah oh yeah this guy's this guy's good gal turn ahead or two in the club weii go so take a look at this exposure and take a look at this image ready said bam it's not at all what you expect to see because of what your naked eye tells you here's the problem with you know I've heard I've heard instructors safe makes make comments like you need to learn to see the light well there's a problem with that statement you can't learn to see the light you can't because you're I realised teo you have to learn to think the light if you think about it if I walk into a dark if I walk into a movie theater and I've been I've been outside it's a bright, sunny day and I've got my popcorn and my big fat diet coke I can't see anything and I've got to stand there and wait for a bright scene or from my eyes start open up because I got the auto iris thing going on right I got the auto aperture I and I've got away and it's got open and it's gotta open and it's got open it's got open now it's open now I went from have sixteen f twenty two on my now medef too now I can go find my seat now after after twenty minutes in the theater I can look down the road and I can spot my neighbor because I can recognize him in the dark I could even find the roll a few minutes ago your eye lies to you all the time my eye has the ability to see this is a weird one russ my eye has the ability to see somewhere around twenty or twenty one stops or variations of stops of light. My camera can capture how many different stops of light anybody want to guess five six seven on the new cameras let's say six seven right how much in the paper hold five on a good day if your name's ansel the fact is our eye sees far greater detail than our cameras can see which hold better detail than our paper can handle and it is our responsibility in the food chain of how this all works to make sure that we place on paper I mean we place on that file what will print on that paper so we're responsible for getting it all in there it doesn't do us any good to have this this backlit couple on the beach at sunset with this flaming flare of stuff coming from behind him that's just gonna block up and not print anyway there there nine stops away from the sunset picture onto their face their nine stops difference on the sunset picture I've got to bring them closer to that so you know here's the sunset here they are and I got to get him closer so I gotta bring up light bring it bring it bring it bring it or bring that back down and when I bring that down they get darker than I got to bring him back up but I got to keep him in this range here that makes sense so just pay attention to let you know what your meters telling you and try not to visualize and try to think it a little bit more that's the bottom line that's that's sort of my point I do have a point sometimes. Okay so I kind of like what's going on here let's get him let's get a couple of variations come forward toward me a little bit chin down just a bit yeah there you go good, good good well sparkle in your eye just a little little part of a smile good, good good that's nice that's nice and my history ram there should be just you know I should be dead on yes oh there's my little gap on my right and I can almost get a gap on the left I'm awfully close great goodwin so the difference there in utilizing this instead of the soft boxes this bounced a little bit extra light around the room and some hit the backgrounds of background came up probably a half stop in brightness ok so now let's try something let's try something different here let's take the same situation and let's move let's I'm going to spin this guy just a little bit to make it more narrow okay and what's what happens in the background just watch the background not moving distance at all I'm just going to open this up until I get lights coming across my background see it you get the idea I gotta keep him covered so maybe something like right there and maybe I bring this forward just a little bit to make sure he stays covered under the translucent now let's measure him again john because I think some things just might have changed a little bit and this is the part where everybody is like man that core bells an idiot yeah I know but I started with one light five six even okay what's the background read what's this it's not going to be his lawyers you think where right there it's almost f a five six point eight right so it's reading more than he's right you reading because his light is being diffused by stop on behalf of fabric the light hitting the background isn't so all of a sudden I can go from that picture right there that's on the screen michael give me a little lean forward again and this barely bring your head over a distance that writing change five six even yep ok here we go right there there we go good good so from there now think about that background plus one and a half bam is going to get white ok? So if that's too much light on the background then we can correct that by distance I can I can change my distance so it falls off greater get the idea so let's do that let's back him up a little bit let's back this all up a little bit and let's bring you forward about a foot and a half two feet right about there and I'm just watching that background just to make sure it still gets wrong direct light once as long as it's getting direct light four point seven getting lean toward me a little bit and let your head this rule over just a little bit right there nobody moves nobody moves nobody moves good still pretty darn hot I should back up I should have popped it down further but any way you guys are starting to get the idea right so you can see now I can't even back this up a little bit more here and tip it more toward the panel this way and that will probably not get off back there a little bit like that's probably something to do anyway there you go that's four and a half now okay think here is for the tents right there good okay I'm starting to get I'm starting to get to where I could live with this now look at the quarterback can you zoom in on that face mike looking like qantas and from to the untrained eye somebody walking and look at this set like what is he doing look at that goofy set up yeah, but look at that great light that like qualities pretty darn weird and yet it's pretty darn cool ok, so let's stand up that cookie between you in the background just for fun just just hold it up yeah like right about the back edge of this jacket kind of like that there you go tip your head in just a little bit again former right in there great great great great so you can start seeing we can start bringing in little bits of detail back they're ready said there you go there you go but you can start to see that you can work this and worked this and worked this until you get it right where you want it I don't know where that's going to be let's do that same thing john can you just move a little bit closer background and now a pyre and tip this corner away from me slightly no uh swinging in this way like that now move into the shop and right there great here we go your eyes here good good and what that doesn't make those holes sharper so now watch the shadows think get the idea it's all about this in size relative to distance shadow gets sharper is a light source increases or decreases in size okay okay so now we got that so we know the next thing we want to do is we're going to light up this this mohawk I started say full because everybody's got a full hope this guy's got a mohawk guys got serious mohawk so I wish I had a really toll photo assistant if I only had a tall photo assistant uh that would be very cool so here's what I'm gonna do again here again I'm going to do over here folks I'm just gonna cheat a little bit and I'm gonna take this light source and I'm just gonna tip it up slightly I'm a tip it up just a little bit like that so now here's what's happening I've got life going through the translucent and we probably lost about a half stop ok and so now I've got a life skimming back lighting my backdrop now got light skim and pass this corner and it's going to go a parent hit that silver so I need you to go up higher and let me moving in and now we go back and forth so I can see sideways back and forth this way there you go keep doing it until I can spot it oh, sorry try here it's right here look right over here say that say that have come on over come on, move on over so you don't have to lean you go now tweak it around and this puppet right in his little head there you got it correct if ice pumped five six even on the main line five six even though six of six five point six I got you okay good. Now mentally forward again for me and tip your head over this little bit uh you can't come too far forward because then you're going to hit him in the face instead of just the hair so I'm gonna cheat this a little bit more like that and go up a little bit now can we move you that way just a step a little bit more and a little bit more now turn that flat toward me more more more now start tipping it dipping down look for that light in his hair four point nine okay so five ok let's try one right there and see wings but uh up just a little bit brit and twist it to me that's a little bit there you go there you go you guys get this idea this is the part where they're all going all I can't believe this knucklehead is doing this look what look at the difference on this one oh sorry won't hold up that cooking again sorry we'll do that one more time and get the cookie in the balls and this strangeness there we go chip your head and just a little bit there you go you're in the shot by a couple answers on there you go there you go good, good, good, good good great great great great ok so now you can see look at the top of the mohawk we're getting some hair or skin getting some light in his hair get the idea what's fun for me you guys is trying to do something clever that nobody does and what it does it gets me in the studio and gets me teaching myself things and it gets me stumbling and falling and crashing and burning then I don't fall in and stumbling crash and burn in front of a client you know so then the next thing that I would probably do is bring up my white reflector if I get one of you guys up here natalie right melanie know I knew it was a naive you want to bring this and and just look at his face and see this right here you want just bring it in toward we're just bouncing this light right into space right in here like that okay and again michael listen bring you forward over your show yeah there you go and bring your head around just a little bit right there that's it that's it right in there everybody was like wait a minute tony you got three assistants here we don't have assistance like that so I'm just swing it toward me a little bit swing it there you go there you go good good, good, good, good good good you have always liked the very life since ok that's pretty good we got it now now pull yours out melanie real quick and now pull it completely out and again here we go so now let's take a look and see which one we like there is with theirs with theirs with it back down a little bit I don't know what one's right and alice do the same thing without brit this time but melli let's bring you in and bring that up, john first I got good. All right, there we go. Good, good, good, good right there. Great. Relax for a second right there. Here's the thing you guys, there is no science to this on on what is subjective decisions? The science is that we get a good exposure objectively. Does he look like he looks? And I think he does. I think his jacket looks like his jacket looks his skin looks like his skin looks and in all that regard were there the rest of it is all subjective opinions, so it may be filled a little bit too much, but here's the thing don't get don't get caught up in thinking you can't do all this other work because you've only got one life. You can do a lot of stuff with one light a lot. Ok. All right, so let me talk. Grossman thank you, guys. You guys consider for just so actually really quick before before everyone goes away. Melanie melanie, come, I'm going to come back. I would love if we can kind of pull the jib back and get like, a big, wide shot of where everyone is. I know there's some people who wanted to see like a full set up are a full, wide shot of how where everyone is standing yeah for this for this shot so there you go folks yeah, that is a good that's a good overhead that's a good that's a good example of that that's really cool and I know that mike has a a series of shots of each additional light great on and I would love to see that too I think things that have to finish this up yeah that's pretty good you can see on the bottom role you can see when we added the silver and the civil was a little too far around front so I did kind of add some exposure to his face but then you can also see which one when we added in the the reflector I think the middle of the top row is a kind of a keeper and that was before we brought in the silver so I like it I like it a lot and that's part of what this says it's all have its experimentation I think I can hold oppose candy look at that nobody does that nobody does that yeah that's a good school a c m eighty three christina says is this like playing pool with like yes, I was going to lunch to somebody I said this is like bumper pool you know we're just bouncing around, you know and the fun thing about watching angles in the way light works in the west bank angles work is you know, my my friend collins used to say, if you want to learn how light bounces and works, just take a tennis ball and throw it against the wall and figure out where those angles are, because that tennis ball will always come off at the exact same angle that it was received. So and you can see that if you throw a tennis ball straight against that wall, it loses a certain amount of power than it turns, makes the turn and comes right back at you at a much lower speed. But if you throw one at a real sharp angle to the wall, it skims off that wall and keeps going at a really high speed light does exactly the same thing the way light scams and hits and turns changes direction, you know, it comes back to the land, so to speak, all of that stuff that has to be factored into your workflow has to be factored into your shoot day. And this is when you start getting a little bit more and more and more control, and this is when you start sort of getting getting the idea that wait a minute, maybe I can do this work, you know, maybe I can do this and not be fooled and not be intimidated, so for those who that were intimidated, day one who shall remain nameless, mounting you know you come into this thing you've got to come into this saying going wait a minute it's pretty simple you set up your main life get the quality of the light now that mean life that you want and take a reading and pull the trigger you know, not a big cigar not a big cigar the control is defined as in the dictionary the word control is defined as the power and authority that guide or manage I'm not a control freak but I want my pictures to look the way I want my pictures to look and I don't want any surprises and I've been saying that for two days no surprises that stuff that we're seeing up there there there's no surprise no wow when exactly was gonna look like so sam with color yesterday we knew exactly what they look like because it made it told us it tells us everything it is my it is my meter is my lifeline I do want to talk a little bit about posing for just a second interesting thing about poses is that with women anything that will bend I mentioned this before you should bend it with women we were always taught to pose in such a way that you are looking for s curves everything that makes an s curve like, you know, like you wouldn't want a photograph of the back of a woman's hand like this because it's not an s curve it's pretty flat and it's like it's a light catcher but if you turn her hand to the side like this then the hand kind of comes up a little bit and all of a sudden I've got a little bit of an s curve that's a little bit more feminine than bad, you know and you know so I kept posing the full length with the models in the last couple of days where I would have them if if lee's camera would have turned this way if their weight on their back foot and then push their left foot out and then kind of dragged that foot in a little bit like that bam the reason is it makes a big old s curve right that's all that that's all that without that's all that I was trying to do for the last couple days. Well, then we get you know, macho man on the set you know? So what this guy what I want to do is forget the s curves and I got to go for the seeker's the season the elves for a male from masculine posing everything's got to be more hard in other words, with a man I can have his arm at a ninety degree with a woman you might want to software to hire angles lesser angle I mean but with him instead of heaven if I've got him turn this way and there's my camera with a woman I might have tipped to this shoulder a little bit which creates this big s but with him, I keep tipping his head this way because now it makes this big c get the idea, its subtleties imposing but its subtleties that ad big, big difference they pays big dividends, okay, I want to do a couple more head shots of him without put the soft box back on and then we're going to bring in some edge lighting just a little bit and then we'll start working on this hair a little bit. We'll do a we'll do a silhouette, some profile work with him. There was a request for a profile because they love you. I let him out of here without a okay, yeah, yeah, absolutely. So let me pull this guy back in. Thanks, tony. One quick question what you're setting up there. Yeah, I'd like to know a little bit about your how much pre visualization you do before a shoot something I'd like to ask our instructors. I know that friend of yours said put away your lights so when you come back in the morning, can you tell us a little bit about your approach a shoot? Yeah, I think you know, you always have ah, a little bit of, um, idea based on your discussion with your client and I do think that you know, a good friend of mine in massachusetts are wonderful. Fine art photographer name arthur rainville was quoted one time is saying a photo is of someone a portrait is about someone and that's a powerful little sentence. And what that means is, you know, leave you hire me to come photograph you before I can photograph you got no a little bit about you. I can't make a photograph about you unless I know about you and when I sit down and we start these questions and we started pulling up that information jim that's what's going to help me pre visualized in the first place is to find out a little bit about him, because if it's a portrait, if it's a fashion shoot that's totally different, but in a portrait situation, I've got to know something about my subjects and another thing that this guy used to do. Michael, let me sit there for just second. I just want to show you guys one thing there was a guy in san diego wonderful, wonderful man named victor avila, and if I need my old san diego buddies, they're watching they remember victor, he was a wonderful master photographer, we sadly lost him too early in his life, but victor used to have these two stools in studio two chairs in his studio he bring the client in the reception and take him right into the camera room and sit him down and so he had this one chair that was a hardback wooden straight back cheap chair that probably cost him ten bucks at the dollar store our dollar at the ten dollars it was a really cheap, ugly chair and it was just flat and straight and wouldn't and uncomfortable and then across from it had this big, soft, overstuffed monster chair with a kickback thing and then you know and he would bring the client into the studio and he'd go sit down in the big soft chair and let his client sit in the uncomfortable chair and that's when he would start his conversation. Tell me a little bit about your work a little bit about your family tell me a little bit about what you envision this toe look like how long have you been thinking about having a portrait made? Where will this be hanging? This is in your office or is this in your home and you're living? He would pull all this information from his client all the while taking note of what they're saying but he's also watching what they're doing and how they're going to get there but comfortable in that chair because it's, pretty uncomfortable to sit in that chair, and pretty soon they've got one foot up, and pretty soon they've got the other foot up. And then pretty soon, they've got this hand over here, and pretty soon they're leaning forward. And pretty soon, this leg is crossed. And then pretty soon they're hand is down here by their foot and after a while. And he just keeps watching him until they fall into something that's comfortable. And when they get comfortable, he knows exactly how he's going to photograph him. That's, genius, it's, absolutely genius, you know, and that's and that folks in a nutshell, those of the reasons that we have to go study with and see everybody. I am not finished learning. I don't know anything. I am a hack at this point in my life.

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.

Reviews

Shoot2Thrill
 

A very comprehensive class in teaching the core fundamentals of studio photography. No bells and whistles approach, just good old honest education that will last you a lifetime. This class easily compliments all the high-glitz classes relating to fashion studio photography. A good investment for sure. Highly recommended! (Nobody moves, nobody gets hurt! Ain't that right Tony.)