Foundations of a Working Photographer

Lesson 19 of 25

Students Shooting

 

Foundations of a Working Photographer

Lesson 19 of 25

Students Shooting

 

Lesson Info

Students Shooting

So uh we have two models today. Um hi. All right come on up and throw you in the gauntlet a little bit eso introduce yourselves to us all right? Yeah you're gabby you and I'm really gabby and kimberly gabby and kimberly I have to say the names ten million times so I get it correct so thank you so much for coming in and being part of this today um we're going tio just be shootings pictures um and uh yeah so are you guys where where you from? Gabby originally I'm from san francisco but I live here in seattle now how you've been in seattle about four years come on five you like it? You love it here yeah yeah yeah it's really fine. How about you get really I'm actually from a little bit self into coma to come all right, so you've grown up in this area all your life all right? Excellent. So, um let's see who's a cannon shooter? Uh dave your cannon shooter, right? Yeah, yeah, it looks like you're in a shooter. All right. Uh kimberly let's start with you can take a break real quick. Um kimber...

ly, um and dave here all right um what do we have here? We have a five d mark two you're comfortable with running this thing uh what lindsay would you you're going to start out with a head shot so I got a twenty four to seventy over here I got eighty five you stop one hundred uh yeah, we could put the one hundred on uh dan can we grab that one hundred that's over there and hopefully this whole tethering thing's going to work out for us? Um if at some point the tethering thing just starts to fall apart on us that the one hundred uh the uh one hundred might be in the other bag um let's start with the one thirty five one. Thirty five hundred well give it a shot there we go one hundred and everyone that borrow lenses like where's our linds what do you mean you lost islands all right, so uh one hundred millimeter lens all right? We're starting with a head shot I want a just natural light head shot I want the eyes to look great. Um it's vertical and uh just just a nice commercial head shot so commercial head shot is thie hi, kimberly I can sell your toothpaste all right? Yeah, great. All right, so whatever you need, you need an apple box, you need a chair you need you're just going to the floor like, uh you tell me and you've got five minutes get this done five minutes all right, well first of all hello my name is david nice to see let's bring over a box so now what is it you do you're in school right now yeah I guess you're also very fit you don't want your dancer as well ok let's see, I think I'm gonna let's try let's get you sitting and I'm actually gonna clear out all the stuff in the background and actually I don't need it that let's see a little bit more room light there and a little bit short don't wanna grab one more hangout stack them up so now what do you got school for my wife's a teacher she's ah junior english so good luck the kids these days they're they're getting worse and worse I don't know what what's in the water but um let's see, I think we're just going to set up right here real quick and so that I can see how the lights falling and just sitting on natural no worries among them going to make sure I'm far back far enough back that's not this is my camera actually I need to tethered one so that all of the interweb can watch me miss this pope later it should be all right let's see what we have here on the floor yeah education I have my also my dad's a teacher my step mom's a principal and so we have like the fool we get the whole range of every kind of education crazy well in california uh in california teaching right now is it's not so great all the budget cuts get ready everybody and everything but they have nice schools that felt really nice schools they don't have any teachers to teach in the schools but they're they're so um I'm just gonna fire a shot go quick and see what kind of exposure I'm looking at got the focus point up on I think exactly what you got this set up anything easy way that I can do no just let's see supposed to pop up on the screen so the interweb go he's got a lot of distracting elements around the top of her head and I'm actually gonna grab one more box I get a little bit higher and I can't get rid of the stuff in the background because my shot I'm getting in everything way far in the back and I don't want that you know what kind of dancing do you do, marie I know nothing about every dancing okay? Um oh, ok that I know I love I went to france once for for a month I couldn't speak french but I figure I might as well you only get to go it's and get you don't just wake up just a little bit and is there any way are we going to worry about I'm not going to get docked points for having a chord in the background I figure maybe maybe all right that the hammerman we just need to believe that belinda bee around that time okay so should all right you know that's a beautiful smile like that you just fall right into your perfect this and I like that the little you know moving in doing that you can do that just a little bit more exaggerated let me perfect oh she's a professional this many guys this is it's not going to be bad also thanks like it that you're not just a little bit work on towards me all right all right let's take a look singular see what we got all right so great interaction excellent really nice light now then one thing that um you have to watch out for let's see how you're doing uh it's a little soft see see this uh this I hear um his soft yeah you know what that is it's motion blur reason being is you're shooting to a fiftieth of the senate where one hundred millimeter lens right now you were firing off a number there's one that sharp so at two eight fiftieth you you've got one that was sharp you were at dia so one hundred childs two hundred are at least two hundred at least two hundred yet exactly um but the eyes look great um yes light looks good nice clean and yes, you had that that line in the background got that moved out and shot a little loose so you can get in eight by ten crop out of that and it looks good we got it exposure wise looks great like went right into it so I was trying a fiftieth of a second you have to watch out for you, right? Okay, good. Uh people take a break all right? It was another candid shooter in our group any other cannon shooters in the great alright, yeah be uh come on in and dan um be on hand here so what I want uh something dramatic I don't want a head shot. Okay, alright s o we have gabby and I want I just want something really kind of dark and kind of moody and interesting so when I say dark moody interesting where does your brain go? Uh something with partial lighting, something with the either off camera lighting or something slow wedded or with the way it's on the side somewhere she's not fully light like a like a film like a fulfill, right? Yeah. So so that's not really this lighting right um and it's really kind of not any lighting that we have in here right now, so so what is that that's off camera letting off camera lighting like we have to take this which isn't really all that dramatic and we need to make something dramatic out, right? And does that say octo bank? Not really it's not really. It's a big, beautiful fake window, right? Exactly. Um, not always the most dramatic, so we've got grids we've got straight flash we've got a strip with a grid in it where you want to go with that, I think ingrid, just like, just a straight grid trick. Rid straight grid. All right. And you, ingrate for four hundred. Where you want to do it? You wanna shoot against the would you want to shoot against a brick? Uh, against the nsa? What guys like you? All right, so we're gonna light over there and we're gonna grab what linds do you want? I'll take a, uh, one hundred fine one hundred might want pocket was all right. So, uh, you're walking over here. You're taking a look at the shot. What do you thinking right now? Can you? All right. And you're on. You have five minutes. Must still getting high, kale. All right, you can hang with the camera phone. All right, so I heard you're from seattle. Nice. Okay, good got right nto sweetmeats, I still do that, but I'm you know, do my best, but city so you can just start you know, like you just hang out for a second one test my lights don't look in there like it could be a little too hot right? We'll take a few practice shots real quick shot shot shot what do you see sarah you know this first down for this yes, shots were just hanging out you know, like that made it so comfortable you know shut down for a second look over there maybe it's like that yet sort of like we could be looking at me just like that just your eyes it beautiful I overexposed so what do you change for that? But you're absolutely right now hand off your I happen to sort of just face me straight on just like that yet as I may just like that I wanted more dramatic I want more sad I want I want I want drama are more dramatic I like the grid I just wanted more dramatic I want to see more shadow can you turn to your right like that it's sort of like just look straight ahead just like that. No no, I want I want it. Um I want you to trans I want that background darker and just for a little bit closer to the light just just like that right there just one more foot perfect you're saying look just like that be nice actually I look at me and notebooks looks nice like that kind of darker more dramatic with white right wing increased light looks like looks good right just like that perfect all right now uh it's kind of an interesting shot but it's definitely not I don't see her face right right I want to see her face and then here's where I'm going to jump in um I want the background to go black ok so make it black let's see it you're close but what's going on with this background right now it's still living on in some emulate no there shouldn't be um this background is mostly flash okay right so you have a grid on right so you've got a grid that is a small little area of light if we take this oh actually let's put it this way just first on you're gonna be right about there so we're moving to right away from the background so that well and I'm the light here was hitting the background okay there it should be starting to stay off the back so take test shots you admit you're saying up looking just like that that's fine you know look not at the light was sort of past the logic that that great wall like that guy up put your right hand on your hip hold a beautiful yes that's what I want to get exposure looks good background with black it's nice and dramatic looks beautiful great all right, good. You've got your exposure thank you for having me. Yeah, great and you were talking but I could see you sweating okay now part of that might be because we got all these cameras on and I'm sitting over here like cover and over you like a vulture for you to die so I could eat you right um but you're just need to flow all right on your son don't worry about all you gotta do is figure out you're after you got to think about all right I want this dramatic I want this like dark dramatic shot well there's lights here hitting her and hitting the background then it's everything's lighting up a bit more you take that grid spot bring it around to the side that grid is now not hitting that wallets on ly hitting her and its darkest red she's he says dark hair she has dark dress on dark background and it's just her face is getting lit good alright alright, excellent all right, I have peters any other cannon shooters here? Um your camera's working like um let's do this real quick though let's just see what happens if we yank that throw raise uh thrown in race and see what happened all right uh let's grab the nighttime three and let's see what happens here due to do to do all right race uh let's get kimberly kimberly you're here awesome but let's see if we, uh let me just see if were oh I feel it working yeah ueo was obscured by first street all right, great. I want um this like really fun shot of kimberly uh me against um against that silver all right um and I want it really well lit and it's just like lots of light and I really don't care if the silver goes white or not but I want this like this vertical show I don't want to see past the silver on dh it could be you know, kind of head like three quarter like waist up and I just want this like, kind of like a fun shot of her she's a dancer and but you have this limited uh, size of background against that silver and I just want, like, really nice just lots of light like beauty kind of lighting. So does that sound like you have shooted over there? So what do you thinking? Well, first I would probably try to see what the natural light would look like. Um it's not a lot of like going over there. So right? So not all like that the light has fallen off here the windows and I'd say that look at dan right now I mean, look at him cheese yeah, the quality of the light over rocker quality of light over there in all that great so far away from the windows all right, so if that was over here maybe b but it's not it's way over there I can probably do and try to the octu mate yeah go alright, so octa um and what are you thinking? Um position wise probably square on like right over your head on my yes good job if you didn't have an octa and you had a less expensive modifier which what do you think you'd be going to? I'm not sure shoot your umbrella something like that I would do if I didn't have this octo I'd go shoot through umbrella that ever made it ok? Yep. And, um it's a silver reflective material I'm expecting it to pick up all of the light and probably blow the white. I'm ok with that reason I would be thinking it over my head is that if I get any of that detail left that, um forget any of that detail left then it's going to put that halo right over my subjects head if I put it off to the side, I'll get a hot spot but off to the side and I just have this weird hot spot on the side but if it halos around her head than that's kind of cool and deliberate and you got a one o five you're going to be working and pretty confined you know space do you think the one o five the right lens or do you think you need something else um probably need maybe eighty five, eighty five all right you know I'm right you're already a so you got five minutes five hundred eighty eight lin's change or whatever just shouted out yes sir so if you could stand right over here so what type of bands do you d'oh ok so if you're just in your room by yourself music's plan was the first thing you do like what kind of dance something like that ok is it working everyone headed to its five hadn't near my conscience behind me all right all right and I want this vertical I wanted you know critical about three quarter body shot actually can I get a fifty fifty fifty job any five little tight for this shot indeed go murtha actually could you stand here yes go so you know you probably just kind of there is not a particular move like what's your signature signature move now tell me right now okay what is it when you shoot does it not show up on the back of the camera? No, it doesn't all right now so this is three someone take a second to figure out how to do all right what I'm trying to do right so why do you want to change I don't want to change the apertura take it out all right so uh that is this uh sorry that's your finger dial right here right here yeah and when manual my way all right okay you know it's pretty cool here moving to the side that could you do that one more game that's like one more times plus again mixed together yes just kind of have fun with your favorite song in your head nice little bit all right so as our director I don't like this hot spot up here and your exposures off all right so where did you say you were thinking you'd go with your life your shooting here right now where I was going to be right right behind me right and right now where is it it is possible side right right so find your frame like first of all get your subject where you think she needs to be all right and stand her there then find your where you need to get like head uh you know mid sigh and your composition so if you could stand about right here a little bit to the big nigga all right find your composition where you need to be standing physically need to be standing to get the composition you want all right about right there okay so that's where you physically need to be now you want your life right over your head so that light comes in here and it's chasing your linds all right? Now before you get her swinging hair and doing all of that find your exposure like get that exposure nailed ok before she starts, you know, flying around, get all everything dialed in so you're it sinks speed, right? Because it's not about ambien and what's it all about now finding with temperature daphne correct, just make sure what s so you're on fbi. All right, so find your aperture finding give me a nice smile. All right? I guess the next hundred your guy s o four hundred bythe area that the hospitals getting in a better space. I'd say I wanted lower a little bit, so I want to lower this down behind your head already composition looks good. Exposure looks good. All right, so we'll say anything cool, like, so just just kind of have fun, you know? You're thinking of your favorite song or something like that. Oh, sorry. Coming around a movie, nobody cleared. There you go. Yeah. Thank you. Nice. I love the hair flying. I don't want an arm cut off already and then, um and then watch for just have straps watch for that also, I love the hairs lying grace you got like, a minute all right and I don't want arms cut off I want them in the shot but I loved the hair flying a love the smiling the light looks good um yeah all right thank you yes, man actually and you could sing your favorite somewhere you're well how about how about that is that all right while you're doing that little triple casket that's cool yeah, there it is. Thank you very happy with that good all right, thank you kimberly you could take a break all right, ray, I love this shot right here now uh this screen is really contrast t we probably have a little more detail in here. You see this like perfect little circle right around her head right that's from yurok debate coming straight over your head you're shooting into a reflective surface when when that light was off to the side that was over here somewhere you know, we're just kind of acting weird but I asked for a kind of I wanted the hands on the shot um I didn't want them going out I would ask for mid thigh up ahead I liked the the hair swinging I wanted a happy I wanted it right it wasn't about being dramatic so you went to the you went to the right modifier uh you started with the idea of it in the right spot but when you started taking your first pictures it it was off to the side right um and then before you had dialed in your exposure got all that child and you're already asking her to start her movement and all of that you did a good job you asked for the eighty five took a few pictures and he said no I need to change my lists and so yeah good job all right actually somebody all right uh gabby do boo boo alright, great daphne all right, what I want from you um is I want really clean beautiful just simple head shot um but uh not available light and I want issued against a white wall but I want that white wall toe not me why'd I just wanted to kind of be gray I need a nice separation of her dark hair dark dress from that white wall but I don't want to go black it doesn't necessarily have to be pure white but just as long as it's kind of gray um and I don't want any available light in the picture I wanted all to be stroke ok, so what's the mood of that you just a nice head shot like not too dark and moody or anything but this much just a nice head shot but without window light but now do it was stroke way have soft boxes we have uh you know, grid we have uh whatever. Whatever. Well what's nice and brown do you have a sixty inch oh um what about soft boxes? We have a twenty eight inch and we have a fifty inch uh let's take that twenty eight inch all right, you're on you got five minutes. Okay, great. Hi. I'm tapping nice to meet you love your dress e c get here just take this for granted great let's get you seated all right so we're gonna sit kind of a position that I want with it I'm just going to kind of demonstrate so simple like this you're gonna do something light and pretty show off the neckline of your dress great. So seat right here. No sorry wrong it wasn't so with the light falls off so meeting directionally exactly we're going to see if I'm far enough from the world beautiful shoulder line nice you just put your hands kind of lightly on your hips, okay? So wait till that more a little which were just down more towards you can't see what's going on yeah that's good okay it's gonna take a test shot and see what you look like in this white always a parent can I talk about it? Okay. Is this good all right? Just good get it's turned up I'm not gonna do much without a pocket was channel early and uh initially looking at her okay there we go yeah I was actually looking and looking at her if if you're trying to do it all with flash we had a pretty you know big video light honor um but john just turned that officer let's worry about that okay great yeah all right so let's take a shot on you know I'm gonna go to eighty five you're not talking to subject now so do you like to do on weekends what do I owe you teach great and who do you teach like young people people who are experienced dancers adults find regular and how did he find you I beautiful eyes let's show the model looked right at me see what this is doing just relax breathe through your nose hold it they're just going to check the exposure different troubling matches in here all right so overexposed so let's go what else is going on in your picture? Um we're losing definition between back on and you'd ask for grain it's all wait right that's part of being overexposed but look at the right side of your frame right now you see that dark line yet and looking ok sit your microphone so we've got this dark line on the right side of the frame yet where's your shutter speed right now they should her speed is at a six speed right so we need to bring that sinks down because you're you're going too fast for the shuttering, the curtains, air, right. Ok, so now I'm at one twenty five and, uh, wait, go to about two hundred of a second. Oh, yeah, ok for this, okay, so let's, try that. We'll do it again, just so strong again. Have a look right at me. Beautiful. Sling your shoulder a little bit towards me that children heard here facing. Just lean for twenty with your chest. You settle for let's, take another shot right here. All right, let's, have a look here. Still expose. So if I go, you are two hundredth of a second to point at I s o four hundred, so you deserved it. You can do what? Change that exposure, go down to two hundred and take a shot and then see where I am in for right, and I'd say you're at least two stops under exposed. So right now you go down to the I s o two hundred and then she did for you take about two stops out okay or you could change your flash power could you the way doesn't recognize this guy wants to take the shot see that it looks like great let's do that again look right at me you don't fall on your head a little bit towards the light great right there that they're beautiful stride again is that the great that you're looking at looks good ok so now you said you wanted something lighter so let's go for something a little goofy let's bring in that case it's just just a nice clean is this too dramatic team not too dramatic at all it looks good you get a bit of fill in the shadows from the windows but I have art director I don't mind that so much uh light looks good you know what I would like? I would like the light to be a little softer honor so I'm going to come in and are great and go I want my life here on earth I just changed exposure yeah so I just change exposure probably about a stop ish maybe by bringing it that close to her um and uh so you are two hundredth of a second for two hundred you can either go to five plates or whatever power this is bringing down one stop you can if you want to stop yet when I got it all right great all right no that's such a beautiful look just kind of look softly into wait wait go nice hold that contemplated look let's take one more shot just looked right at me one two three put your chin down just a little nice hold it there all right I want this uh little under military base and uh yeah I wanted to fill the frame a little bit more okay but I like the life of the background looks good she pops off of that background but it's not too bright um explosion looks pretty good and so yeah so uh you get one more shot in it great like getting ok get the really nice portrait and I would think they want other critical I would say probably speak a little louder so okay speaking this off okay? Just bailey when I'm standing over here I can barely say here you are and on and just just speak with not a little more authority a little more punch okay, great. All right let's get this shot. You're awesome. All right, look right at me beautiful unless you're photographing sleeping babies let's get one more hold it right there may be a little bit of a smile something think of something really funny there you go let's see a bit of teeth one more one more there you go the way she feels free to grab one more in there fill the frame up frame all right, let's get and you're kind of sniper shooting you're putting her face right in the center of the frame center of the frame center frame bring her here uh bring her eyes more like the top third line of the week of the viewfinder all the right here he said fill the frame expired one more with their way excellent the next one here like it yeah you're thinking you're while you're doing that um I was thinking um just try to get the exposure and then I was looking at the model I'm looking at her shoulder line and then I was thinking about the mood because she to me she gives us such a dramatic food but you said something had killed something lighter lighter not so fashioning yeah on dh then you move the light I'm like oh, ok exposure just changed where am I and I was like reciprocal czar super bowls where they go ok they're back here so if I'm a four on dh let's go down to five point six yes, that s o right exactly good. Yeah. All right. All right. Ok. Carolina caroline a um um um um um um I want I want you to shoot a picture of kimberly against this brick wall over here and I want you what I want is I wanted to kind of have this feeling like um there's kind of like this spotlight where it looks more like it was shot at night um then they're like a street light day yeah, more kind of a street light kind of like give me an idea that it's maybe it's outside at night kind of feeling so and you know kind of dark dramatic what do you think? Yeah all right, so what where's your brain going with the, um using um our official light it's smaller farther away so it's a harsher light and, um then media ring so that I under exposed the wall a bit so that it's close to black or all black right? And then so what? Modifier you want to go to a mme how they could what the current grid yeah think think making good spot alright, kimberly you're up next. All right? Yeah. And I want this what I want uh our director wise carolina art director wise I want to see this wall here this range and I wanted a horizontal shot with her off on one kind of third or another are you wanting a full body here? People bodies kind of like this, but I want I need a horizontal shot I need her on a third because I've got a place artwork on the the negative space of the wall opposite of her so yeah, I need that negative space and it's got to be a horizontal shot well, this slight interfere in all I don't know all right ok, so here comes get really coming over jeremy your neck. So how long have you been doing sports e done anything other than camera here like ok, you know it's more dramatic now, so like, happy whatever I don't know she's a runaway teen I wear is one of the darker I'm going to take this and make it look different way can actually scared I don't think I'm going with this I'm all ears on top me we can put it like prey in here in here like that new irritated yeah it's a little more towards her all right? And then we're gonna have you come right about here on base light a little you can kind of turn yeah, like that pocket way let's get back in with you down there. Uh, what way on there, dan now carolina, you're really quite what your eyes really quite behind the cameras. You're like sitting there dial in pushing cousins and watching kimberly and she's just kind of like what I'm doing right? Sorry you're back there, you're just you're just dead quiet and you just keep pushing dials and you're looking at the camera it's silence silence I'm so so what you do say is what I do with theirs that so that I mean camera one I said okay, I'm gonna set up this shot all right and it's kind of a tricky kind of weird little light thing I'm trying to do so what I need you to do people you gotta you gotta stand in the spot I'm boring hang on here I gotta figure out how to get this thing right and get everything done on camera but you're just behind you out for a minute while I'm trying to get this perfect and once I've got it perfect then we'll start taking pictures but I just need you standing here while I get everything tested right? So at least you've introduced the fact of okay, I'm in a weird situation I'm trying to figure it out I have you just call it a tricky lighting situation or I'm trying to do something ah little different with my light it's going to take me a minute to get there I've got to get this just focused in right on you have got to get the exposure just right on you and then once I'm ready to go, I'm ready go so if you're if you think that you're already going to be back behind your camera pushing dials and not talking much introduced that at the very beginning of the shot so she knows. Oh ok, then I have to just stand here while you're messing with the camera and messing with light and messing with all that and then then you take your picture, right? So so if you feel like I'm going quiet, right, explain hey, I'm this is a tricky situation. I'm trying to get it just right, right? And, you know, and just I just need to stay in there, don't move. This is gonna be cool. Just let me get this all dialed it so let's see, I could have you actually come may be like a little more like this turn a little march for its plate yeah, just like that. And then and then if you could maybe turn like, turn your chin towards the light but not completely and then just kind of look up towards it, okay, try looking a little more towards like these lights right up here. Yeah, there you go as a female photographer working with female subject go in their fix hair, all that dude's going in and fix it girl's hair. I usually try to avoid that. I'm a hands off approach with my female clients because I just I want to be his professional is possible on don't one thing thinking that I'm just sitting there just constantly wanting to touch them um kind of thing if it's a dude that don't come here dude when we fix your hair we fix your collar um kind of think uh looking a little overexposed on her face I bring that exposure down so um you are currently ah you're six forty the second they just brought it down oh couple but it's the d ninety the one that is it like the d seventy that it sinks higher the ninety well nice look at six forty second you're still catching it was like my old theseventy anyways so yeah eleven um ok well now we're past your sixteen way didn't catch that flash it all back she she's still overexposed straight a little yeah and that screens kind of contrast the anyways and I want I want her I want her a little more prominent in the shot but I like this this space off over here um so I want her just raised up I don't need this negative space up here top got about thirty seconds your history graham it looks fine I don't really see it just on the screen it looks over exposed his just oh you're shutter speed changed you didn't change shut it off you should be changing that uh does that it was this change are you let's see what mood you're in motor you mean you're in manual mode newcomers always don't really yeah it just it certainly changes on your that's not right. You should be able to say I'm two hundredth of a second and leaders there that's weird I would look into that I would be here how did you figure out how to turn that off but uh that's pretty much there all right that's pretty much there um that picture looks totally different than the light that she's sitting in so good and on that screen it looks too bright but I'm looking at the rgb hissed a gram in light room and I would expect like it seems like this part of her face is completely over exposed if that were the case this red would be spiking right here it's not so it's probably fine just this screens really may images usually look over exposed on here yeah get among and I find it so you know you get um so good my one critique is you've got to talk you gotta talk right um you were really I know but but like when you need to get something out of your subject like you've gotta talkto him you've got to relate to him and and even if you're freaking out in your head back here you gotta just you gotta just be mumbling something all right I got to speak talk let's go shoot product will become chatty alright excellent jeremy all right uh and let's get gabby kimberly thank you so much. Awesome! Awesome! Awesome! All right now um what are you going to do? You have any ideas? I'm running out ideas I only have five ideas I was like I was like let's do the dramatic shot thinking I wanted to do the trick all right I want a dramatic shot on I want this like I want this dramatic portrait of gap ok um and I want you to do it with uh we have a ah reflective umbrella I want tio no it's the way god twenty eight inch box I want dramatic portrait of gabby twenty eight inch soft box don't care where I don't care where cool I just but I want this just I get on a short leash okay, so all right white wall I'm not white wall darker though I don't I don't want it so gray or white or anything like that like nice to meet you I'm jeremy over and over and over again so I heard that you're going to be a teacher okay, what do you what are you doing? What are you running around doing? Thinking between competing the critic could swing dancing I was never very good at swing dancing. I decided you know what can jump in and try this and I am not people over and ended up being a terrible, terrible conflict but I know my wife is really into ballet and the baltic phil is a perv and she's like that looks awful because my my toes are pointed and so is there like that kind of like when you're doing the swing dancing thing is that kind of precision you're worried about high level fancy shmancy stuff like I never consulted with this quarter power I'll be your assistant they get back so but swing dancing is your absolute favorite favorite thing to do what's what is your graphic designer full time and you do this mean dancing on the side yeah if you could flip that and do dancing all the time too graphic design on the side would you uh probably what graphics you dance all the time what aboutthe if you could give up everything and he was like all of it probably still danced darker lord guys tons of fun can you knock it down with one from power yeah why do you want to do that because I'm going to that question I'm going to see I'm going to see why you said that exposure that's fun right so I want the background darker I want there to be mohr leading into shadow money into much andy there's a lot of ambient you're one twenty fifth of a second you can't go much a front air your two eights you shouldn't wide open um yeah and there's you're seeing into a lot of this light so you need to weigh need to kill that ambien which might mean you need to go like do you want what are you shooting theseventy seven you have to go up to two hundred two fiftieth of a second uh but you might I'd have to shoot this at five six or something all right uh put me up to half all right so we were a quarter you asked me to bring it down I brought it down to stop esso that's eight now you wanted tohave so that is eighth quarter half on the back of this flash that six klicks one two, three one two, three there should be a half hour you see what I did is I had a mid life crisis last year I was doing some food like literally I was going to teach have my own school run around to all kinds of crazy comfortably come stuff yeah and I turned thirty and I was like, I don't know if I want to do this there's my life I'm thirty I got to be well on the way to figuring out what I want to do with the rest of my life I figured it is time for a change so I decided to do I was changing all right so the background has gotten darker shadows have gotten darker we've you've killed the ambient light, the backgrounds getting darker I want that background a little more dark I want it a little more dramatic so I'm going to jump in don't bring this down remember get closer and gabby, I'm gonna have you kind of looking off this way and this is almost kind of sneaking back behind her this way so we're seeing into the light here now as this creates light it's creating light on this side of the facebook from your beautiful point is photographer writer seymour shadow right? All right, you wanted it a little bit darker than that I just wanted a little dark a little more dramatic way now we're getting there now I moved it closer so it's a little brighter on her so you're five six yeah I don't like that closed down after a little bit chin up just a smidge yeah, yeah I got a little bit of detail I can see some separation of her dark hair to that background but I see more shadow now check this out let's stay exactly like that now I'm just gonna move this light to here take another shot, right? So as I change the angle of that light, I changed the look of that shot. Yeah, I want some very much so darker more dramatic it's it's a beautiful portrait like and you know, for what I'm as art director I'm saying that's what I want if the light is here I'm not getting that right darker drama so it has to go slightly behind her because as it goes behind her it creates more shadows right as the light comes around this way we get more like yep it's it goes this way we get more shadow very cool. All right, very cool. Well that sir okay um and you are you were speaking well you were, um you know, interacting well so that was good all right, um any questions from the group right now you all found your exposures quickly that's good from the be all y'all are hanging out together we need to talk more or louder right? Um ray, you had the right idea you just needed to get it all in place first, right um and dave, you found your window light exposure and you're shooting pictures but you weren't paying attention to your local lynx shutter speed combination and when we zoomed in on pictures of can't believe not all of them were sharp you got some that were sharp but many that weren't and you weren't like bouncing on a trampoline and neither was she. Um but just that little fiftieth of a second with one hundred millimeter lens well, you know, you make an eight by ten of it, you know that's not shark so when you see that drop you go I also write but you found your exposure it it was right there all right

Class Description

Want to be a good photographer? Want to do it for a living? Want to rise above the bottom? Then join Zack Arias for this creativeLIVE course. Zack's first workshop was all about studio lighting. This time around, he's covering what you need to know to be a professional working photographer. Many people requested a class about business. Many requested natural light. Plenty wanted strobe + ambient. Everyone wanted more “client interaction” and posing guidelines. Zack's digging deep and covering as much as he can.

Reviews

Ivan
 

Outstanding! There are so many gems, any photographer aspiring to venture into business will gain much from this course. There are plenty of technical how-to's with superb examples, from choosing the right lens for a given situation, to learning about reciprocals, expressed in Zack's warm and fun style. He's a joy to watch. But, this class is much more than that. Zack is extremely generous in sharing very personal experiences and insight, on how he began from early days of struggling, to current projects, how he built his portfolio, and looking ahead to the future. And, in the final discussion with his wife Meghan, they open up and share their personal struggles balancing work and family life, and their strong support of each other. We can all relate to this. This class is a great guide on what it takes to start and become a successful pro photographer, and pulls no punches. It's not easy to do, but with some creativity and an insane amount of hard work, is doable and very rewarding!

a Creativelive Student
 

Zack's always been one of my favorite photographers and when I think about why he is, it isn't even his work that comes to mind. Zack's technical knowledge and ability to pull off really stunning images is reason enough to check out this course. While he does a good job at teaching the fundamentals, he even better job at explaining why he makes the choices he does. Anyone can tell you what "rules" to follow and what you should and shouldn't do but Zack does a good job explaining why those guidelines are JUST guidelines and shouldn't be taken as law, which can be limiting. I highly recommended this for anyone who has an interest in becoming a better photographer.

a Creativelive Student
 

I haven't finished the course yet either but I'm thoroughly enjoying it. I love Zacks work I think he is an amazing teacher and a very funny man. I loved one light and I'm looking forward to finishing this and starting the his studio lighting course also.