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Studio Lighting - The Power of Control

Lesson 14 of 30

Shoot: Variations of Modifiers Part 1

Tony Corbell

Studio Lighting - The Power of Control

Tony Corbell

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Lesson Info

14. Shoot: Variations of Modifiers Part 1


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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: Variations of Modifiers Part 1

There was a friend of mine that I've talked with that down it brooks institute really great great stock photographer nemeroff, clevenger and one day a student was in rafts office and he said he was in second or third year it was tryingto select his major and for target brooks you could get a major in portraiture or commercial our scientific and industrial there's a lot of different majors and the guy's like I just don't know which major to select I don't know which way to go and ralph said it doesn't matter and the guy's like what in russia's doesn't matter, he says what do you mean? He says, when you leave this school you'll be able to do anything you'll be able to shoot anything, so it doesn't matter what major you select you have established yourself as one who has a foundation of this craft unlike most people in the world, so it doesn't really matter what major you select you're going to find and I think he was right and I think that that helped when I want overheard this conversat...

ion with the student it helped me think about my craft a little bit differently if you learn the foundation I can do a can do a high tech of complex picture for sharper image catalog or a zales jewelry catalog I can't do that because I understand how to like this face so beautifully you know it really if you think about it when when weather like I mentioned earlier if you if you're shooting a car or a model light is still exactly the same and it behaves the same way what changes of the tools we use and maybe how we apply that light but it's same stuff you know it's still it's still our craft and it's still just stuff that we have toe deal with and we have to understand the qualities in the quantities if we do that we're okay it's not a big secret and some people try to make it a secret and I've heard photographers and I'd say that's a beautiful shot how'd you do that well I can't give away my secret oh stop it you know shut up with that I did have a had a guy one time tell me I can't I can't tell you that that's my secret it's I do that nobody else can do this and I went ok, well I was just curious that's all I can think of four ways of doing it I just walked off and he was like he only knew one way um anyway before we wait I do like the thump other photographers when they get a little bit puffed up I don't have much patients that were we're so blessed to do what we do for a living we're not, uh we don't have to look at suffering people in our world. I don't I'm not a photojournalist, we get to see people at their best usually and opportunities and situations that their best you don't um yeah, no bread, but for me, for me, it's so much of it is just paying close attention to the details, and it is all details and it was all small stuff, and it is creating habits. It's it's kind of like how I packed my camera bag? Uh, the habit of how I use my meter is as important as the habit of where I place my ninety million macro lens or my seventy two hundred, or where the extra batteries are or what everything is a habit, and I have to have all these habits because that way, when I'm leaving, you know, we were we were shooting a hyatt regency brochure in hawaii, and as we were leaving, we were looking through all the camera bags and all the light bags, and there was one slot that was empty it's like what goes in that slot fifty millimeter, one point four where is it? In one assistance went on the fourth floor in the ballroom and he took off and he came back holding lens we wouldn't have known that if we didn't know that everything I had a place and everything was a habit of where we placed everything so it's really good to get in these these kind of habits so, um I think we're gonna shoot some more did our model come on set is bringing here great. So bringing come on over we've put this other backdrop of this is this is my favorite backdrop. This is a backdrop called midsummer night's dream and this is one of those white house backdrops that is I use is far more than that shit and people are tired of seeing all my work on this backdrop but I just love the colors. I mean, I just love the way this is my sixties hippie look, I mean, this is it's very it's very out there but it's a pretty cool backdrop, so I just want to separate her hair against that those those tones and we put her in a kind of a bluish kind of ah like group like break blue kind of a top but but if you think about this now, think about how this looks when we properly exposing it will look like it truly looks. But think about how that might look and how deep and rich that color my look if it's under by a half stop or how it might look as a pastel if it was over by a half stop so that's part of what we're going to do on our third session after lunch is we're gonna spend lots and lots and lots of time about background control. So for now I want to spend the time though let's talk about her and letting her up so just to get us into the rhythm of this, I want to do one more with her on this backdrop just kind of the same setup that we have so we can look and compare and then we're gonna make some adjustments of the light quality from that so let's let me move this stool out of the way for a second john you on his slide that over that corner let's put you right about here and again let's just turn you kind of that way and I want put your weight on your left foot there you go and let your right foot just point right out here just drag it way out there and now this dragon and towards you freeze right there, let's, let your knee role in a little bit too inside there you go. See how that works good night is bring your head way around here to me over and chin down a little bit there we go, there we go, let me just braises up just a bit let's just take a look at that and again I'm just going to swivel it just a little bit to keep her at the back edge of that soft box and I think we're turning this guy back on are we on over here let me turn this I think we can turn that off john for this one let's just leave the mauling awful man I'm gonna turn this molly lambert I'll run I'm sorry you want power on or just you know just turn power off yeah yeah what is killing completely on this one let's go ahead and get a reading if you would see that I love that about john I didn't have to go look for the media already had that he knew was coming eleven five eleven five we'll see eleven five so that's going to make that background fairly sharp depending on my focal length but I'm gonna pulling a little bit closer here and but that's going to give us a pretty decent pretty decent look at that backdrop so we're going to go to eleven five let me give this guy locked in here so here we go eleven five is really close to f fourteen which is eleven and two thirds eleven six would be eleven would be the closest two f which would equal have fourteen where don't want background so oh yeah go ahead and read that background sorry got ahead of myself five six and a half so let's pop that up. Uh a full stop for sure maybe a stop plus a little bit plus two thirds eleven six so that's good lemon sick leave it right there perfect eleven six and I'm shooting eleven six so what you think the backgrounds gonna look like like it's a reality true brightness you guys get that so let me back up and give her some space just to show you the background and get my focus their good nobody moves boy did I forget to do something here because that's pretty hot what did I do? You're still a tie is so two hundred on the ground I did fourteen on twenty fifth what did I do this is saturday is so two hundred huh that's pretty odd okay photography one tony zero wait wait to move you forward and have there you go thank you brit okay oh breathe a drink that sign fine fine that would certainly make a difference yes point to be made to keep your background life from hitting your models on top of your exposure here we go let's take a look at that that looks pretty darn good and the backgrounds looking pretty good it looks a little under what did we say that was all right let's just let's read this again take a reading of that again eight even eight so we probably just didn't dump the power yeah that's what I was that's what it was okay great, great here we go nobody moves and power that down just a little bit on the ground there you go good bye that great there you go now everything's now everything zeroed out so now she looks like she looks in the background looks like it looks so now if we can just zoom into the face there if we're back with our light room there we go there we go so we get this case lights in the right spot everything's looking good highlights have details shadows have detail everything's coming together and it's all working pretty good. I think I would I would lower that light just a little bit just for a variation what's what happens is we bring it down I want to bring it down then closer, okay? And then we'll re meet her and then we're going to change this life shaping tool out for you here in just a second I want to bring it in like this close now do this for me. Could I want to bring your shoulders a little bit that way and when you had way around here like this little bit more your chin down for me just a bit and push your hair back off your right shoulder there you go there you go you know, let me see your eyes right here, chin down a little bit and look right through me good no big smile on this one let me just look in your eyes right here good good good writing a third a third which is the same exposure is how much? Nine right here I got that in the third equals f nine okay, great your eyes right there just like that don't move don't move don't move beautifui beauty look at this face look at this like quality by simply moving this thing and look at that guys we're talking about one soft bucks and one uncontrolled light on the background could you sell that? Why could you not sell that? I'm not a genius looking all I did is move this light pretty close to her got a good solid reading got beautiful highlights can we zoom in on this one more time? Sorry, but and roll it up so I can see her lips as well. Just that could see how soft that highlight is on her bottom lip that's that's a I know this seems like a silly thing, but if I use a smaller source that highlight convinces to a smaller highlight and as it does that highlight on it but I'm like get this pure plane blown out white so if you want a soft frosted highlight on their lips, you're gonna have a big, soft source it's real simple all that all comes together I don't kind of beaten it to death, but you know, look at that face and when she's not smiling, horizon it bigger sometimes I tell myself it's, no big smiles because I don't not because I don't want their smile, I want their eyes to look bigger and this is another little tip, too, when you when you I'm not sure what cameron want here, but when somebody is when you're when you're posing someone if I'm looking at my model is like you're looking at me here, if I'm right here, my eyes look like how they look, but if I lower my head down just a quarter of an inch, my eyes of her bigger there's a quarter vance, I don't want to go way down and look up because then you get what we call canoe lighting where if my head's down too much and my eyes are up too much, the whites of the eye go all the way underneath the iris and it's like a community like a big white canoe, so we don't want that. But by just dropping from normal tio a quarter vent down, the eyes will open up on most people and makes their eyes with a bigger look at compare this one with the previous shot and look at the difference in the size of her eyes. If you can zoom in on the one on the left one if you can do that usoc the size of rye and came down in the look at the new one where she's not somali look how much bigger her eyes appear. Well, I mean they resumed but still you get the idea. Wow. Was it bigger? Melanie right? You have a question? Yeah. Dio so this technique that you've read reposition the light to make shadows and highlights softer is this also a technique he could use for people who have problems skin absolute lots of and I'm glad you brought up we talked about that last night. Yeah, the issue is this the issue is the word texture you know, if I want this's no sound really goofy nasa chose the time of day toe land on the moon on july twenty nineteen sixty nine for one reason so that the light is at the most acute angle skimming across the surface of the moon. They say the most possible highlights and shadows on the craters of the moon so that when the limb was going down the land they could see if it was going to land. If a leg was going to go in a whole our land on iraq it's the only way if that was flat lit they couldn't see it does that make sense? Okay, so faces exactly this faces the servers of the moon you want you want to flatten that out, then flatten it out and minimize the shadows minimize the highlights so all I would do if I've got someone with problems can if I've got someone with deep wrinkles or a lot of pockmarks and things like that for me in this position just turn your head to me my biggest choice here would be simply to grab that life stand keep the same distance and bring it to me about a foot like that and I just fixed all of my problems on skin I just made sure that I filled in the shadows from a deep pockmark and I just made sure that I in creative this because of the distance the highlight from the top of a of a wrinkle or something on darker skin just got hammered so flattened that line out a little bit by just bringing it closer to the camera does a remarkable it gives you a remarkable difference in the look you know when you look at these model pictures that I've got hanging on the walls from this fashion shoot in new york there's her skin is flawless. Well, she's got a flawless skin to start with, but if she had an imperfection and her skin you don't see it because I was flat lining those things look exception one of them and we'll talk about that as we go full length tomorrow but I think it's pretty good look for most people is that I mean the traditional old style portrait of a rembrandt style portrait light is one thing you can't fix bad skin with a rembrandt style traditional portrait light you can if you re catch it but you can't with light light correction yeah when you have the soft box raised up high does the angle of it affect anything other than fall off it's just fall off that's a great great point it's just follow yeah so and it's funny that you mentioned that and I may have said this when I was here last time when I was doing the outdoor location lighting stuff if I want the light to fall off on the bottom mme or there's another tick trick that I use is not a lot of people use but instead of of raising the light up here I'll just tip it so so I'll just loosen the head on the stand and I'll just do the light like this so now what I've done is I've just made sure that the bottom edge of my source is what's creating my fall off it's great and it's just a fun let's go and read the meter this one issue one of these real quick to say what I'm talking about I'm gonna push us back around a little bit melanie there you go five, six and a half so I'll go to five, six and a half and that's almost their feet in the back. Ok, I'll drop that down. Yeah, just drop a little bit. There you go. Good, good, good. Okay, chin down. Just a tiny bit in your eyes right at me. Right there. Don't move. Good. Let me back up to show. In fact, we just zoom in a little bit. Well, I need back up just a step here. I'm going to crop her kind of funky here just because I want you to see the fall off on her top. You can just see how how nicely, it's starting to fall below on the screen. Everybody. There you go. So you see how the lights to start to fall off? Mid chest? Yeah, it's just I'm just vigna on the lower half of the picture and it's, great to, uh, in the world of control in the power of control is full control. And if I'm shooting my bride, I might want that to fall off but also might want that full dress to be perfectly illuminated from toto head in that case than I need my four by six turned in a vertical position and pretty close to her, so it all depends on what the job calls for so tony, you just clarified sort of what? How to achieve fall off? Could you kind of give a definition of fall off for a camera and tina? And then after that I would love to hear for pink caterpillar and also tina, what do you mean by flat light? Ok, so, so, first off the fall off the fall, basically in this position and you can see it from this camera from this position that life from is being go boat off go bo is a term that a lot of commercial guys use a lot of portrait guys don't, but goebel means go between so anything that you can go between the light and a subject and lock light off that's a gobo this could be used as a gobo. This black piece of cardboard could be uses a gobo and it's a go between, right so I can block light off with this. Well, I can also just tip this up and use the bottom of this to keep light from going all the way down here so that when the light comes out of this guy's it's coming right here to her and it can't really go down there if it's being controlled, so the fall off is pretty dramatic and it's dropping off to a darker value pretty quickly it's very subjective, how much or how little you like them? Thank let me back up. Let me back up and shoot that again just a little bit to show you more. I'm going to get this. I'm going back a little here. Sorry, guys coming your way camera guys. But I'm just going back over here and I'm going to see my soft bucks in the shot. But you guys get the idea, I'm doing it for a reason, but now see the fall off when the mountain in the monitor clears and you what you'll see is see how dark it is on the bottom half. Well, if I don't tip this up, I don't get that so here's what's interesting about that is you may be tip it down and take it will do that. The interesting part about this is I learned to do this shooting on the beaches in san diego outdoors with a family at sunset, when I would walk out there with my big old soft bucks and put it on the stand and tippett them just like this, like everybody else on the beach that I could see from where I was standing. The problem was I'm lighting up the sand, I'm adding light too light, light sand already so on their portrait there's this big white area in front of him and I'm like how kind of get rid of that and one of my friends that we'll just go below the bottom lines like I feel like such an idiot of course what an answer so all of a sudden I started shooting all my families like this and what's great is you can hear the whispers of photographers all over the beach going that core bells and idiot and I'm looking at their pictures going oh yeah so let me drop this back down now let's read it again john because that's what this will change the reading on her and then from the same position I haven't moved my camera charger shoot the same thing we did move the camera wait did move when you're sorry for move over here just eight even even so we're going to go to eight even and do the same picture so now you'll see the falloff is completely different if we could put him side by side you'll see the difference and again it's about the word control her face looks great in both spots because we mean it for her face if you just put your put your hands up put your arm up there and block off for top her face looks the same as all ideas just took care of the lower half yeah and a technical question I'm sorry you come you come to the wrong place lady sorry okay john wayne jokesters here that's good okay, you can review for me on the taconic and just with the matthew was saying that camera exactly said something that a point three it was nine if you could please help me get back up to speed where that is actually one of my favorite things one who's a jeff greater than nine that's right? So so no I six is it for him? What seventy nine s so, uh what happens is we had a world where everything was in order with film we had film I esos that were in third stops we had I saw one hundred films one twenty five one, sixty and two hundred films with two, fifty three, twenty and four hundred films all on one third increments of speed okay and then come along our cameras now in those days our cameras we had half stop click stops in between full and half stocks so we couldn't get those third stops but you could if you just know it you could wink it in there and hold it in place and that would you know then we came out with the blind miers then digital I'm meters came out and there are one tenth stop accuracies so if a and a third f a point three is one third of us stop brighter than f eight f eight. Two thirds which on a meeting with the faa point six r point seven is two thirds above f eight now we have digital cameras and the digital cameras came along in there and third stops and instead of saying f eight point three they just give it at night it always was that night in the old days of of mechanical optics it was always at night we just called it I think the third because that's what the meter manufacturer taught us to say and then one third above that is f ten and the next full stop next third up is a full stop away from a which is up eleven so there are three levels between the world's two levels in between each full stop so it's f a and then the third thing two thirds f eleven which is that they have nine of ten eleven thank you. Okay and it is kind of confusing and we would love we we got the falloff we would love to hear about the flat light when they eventually talked about creating three dimensional contrast that's a directional lighting you cannot have highlights and shadows when you have a light that is not directional so flat lighting can be defined as light that the source of illumination the primary source of illumination is as close as possible to your camera that's flat light so that it does not appear to be direction that would be my definition of flat light flat light is not a bad thing it's awful thing if you're trying to create death but if you're just trying to get a picture fly lights not a bad thing do you photograph one hundred eighty five world leaders flat lightem it's the only way you can do it when you're photographing a flat art copy flat light it you know there's a lot of call for flat light so let's do the same picture of her and let me flat lighter I'm gonna have to back this up so I can get around the source with my camera in fact assisted us that's what is this up? I'm gonna raise it up and go under a little bit sorry buddy, I just you know, it's the mechanics of this video I'm shell it with no because I'm saving that ok? We're talking about that other guest section but I do want to check that out put on that you don't mind reading that for me and I'll bring this riled closer there you go good four and a half right now let's try it again so you can get me cultured eight five c even I can do so in this case her face and the shadowing and everything is going to be pretty flat um here we go five six oh five six oh, okay, good and you'll get comfortable with these numbers the more you do this stuff much like skiing and everything else that we've talked about so in this case this light will pop up and appear pretty flat looking her garment account flat tell maliti is in the texture of rig arment there's no texture if this was a bride to spend seven thousand dollars on again and I shot her like that shame is shame on me she wouldn't know the difference nor would her mom but every photographer I know a worldwide would say corporal where the beads because they just flat let the beads and the bead work on a gown needs to have directional light so that there are little small highlights and little small shadows on every beat because it's creating that texture again so I have to have it the thing about directional light is directional light gives me information flat light doesn't give me information it gives me a recorded value but it doesn't give me any really true information of my subject doesn't make sense sort of a little bit of sense ok, so here's what I want to try and next I want to do something that's a little bit funky john take that just pop that head off of there that reflector and let's put the other soft box that we've got right here in the corner calls it yeah let's put the other soft bucks that matches this one let's put him together and we're going to do a twin lighting thing here with using two of these soft boxes to resemble one big one so while he's grabbing that, um, let me just let me just tell you what, why what I'm what I'm trying to accomplish here, I want I want I love this life source and I like it in a vertical position because vertically, I can light her from here all the way down when it's not tipped up, I can let her all the way down to here and get good smooth, even light all the way down, okay? But we're having a secondary one that exactly matches this one, I'm going to place it just a little bit over this way as almost a it's going to be almost well, they're two different we're going to two different ways I'm going side by side with that just to make this light source bigger, then I'm going to move it around and do it as an accent light at the same time, one of my friends, one of my early mentors said that that other soft bucks he would always place back behind the subject on the same side as the main light and he said that call that my garlic light is like garlic light what's the garlic lining says, well, you know garlic is when you have just enough garlic it's fabulous but you can overdo it really easy and with this actually a lot of the same way if it's done with finesse it looks fantastic if it's not done you can overdo it really easy so use soft hands on it you know so I used to teach our students when they were pretty in the dark room you know you soft hands when you burn in dodge in the darkroom you soft hands and don't make it too obvious what you've just done make it natural you know and that's what this is we're trying to make it look natural so let's bring that guy listen first off let's put it right next to it this is match him up we'll go side by side we'll put the output the same and we're gonna get a good reading and all is good so go ahead and bring it right on over here and just swing around this way so it's same direction there you go now drop this an engine ok good so now your output set your output to one seven and we'll check it will take a reading of that and see what we get even eight even I love I love me some eight let's do this just for fun john, will you pull that grid out of light number three back there and just just spinning around toward the backdrop and said it at low power just so I have a little density back there. There you go. It's already said looks like in the right spot yeah, just turn it on. There you go. By the way, that toggle switch the reason it'll also toggle down better is to activate the battery there's a battery pack up available for these german five hundred's. And with the battery pack, all you do is once you connected to the battery for charge and for discharge, then you just flip that switch down and that activates the battery it's very clever system. Ok, would you have five? Six and a half? We're seeing a nato, so we're good. That background look awesome. She looks awesome. I'm gonna zoom out just a little bit. Nobody moves. Look at this face. Would you do this for me? You know, I want you to just turn your face to me just a little bit right there, right there. So now look at this. I'm going to zoom in there and do one. Let me come in and look at the quality of light on this exposure. You guys, this next one is about to pop in. Look at this look at that like claudia and can you can you just go in on the rise again? If you don't mind, you can see the twin highlights and if you if that's bugging you, that there's a blank line between them that's an easy clone that's we can fix that, or we can even another thing is, take a strip of cafferty, go this way and make it look like a window. One one ship a gap for states and you've got a window then. And really, the only place that would appear is in her eyes or she's holding a glass of wine that's dark red. If the wine is dark, you'll see the window in the glass. So the speculator ity and working with speculate highlights is pretty great, but because of the size of the source, look how soft the highlight there is between a rise right on your forehead, that's all because of the size of the source. That's it it's all because of the size of the source. Ok, so go ahead and zoom back out of that again. I won't look at her neck. Yeah, so see how that's soft shadow is right under her neck line, where the shadow would be the cuffs off that shadow is instead of a hard edge shadow under there. And that's. What makes me crazy that watching local tv news oh my god these poor newscasters have seven shadows from their chin onto their white shirt because they're seven little lights lighting their face instead of one big soft source or even these kino flows that we've gotten the studio here these kino flows air these are incredible light source I know the video guys must be flipping out that we've got him here they're really great to work with because they're so forgiving you know cinematographers are loving I heard one guy say that for the first time in years that that ceilings are going back on sense for tv shows because I had to fly the ceilings off because they couldn't use they didn't have the light answers well now they do with tina flows so pretty cool yeah ok so now let's do this I want to leave this main light in the same position now john let's take that accent lighting move it back and had a straight toward the backdrop just keep going like another three to three peat more more, more, more, more, more, more, more more keep going there you go now then spin it around this way toward managing spins bins been now here's the trick on placement the trick on placement is I want to make sure that that that that highlight from this light source doesn't hit her nose so however whatever I have to do to keep it from hitting her nose is one of my only rules in life I don't have a lot of rules in my world well I got a few but one of miss I don't want that accent like touching that nose can't touch her nose because it makes your nose look big in it looks awkward and it's a draw and draws your eye in so let's move it like another six inches or so oh we're almost there you're almost there you're there right there right there now let's measure that four and a half on the front one great now measure this mainland again because we don't know that that was the main latest well then let me move it a little bit I'm going to move this light sources sorry let me move this down a little bit closer tour since we lost half of our size let's bring our size back up by bringing this in there we go now give me a reading there five six point two okay and the background that is life five six point eight okay so then he's come down one full stop and we'll be good you're perfect don't move the thing you're standing perfectly you look great it's it's as low as it goes now and it's give me five six point two great nobody moves nobody gets hurt ho boy did you guys feel that one that's good now what's this soft, soft soft light her hair how gorgeous is that yeah can we zoom in and see your hair a little bit she looks like she's mad at me but other than that way you know we'll we'll we'll soften her up a little bit there the attitude so so you know again what's what's going on can we zoom back just a little bit there okay so let me ask you this question over a foreign land room can you go to like one third instead of one to one one zoom oh good oh yeah click on that one yeah yeah three to one thirty one yeah yeah yeah yeah yeah sorry sorry one two three one two three one two three sorry danger danger danger yeah there you go there you go that's for me that's a real comfortable view about one three so so but look how the nice and soft tissue look how soft the highlight is on her shoulder and you see how there's detail in it I can't let it get any brighter I'll lose that detail on her shoulder as it is it's very very soft it's very comfortable to look at I think it's great okay let's do a couple of things real quick let me grab this stool so we can let her sit for a second john let's let her sit right there and for this one I want to leave everything kind of like it is and just try something let's have it let's have it aimed like that go ahead and come around this way and put your feet on that side and have a seat there lean upon that's from europe so instead of having her shoulders turned away this time I'm just gonna let her sit there and I want to set up good in tall and just bring that hand all the way over to there was kind of lean this way yep. And bring your head to me just a bit right there and let's top your head this roll over a little bit right in there so nothing much has changed here give me another check on your face real quick and just eight even turn the head to me just a little bit a little time but right there right there is good there you go. Ok eight even so we're going to eat even you notice how many meter readings we take? Sorry, russ that's what we do we do a lot of meter readings it's true and look at that. I mean, yeah, if you're looking over my shoulder on this camera you've got to see how dead on this looks I mean, you know, we can't just do me one thing they're big john let's swivel that background light to the left a little bit further and pop it up one full stop and that will just be a little more to that left rubble yeah a little more that way and up to two point oh yes let me do one more of those greedy again bringing you look great good, good good chin up just a little now let me look at your eyes right at me over here and not lawyer head I'm just a tiny bit right there don't move don't move good great now we got it now let's take a look at her eyes on this last one that just as it pops in now our background looks a little more background like and look at that comfortable expression on her face on this one I could sell that guys you can buy houses and cars you know with that kind of thing and if it's too dark on this side if you think your hair needs a little help then fix her hair you know it's a pretty simple it's a simple fix you can actually even you can actually don't do that yet I've got to say that because a couple of things I want try not to step ahead too much um ok any questions about these twin lights before he moved to the next step you got one yeah we do actually tony um this is from houghton photo come asking about that was an even ratio between the edges and the key light and I understand earlier one stop under. Yeah. Is it because of the large soft edge versus the harder light? Bingo, that's dancer. The answer is with a bigger source back there. I can get closer and closer and closer to my main. Leading the way are down. It is below. It's not equal. Okay, it's. Not one. The one that's down below. But you can get closer because of the size of the source stopped different right now they are okay, so they're stop different still run. Stop different. Which is what you said. You preferred that one stopper for I am personally, I prefer one and a half. Okay. But if it's you. But if I got a big softer source, remember that that as the source gets bigger, the highlight diminishes. So that helps me with my accents quite a bit. So great catch, but still it's it's an a minus one right now. But it still looks plenty bright as you can see in her face on her hair. Still looks like it's looks like her hair is brighter than her face. But it's really one stop darker, but because of the relative placement of it it's almost like it's, almost like can I cannot build a pull that bored out john I know this is gonna be really awkward to do this right? We are just a second let me just move this guy forward if you could put that around I just want to show you one thing and I hate to do this the guys in the booth they're going where is he going? What is he doing now moving all over this I actually want to jump down for a second I move your chair and I grabbed the back up here in just a second so think about it this way I really do appreciate this question because this is something I do talk about a lot there's our background here's my camera e there's my girl and here's my life source so let's say I've got my life source right here at that distance and it measures f eight and if I move that light over here it's still measures ethic and if I move that light here there is still measures ethic and if I move it here it still matters. I think as long as that light keeps the same distance it's still measures exactly the same but visually here's what happens here? It looks like f ate here it looks like faa here it looks like eight and a half here it looks like eleven here it looks like eleven and a half the more it goes away from my camera, the more efficient the light becomes coming back to the camera because it sends all again once again we're talking about the law physics light here has to go lose certain amount of energy, make the turn family goto limbs here it goes to the subject makes the turn loses some energy bam goto lens here it doesn't take his much energy to make the turn it's like skipping iraq on a lake here it even takes the less energy to skip across the subject can go to the lands here, it's even less so it appears brighter and brighter and loses less power. Does that make any sense? It's? Why when you're driving down a blacktop lane at the end of the day and it's sunset and you're going like this because the sun is bouncing off of that road and it's not going the black off your teeth and you glance in your rear view mirror and everything is perfectly exposed behind you? What is that light appear so bright? Because it's doing that and what you see in your rear view mirror is doing that ok, thanks don so we have a question from picks alesci who says are using the main light soft spots as a gobo? How are you not getting any lens flare from the rim light soft box that's a great question. Well, from standing right here that that rim light is go boat by the main light. Um, in an ideal world and in my studio, with all of my stuff with me, I would have a grid spot on that second soft box, and the grid spot would would absolutely guarantee I wouldn't get flare. But there there is a danger of flair. So it's a really good pick up. Good catch. Yeah, that could be. That could be a problem.

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.