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Live Shoot: One Light Set Up

Lesson 5 from: Film and Digital Formats for Creative Fashion Photography

Emily Soto

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Lesson Info

5. Live Shoot: One Light Set Up

Lesson Info

Live Shoot: One Light Set Up

we're just going with one light at the top left. This is our normal for normal studio like that. She's shot a lot of her campaigns and a lot of recent campaigns with just because it's so simple and so direct on the mood and the clothing and everything else. So usually she does add that skylight to it. Just add a little bit of air, but we're going to go with this set up right now. Just really nice contrasts and Little Rembrandt going on on that other cheek right there. But it's It's really simple and really nice in the backgrounds, you know, lit enough as well. Another thing with the go docks versus the skylights, it's just a little bit more powerful. So whenever you're shooting with a in a brighter environment, it will give a bit more powerful or if you're shooting outdoors. I haven't shot too often with the constant light outside, but they have done a couple of campaigns where we've been in the shade and I've used it or at night, I have a laundry rate campaign coming out soon where we...

did it all at night. It was really dark. We were ableto just that. So use the constant light again. There's no now. Yes, we turn way the scary light off just to give a nice, really moody one light feel, uh, similar to just like a window light or just really Cingular source. But there's a little bit of air in this room because there's a lot of, ah, balance light going on. So it's It's really well balanced at the moment. Thank you. Switch. So you guys can see we have a meta bones adopter. And that's what you could use with the cannon Linda's as well as different possible lenses, Mr. Again with the white ones. So I'm going to start again with the Weiland's to get to Can't be able to cop through the full dress. Let me just have you kind of spin around on at one time fully around second kind of through the back as well. Gorgeous. So, yeah, I wanna have you. I like the angle. Just kind of over here, away from the camera. I love the movement. Beautiful. I love it with your arms out board. Uh, perfect. So I also like to play with angles and kind of moving around on my auntie. Oh, beautiful. But really, it's about capturing the right the right moment. So having the model move and trying to capture something that's very natural and organic love that gorgeous. Let me have you do that one more time how you kind of threw it to the side. I want to get your arm out beautiful and chin down a little bit gorgeous and let me have. Do you take this one step here? Right? So I'm shooting a little bit wider with my frame and later and photo shop Aiken. Get right. I can kind of raise everything up the backdrop up just a little bit and take out a little bit of the lighting stand. But I sense the dress is so large, I want a bit of a wider image. And then also, I had a client. They might want to crop it and later, or might need extra space, especially if it's for an editorial. Sometimes they'll use the photo for a cover, so you always wanna have a little bit of extra space on images because they may need that later. For text, let me switch my lens, which to this one way. So I'm using the 92.8. So once again, I'm shooting at 2.8 and I need to go up a little bit higher. Oh, my I s o to bring the scene so I'm gonna go upto Gorgeous were a little bit higher, but you guys can see how the lights falling on her. It's very natural on the screen is looking isn't looking too dramatic, but it adds a bit of news. You see the shadow under her 10. What I love about constant light is you have you can have the money. You really see what the lights doing on the model. So if something's too strange, pretty much you just have a look at the look towards the light. If you wanted it more dramatic, you could have her look away from the line, get something really moody. But But what you see is what you get. And it's nice because you can really director and direct the light and add in multiple lights if you want light coming from both sides. But it's just a beautiful light source. We get a couple more than a little bit tighter. Let me Have you look my a little bit more towards the light. We're just and using it a swell Azad the anticipation of someone waiting for a flash that models waiting for something and isn't expressing at that moment. So it's just so more natural just having her move in her own element, not anticipating, not trying too hard. So it's a lot easier for the model to convey feeling and emotion when they're when, when it's all constant, beautiful. Let me have you looked, was right about the camera and continue with the movement. Gorgeous. Love it beautiful and drop your hands back down. Gorgeous, gorgeous, gorgeous Love those great job, huh? You want to shoot? Need Polaroid? You could bring those back end. So when I'm shooting for clients, it is a lot about the looking at the mood and the poses to when, especially if I'm shooting campaigns or look books that are all day where we're shooting. So Maney Look, it is important to make sure that the models natural that sometimes models will have a go to pose a lot of kinds of this, and clients get tired of seeing that sometimes when you're working you have to and going really quickly, it's easy to forget. So that's the great thing about tethering is you can look back and make your select throughout the day. I have clients that'll go through and choose as we're shooting and by the end of the day will be ready and will know all the images that will be going to the retouch er's or being retouched later. But that's one. A lot of times it's just about getting that shooting at the right time and capturing that one moment whenever the models and movement or the emotion that you're looking for. Any other questions question that had come in earlier from Chris Walt about the question was, What are you doing to kill any shadow on the backdrop? And is that because of the particular setting angles? Yes, we have the V flats up, so that's blocking off all the light. Just we don't We're killing it with the beef lots right now. We do have. Of course, there's a lot of ambient light, too, so it's not as dramatic as it could be. We could rock in the entire room, and then it would be a lot more dramatic, but it's really just playing with your surroundings and what the lighting that you have to work with. So for me, I always I really love mixing Ambien light with constant light. So that's generally what I'm trying to dio. It's a lot of times to you all have in my studio generally. What I do is have a natural light on the left side and then have the constant light on the same side, because I want one side of the model to be to be a little bit darker and moodier. So I have that shadow and filling it all in on one side. So, yes, we're just perfect. I'm going to get a couple more here and then I want to do a couple more Polaroid. So I want to see how the one turned out earlier. Have a great one of Kenna of here to euro from earlier. Gorgeous. So this is the Impossible Project film, so it's the same thing. I go home and I scan these, and then I'm able Teoh. Then I can tweak the colors if I want to. Aiken, sometimes a sharp on them, just a little bit just the eyes would be the only place that I would sharpen it. But I love the move that against in the extra emotion I'm going to do a couple more Polaroids here. Let's deal with this dress. I really love how you had to him, just kind of right here and leaning forward, just a little bit looking right off here. Or just you. Look at this again. Can you lower this stand for me? Actually, let me get Make it a full body with definitely about figuring out your angle. Working with the dress for May, I brought it in closer because when I go to wide, I started seeing too much of the lighting that this is coming down. Are there downsides to using constant light? The only thing that I would say whatever If it's not powerful enough when you're shooting outdoors, I definitely recommend it for when you're shooting in studio. Unless you have, it's shady or a little bit later in the day that I love it whenever is for me to as you guys in CIA, since I shoot with so many film mediums, I would be it would be really difficult for me to shoot with film and stroke, so I'd be having toe constantly reevaluate the lighting and shift things around, which generally don't have that time. It's whenever you're shooting fashion. If you don't get it during this, look the looks. We're going so fast that it's important to capture each look before it shifts. You can't go back and say, Oh, we do. We do that hair and makeup and that look because nobody has that time and everyone's working on a budget and we're all trying to work quickly and do our jobs. So, So, the best way to work seamlessly and be able to recreate natural light in the same time and make, and you have a lot more control over natural light. I definitely prefer it over just using window light because I can control it and I could make it more dramatic if I need Teoh. Thank you. Yeah, we'll get a couple here and then we'll and then you do one with the black and white for this one. I want you to just look a little bit of march was a lie a little bit away, gorgeous, perfect, and look a little slightly away. from the camera and one of the impossible project. And then a second, we're going to go back to the Kino, So I'm gonna pull the flan. You guys quickly here. Just gives a very dreamy affect. When I pulled the block in Lane, did you see this one, too? What do you guys think about polar? Do any of you guys she with Polaroid? Oh, yeah. Cool. Let me do it. Someone's ready. Okay. So let me look at the one I did earlier. I did the profile shots. I'm going to do something a little bit different. I love, actually love what you're doing. So whenever you get a really good model like Maya today, she kind of guy always I worked with them. I direct a little bit, but I also let them kind of do their own thing. Like, right now, she looks amazing. So I definitely wanted I always refer back to the Polaroids I've already taken. I don't want to get the same kind of pose twice. I want to get full bodies. I want portrait, but I feel like sometimes I'll start directing them. And there they go. They're already doing something amazing and I take them out of their element. So as a model, that's their job as well. Toe toe, learn there, posing and learn how to work in front of the camera. So, depending on the level of the models you get whenever I'm working with new faces or brand new girls, it's definitely about working with them, directing them, mostly making them comfortable because the more comfortable they are, the more comfortable they come across in the camera. And that's what you want to get the emotions and the movement out these needed because I'm going a little closer on the fun. Beautiful. All right, way kind off one, Teoh three. Move this out of the way and do a couple more block and wine. So this is pretty much my workflow bouncing around with cameras, looking crazy. A lot of times when I'm shooting outdoors, I'll have depending on how many assistance I have bring, like three or four cameras, and the models are looking at me like and the craziest photographer. But I know what I'm doing, and I love that they all get. So it's deciding which one is right for the shoot for the job whatever it is that I'm doing and bringing those those different film cameras out there with me and sometimes is a bit of logistics, whether or not it's your able to work with all of them. And other times it's created and it's fun to work with much as you can and knowing the difference that they all give you. Let me look have you look here we're duh. And then for the film, the same thing I'm using. Centrepoint Focus. So this one, I could go a little bit quicker with and you can move around a little bit more beautiful, right, Dad? Perfect. Let me get a couple more full body. We'll switch back to the Kino. Great room, Amaya. Beautiful. Down a little bit lower. So I definitely well playing around with angles. Teoh. Gorgeous! Great. So I finished that roll of film and I think that yeah, we'll go back to back to the Kino studio. So then, at the end of the day, I'm always lining up all the Polaroids and kind of creating a story. A lot of times will have a bulletin board on just kind of clipped them one so that the team can see them as we go along as well. So you guys can see here. I have some full body. They have some that are a little bit cross in, and then a couple of more of more portrait for the land cameras. There's portrait lenses as well, so you could go in a little bit tighter to and then this one still developing here. So if you guys want to check out Alex's work, you can find her on Instagram. She's a Corvis crop. Corvis crew trucks got chorus truck, follow her There, you guys can see her beautiful pieces, her on the different photographer she works with. She's done a lot of amazing editorial work as well. So it's really you can keep up with her work there, and then, if you want to follow my work, you can find me on Facebook under Emily Soto, fashion photographer and then Instagram under Emily. So does you can keep up with different events and work as well. So any other questions, any questions for many of you guys, the light when you go outdoors, what kind of power source to use? Is it not difficult? I have a battery pack. It's a vagabond many, So I carried that around. It's really small, and it's a really great battery. So I used that whenever empowering anything outside are you generally bring two or three extra batteries that I can replace that with, but it works. Amazing. Perfect. Yes, You need more energy. Yeah, I definitely have backups. I recently brought it on a campaign, but it was we were shooting indoors, but I had just had several different batteries with me. But like I mentioned earlier to whenever you're shooting outdoors a lot of times during that, if you're shooting the day, you're not gonna notice that as much. So that now you can kind of mix it in with natural to. It's really good outdoors when you're shooting in a shady area or you have a little bit of control over the light. Good question. You talked a little bit about how you found Alex and connect with her. How do you usually find models when you shoot? Yeah, I think so. In the beginning, I thought I was on model mayhem. I know now it's shifted a lot. Instagrams a really good way, and I keep hearing that more and more from a different assistance and entrance that they find models on instagram, maybe through hashtag. So if you're in New York like hashtag New York model are really is, just you could do so much research now through instagram and social media. So I definitely recommend starting to build your portfolio through finding them that way and there if whenever you're if you're having a having Poland's, you can start contacting local model agencies to and kind of talk to them. Model agencies. Whenever you're after you build up your portfolio, there will generally willing to give models out for what they call test. And test is when you both you and the modeler building your portfolio's together. So it's kind of a trade kind of thing, so you're both being able to build your portfolio. But generally the start shooting with models. They want to see that you have some so my professional models in your book and that your ableto use your lighting and you know your camera techniques to. But yes, there's several different ways to go about it. Great. Thank you

Ratings and Reviews


This was a very interesting class. I love Emily's personal style and I would love to see a 2 or 3 day class by her on Creativelive.

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