Wedding Photography Weekend

Lesson 20 of 49

Portrait Lighting


Wedding Photography Weekend

Lesson 20 of 49

Portrait Lighting


Lesson Info

Portrait Lighting

first thing we want to talk about is the portrait styles of lighting how do you like people where do you put the saw fox and why so there's kind of three different main ways that judy and I like most time to keep it simple there's a bunch of styles of lighting but to keep it simple we're gonna talk about three remember it's your job to make your client look the best that they can be um so by knowing where to put the light and what it does is super important for the first one is glamour lighting we talked about this a little bit yesterday just kind of in passing glamour linings when your flashes coming directly at your client's face and a lighting style is determined by the direction of the clients face to the light so you can see the clients the light is actually to the right of camera but this bride heather and this is actually a real wedding day believe it or not rooftop wedding the bride turned her face to camera right and then turn her face directly into that light source and you c...

an see there's that little shadow under her nose you see that looks like a little butterfly under her nose that's called butterfly lighting or glamour lighting and great thing about this lighting is it lights everything up really well the problem with it is if you're not glamorous like this bride she is very glamorous um if you're not glamorous and have great skin you don't want to shoot the lite rate at someone space because it flattens them out a little bit and it also highlights every anomaly they may possibly have on their face if you're not glamorous don't do glamour lighting it's easy to remember so straight on lighting like that so the next one is simply loop lighting and this is when instead of the light being straight on you simply move it about thirty two thirty five degrees toe one side of the other so we did what we did yesterday you have the light coming in we have a highlight side and a shadow side and this is classic loop lighting right here you can see two camera right we have a highlight and the camera left we have a shadow and look just under knows you see that little shadow that's moved off to the sign it's right here that seems that's the light looping off to one side hence the name plating very very simple very easy to all you do is just move the light about thirty degrees this way and shoot it so there's a highlight shadow just like we were doing yesterday with life the last one that we're going to talk about today and remember there is a ton of lighting styles but we're keeping it simple is forty five degree lining anybody want to guess how to do this one where does the light go if this is straight on which camera is on right now anyone know what this one so this is straight on and this is ninety degrees forty five is simply in between the two so you just move the light about forty five degrees ish and what happens is when it's done technically correct and we're not trying for perfection here all day long if you're in the studio yes we'll be perfect but that luke shadow that was in lieu planing once you move the light a little further the shadow over here connects to the shadow being created on this side and that creates a diamond on the eye and that's classic forty five relighting s o on women it looks amazing and on guys like I mentioned this is my go to lighting as you can see right here luke I've got forty five degree lighting we're highlighting this side of his face this side goes into miss cool shadow men look like rock stars I usually lead off with this with god's eye go hamann issues important to the groom I get on my flash I said all you have to do a standard like this a local okay I can do that stand there and then I take a shot with a light over here I dark in the background I show it to me do I look so cool right now and then he's he's doing what I'm doing and then I go yeah you look cool so go back really quickly so you can actually see a lot of people were like hey wait a second there's a lightning and as well and so yes there is another light source that we have on camera left hitting him but so far those were like what's so sometimes we'll throw in a little late for that yeah so then here's some forty five degree lighting on to bribing room put together on on the wedding day so you can actually see from the bride's face here you notice how that shadow on the left side of her face camera right has connected to the shadow cheek so you see we got that diamond effect going over her left eye that's kind of that classic forty five degree lining and then the guy he's got that diamond on his left eye's well looks really cool really kind of smoky mysterious look so that's why we love forty five three leading question from question from inter webs from bree you clarify is at forty five degrees from the camera or from the subject it's forty five degrees from big subjects face thank you yes so it's not necessarily forty five degrees from the camera it could be if there's if they're facing you straight on then it's going be exactly forty five degrees but if they turn their face like this and it was forty five degrees now it's glamour lightly because it's nothing because it's hitting them straight on so that now it have to be moved away over here so great question so we repositioned the south boxes really important the thing about shooting outside so when you're shooting inside a lot of these strokes have modeling lamp so when they set it up the photographer can see how the light is playing and they can move it around okay that looks great the thing that we can't do outside is if we have this modeling lee upon outside one you probably won't see the light because it's not bright enough to see it in the daylight and the two little drain your power pack so you need to know some quick go to where do I set it up how close I move it so you don't have toe one waste time into you know exactly and it makes him look great so these are the four things that we have to know going in to set up a shot and make sure that that light looks perfect just like we wanted every time it's very simple first thing is how high do I put the light so I got on the stand I've got my soft box some kind of modifier in this case we've got right here this is a soft walks all the shots you've seen except for the ones we shot yesterday we're done with this west got soft box from west got lighting wes scott's amazing make great modifiers this is not their low end one but this is their men arrange one that's about one hundred sixty hundred seventy dollars off box I've had this for four years and b the day lines on it works like a chance to go to for this's great twenty for my thirty two inches which is just small enough to be easy to move around just big enough so the light source looks beautiful also notice I haven't hear a grid um this is called a name create grid this is removable because it wanted you shoot a soft box the light comes out like this if you put a grid in it it comes out at forty degrees so if you want a narrow beam maybe I'm shooting indoors I can put a grin in there and not have the light shoot all over the walls if I'm outside it's just the soft box with what it comes with the two diffusers that air in there so soft box we've got to set up on the stand and I'm gonna take a photograph of my wife well how high do I put it remember yesterday what did we talk about how high did we want the window the center of it yes you're like thing you guys got the centre of it above the center of the eyes that's all we do with this the easiest thing to do with the soft box about this big is I'm running it up I keep going up until the bottom of the soft boxes at the height of the chin and I know from any because the further you move away the angle changes right so the further we move away the higher it needs to get the closer we are to be lower so if I just simply stand behind it my head about like this and I run it up until I see the bottom of your chin just exposed the light is in the perfect spot every time which means the center of the light is above the center of the eyes and the great thing about having a higher like that is that if the bride's wearing a white dress and I photo and I have the center of the soft box here maybe the light would look okay on her face but I'm gonna have to deal with blowing out her white dress if it's up here we have a perfect exposure here and of course her dress is further away from the soft box so there's not as much light hitting her so we get this nice created a falloff of light no blown out highlights and everybody's happy awesome so really really so that's that's the height issue and you know you have it at the right height when you take that shot and you see that catch left in their catch light in their eyes looks great oh and also I don't typically angle the soft box like this at all I put it perfectly straight like this because if a bride or groom has deep set eyes and I angle that light but look what's gonna happen light's gonna hit their forehead first cause more of a shadow under their eye and then pick up here if I turn it perfectly straight it's gonna pump that light straight into their eyes and that's exactly what I want I know a lot of people especially commercial photographers do a lot of effects by changing the angle of light but for weddings we're most interested in seeing the brightness of their eyes and seeing beautiful portrait light in their eyes so I keep it nice and straight for weddings so that's the height the distance okay so now I've got this light at the perfect height how far away from miami's if I'm taking a picture of judy how far away do I put it the answer is very simple as close as possible without it being in the shop remember the closer the light because it's a big beautiful light source the softer and prettier it's gonna look the further away I get it the more contrast in harsh and ugly the light's gonna remember big light creates soft beautiful lights so the bigger we can get it by moving it closer and make slowly getting closer the better the bigger the better so typically it's four to six feet away that's kind of an average working distance for us and depending on what lens you have on or you know where proximity of your client you can maybe have a ten feet away or you could have it two feet away but as close as humanly possible out of being in that shot which does two things makes the light soft and helps you not to have to use as much power because the further away you need more power to reach them the closer it is the less power it can use in the less stress on your battery pack your doing so then the next is vertical or horizontal am I gonna put it because these things are on what's called a speed ring which is this right here which allows it to sort of spin around well it's sitting on the stand like that so do we put it horizontal like this or do we put it vertical answer is very simple if it's a single person its vertical because it's gonna cover mohr of their body and light up more of them evenly if it's two people together it's typically horizontal because then I have enough light for one face on another face right here in the faces of my biggest concern you're not gonna like their bodies as well it's gonna get darker down by their bodies depending on the ratio of light but it's gonna look the best way to light up more than one person is and if we're doing a studio shoot we'd have our seven foot oct iming parabolic umbrella you know that we have a crazy job scott but this is a wedding you don't want to like overkill what's going on you just want to be able to create something cool babel to bring your own light without dominating the wedding so no the last one is simply umbrella versus soft box a lot of people go show you just off oxford he's an umbrella it's very simple if you want focus light going this way you's a you's a soft box if you want the light to go pretty much everywhere about like this and like this use an umbrella and we use a shoot through umbrella from west scott lighting it's called the seven foot parabolic it collapses very small when you pop it open it's this gigantic it's sick it's amazing light source well what it's great for shooting group portrait ce it's great for like lighting up big huge areas of stuff that need to be lit the soft boxes for more focus concentrated light but we'll even use this soft box to do group portrait's question from the twitter universe crowd chat rooms like something just uh in spears is wondering if you ever shoot their bowls bear ball flash great question bear ball flash for us would be using a video light so we do use a video light from time to time which is a light source about this big which is kind of like using fairmont flash I really don't because the average client is not a glamour model and is not beautiful a lot of bear ball flash stuff was kind of started in the twenties fashion photographers doing glamor light straight on with a light source about this big super contrast he liked what is gonna happen is you're gonna have super bright super dark shadows super bright super dark shadows so if your client is super glamorous and super artsy and can hand has amazing makeup and you khun blast him a fair ball go for or if you want to spend your entire day re touching the photos because their skin looks horrifying and bearable but for wedding photography for digital digital photography kind of a side note here film photography had a lot of dynamic range digital photography has none so what what what what that means is when it can see from highlight to shadow is very minimal so the more even lighting we can do the better and the softer the lighting digital just go I love you make softer light source pretty but bearable meaning tiny little flashes so it's like there's a lot of these like five eighty guys which I think is cool but using these tiny little flashes and they put ten of them up it's very hard to deal with that kind of lighting because it's so contrast it's very difficult to work with yes so a question from in italian with regard to the positioning of the south box that is the bride and groom have a dramatic height difference and what if or what if they have to jim's teo teo like chickens make sure that they look up at you slightly that's the first thing she'd done and have people look down at you sam double chins or if they're sitting eyes on people lean into me because that automatically opens up the entire they lean back it makes them more clan master cool sinners alien ford everybody's chin you're likely so numeral you know is really more body position for double chins soft light is going to create a highlight up here and it's going to put this into the shadow if you have somebody that has a double chin or has a round face we want to short like them which means we turn is this camera on again awesome so if this camera's photog uh camera I'm gonna turn my face one way or the other so now this is the broad side of my face this is this's the short side and I'm gonna make sure the light only hits the short side what what's gonna happen is this is the part of the chin you're seeing from the cameras perspective but you're only lighting this side so this is going to go into the shadow and you're going toe take twenty five pounds off someone like that very very powerful tool so then the other question while differences height differences yes great question split the difference so if you have a group that's six foot one which we've had and a bride that's five foot one which we've had we put the soft box right in between the two of them so it's going to be a little bit longer shadow on her face and a little bit more less of a shadow on his face but even at a foot difference this soft box because it's so big and creates such a beautiful light source we have producing incredible images of people even at that difference just split the difference between them and you find it's networking sitting both down but there were a lot closer question biggest studios is wondering if you ever use the beauty dish at all no I know he's a beaut dish just because a beauty dish is a smaller light source typically they're usually twenty two two twenty seven inches and this is thirty two inches a beauty dish is also a little harder to put together a little heavier this weighs next to nothing and a beauty dish attended pretty heavy so I don't use a beauty dish now but you could I mean they're beautiful light sources they're awesome but I think soft box is just a little easier to manage for a wedding

Class Description

Being a successful wedding photographer isn’t just about taking gorgeous shots, it’s about creating an incredible experience for your clients. If a bride feels great about the services you provide—from your first meeting to your wedding day demeanor to the final delivery of the album—then she’ll be a happy customer for life and recommend you to her vast network of friends and family.

Zach and Jody Gray not only produce beautiful photos, they take great pains to ensure that every aspect of the wedding day is well planned and executed. In this weekend course that includes actual shoots of a bride and groom, Zach and Jody cover all the components of wedding photography, everything from marketing your business to finding the perfect lighting sources to posing your subjects to picking the best shots.

By describing their humble beginnings and explaining how their modest start-up grew into a thriving business with clients across the country, Zach and Jody will inspire you to pursue your own wedding photography dreams.

In this class, you’ll learn how to:

  • Establish a strong connection with your clients.

  • Identify the essential gear you’ll need for your shoots.

  • Use light rigs when natural light is unavailable.

  • Understand lighting ratios, strobe lighting, clamshell lighting and more.

  • Figure out which lenses to use for each part of the day.

  • Build up your network and attract more clients.

  • Market your business with your website, sales calls and word of mouth.

  • Review your images and find the best shots.