Simple & Consistent Lighting
To actually show you in practice what we do. We kinda talked about it. We showed the diagrams yesterday. But I'm gonna show you how I would actually photograph a sports team, including poster shoots. So this would be kinda similar to the workflow of a high school sports team. If I was gonna go do a basketball team, this would be what it is. So I wanna walk you guys kinda through the process and some of the settings that we're doing. My favorite tool to bring on a shoot like this, seriously, helps me more than anything, tape measure. Included in the bonus material is the diagrams for all of the lighting setups that we do. It's so easy to just make sure that we measure out our lights, they're always the same distance, it's the same power, the lighting for the green screen's always exactly the same, and it gives us a super consistent product and image. So this is always in our camera bag. The camera that we're shooting with today is the 7D Mark II Studio version. That's the one that lets ...
you hook up a Bluetooth scanner to embed barcode data into the metadata. Because we're shooting tethered today, we can't show you that because it takes the same port that's kicking it over to the laptop. But it literally lets us scan and embed file information into it, so it's a really cool camera setup for this. We would shoot everything in raw. I shoot everything in raw intentionally. There's some people that would argue shooting in JPEGs is just easier 'cause you don't have to go through and convert stuff. But to me, shooting in raw is like a free insurance policy. If something were to go wrong, I'm able to fix my lighting, I'm able to fix my exposure in a much more professional way with higher results, or with better results than what I would get if I was stuck shooting in JPEG. And if you shoot everything in raw and your exposures are perfect and your color is perfect, it takes no time to convert them. So it's really not that big of a deal. For white balance I shoot everything on the flash preset. Because we're shooting in raw, it doesn't really matter what you use, as long as you do not use auto. Auto white balance is like the worst thing you could ever use for volume shoots because any of the other ones, tungsten, flash, daylight cloud, those files, we're gonna change our white balance to be perfect no matter what. But when you pick one of those presets, all of your images are gonna have the same treatment, the same color. If you're doing auto white balance, it's literally gonna guess, and the variation will change from image to image so you aren't gonna be able to batch process those changes as easily. It can kind of throw you off. So pick something other than auto white balance. Another piece of equipment that we use that I'm shocked more photographers don't use is a tripod. It's not very cool to use a tripod I think. But I use them on all of my shoots. Makes it super easy for me to just leave everything set up. We're dealing with order forms. We're directing kids. My camera stays ready, and we get sharper images, and we get consistent cropping, and everything is the same. So get a tripod; get something. We were talking the other day, the Cheetah stands that you can buy, the pistol-grip Cheetah stand that you can turn into one, super cool because that actually breaks apart into two four-foot poles. You can toss it in a bag and carry that around. It's an awesome, awesome setup. That's not good for outdoor shooting, so if we were doing football or something like that you do need just a traditional tripod. We would shoot our teams with the Einstein from Paul C. Buff. It's an awesome, awesome flash. It's a ton of power. They're really affordable for what you're getting. I think it's like a $500 flash, and they're pretty bulletproof. That is all we would use, is a large umbrella. I actually use the Paul C. Buff ones. They have this seven-foot massive one. I just didn't wanna fly with that from Minneapolis. So we're using a Pro Photo one today. But it's a big umbrella. One of the biggest light sources I can get. And then for the green screen stuff we use the Digi-Bs, I don't know if you can see me. These are new lights that they just came out with. These are the Digi-B 800s. It's half of the power from the big ones, but they're smaller; they're more compact. It's got an LED modeling light, which is really bright. Doesn't get super hot like a traditional one would. And they're 375. My favorite thing about these lights and the soft boxes that we use is how easy it is to travel with them. They just fit in the cases really nicely.
Add thousands of dollars in income to your existing photography business by adding team sports photography. Matthew ‘the Body’ Kemmetmueller runs a profitable volume business and is passionate about sharing his knowledge of the industry secrets with other photographers who want to start a business in this lucrative segment of the photo world.
In this class, Matthew will give you all of the information that you’ll need to start or expand your volume sports photography business. You’ll learn:
- How to bid on contracts and what your pricing structure should be
- The best workflow for photographing numerous teams in one day
- The fastest ways to process orders and keep them organized
- Lighting and posing for teams and individuals
- How to use Photoshop to create banners and posters
By the end of this class, you’ll feel confident about entering the profitable volume sports photography business.
Bonus Materials with Purchase
Volume Sports Posing Guide Cheat Sheet
Volume Photography Individual Setup
Volume Photography Green Screen Setup
Order Form Front (PSD File)
Order Form Back (PSD File)
Sports Profit Projector Excel Sheet
Bonus Materials with RSVP
Get Started with Adobe Stock