Culling: Three Light Set Up
this'll lining set up a little bit of a more dramatic like there's so many different ways you can use the sky luck depending on your studio space and what you hot, what kind of light you have available. This is typically how I use it. I generally, like I mentioned earlier, will have the goat ox or another constantly kind of reflecting off the ceiling or awful white wall, just adding a little bit of bounce to my image and Phil. And then I use this just slightly tilted, just to give a little bit of a more dramatic mood and a little more shadow under the model's face. We're actually going to shift the lighting just a little bit right now to make it even more dramatic. I Sometimes I'll use that as just one light Teoh. I'm kind of known as the one Light photographers. So a lot of times I'm using that on its own, mixing it, which is a little bit of natural light. Or as you saw in one of my Claire Pettibone campaigns, we only did one light for an entire shoot in a very dark room. So so, depen...
ding on how much natural light you comes in. You could really shifted around with that. It's daylight balance, and it's an led light, so so it doesn't overheat. And your ableto that's what I love about it is you're able to mix it seamlessly with natural lighting window light whenever I for what's for starting. I was using the Einstein quite often, and I would use the modeling lamps if you don't have. I have a day like balance flight, yet you can use the modeling lamp on your one. A regular strobe and I was. What I was doing was adjusting my white balance. So I was using Kelvin White balance because it comes off very warm. It wouldn't be ideal if you wanted to mix it with natural light, because it would be a very one light compared to the to the daylight. So it's a really nice like to you. Well, Chris, I know that Greg could come on out if you to want to go through some of the images and show us some of your selects. Why, what you would choose and why talk us through that grate? Yes. So what? I'm always looking out of the different are the poses. I'm always looking at the motion. I want generally with fashion. I'm choosing to images 2 to 3 images of each look for an editorial. They usually use one of each look, but I always like to have different select. Whenever you're working with makeup and hair to a lot of times, they'll want something a little bit closer, tighter for their portfolios. So let me look through these. Do these were done with the dig area type? No. The entire the Petzel 58 lens. So they're a little bit more moody and blurry, but they give a I love that it gives the fine art, Phil so this would be perfectly acceptable for editorial alongside other images. But I love this one because you get that sense of movement. You see who? The model in action. These were a little bit more blurry. I love this when I love I always love. Like I mentioned earlier, just having the model, looking away, just showing a lot of emotion. And I think my as such a great model that she just shows that naturally and her images Okay, great. So what I would look for is a couple like a set of full bodies and then close up whenever I'm working with clients. I'm always sending them all the proof. So what I would do is go through all the images, look at the posing, look at the angles and maybe depending on the client, how sharp images are, too. And then I would send them to proofs through Dropbox or we transfer. I always send low rez images over to them, and then they make their select based off that depending on their contract and whatever it is that we agreed on, sometimes they only want one look. One photo per look. Sometimes they want a front back shot or a side shot, so it might be 3 to 4 images per look or, if it's editorials, a little bit more of my creativeness in my freedom. So I'm usually the one selecting that. So I love this one. I love her arms. I love how she's looking directly in the camera, a really strong stare, but I'm looking at the arms and the positioning. I love the full body ones, especially his Alex's dresses. They're just so beautiful. So with the movement, it just really tells the story and gives a dramatic of fact. I think with posing is just making the model feel comfortable. My photo shoots. I'm always I always have musical, and I have. I'm talking with the model, working with them. It's definitely assessing the model in the first, maybe 10 to 15 minutes. How much you're going to have to direct them as well, whether they're brand new model, is there more experience talking with them that way, too? So a lot of times I'm having them look away from the camera looks, giving them different focus points, and they're just having them do a little bit of subtle movement. I don't like anything to Posey, so I don't want it. I don't like it to pose and step. I just want a little bit of movement, the arm just kind of hanging down. I'm just really natural flowing and then with ease, I always I do mix end. Whenever I'm shooting editorial, I'm mixing my Polaroids and film with the digital. So so I would be scanning these. I would scan the negatives as well for the black and white and for those and then afterwards, I always put a mood board together and where I put a storyboard and kind of get an idea of how I want the story to flow and I'm mixing and I'm digital's as well. And I generally used the film as kind of my reference for me touching. So have the retouch Er's air are already touch them on my own, so I kind of have that same mood. And Phil, it is great because you can scan these into and you can tweak the colors as well for the blue film. So you could also mimic the go the other way if you find a color that you're really liking. So film is really moody and really particular on its color, so it's all based off of timing, so that's just try on air, really experimenting with it.