Lessons
9:00 am - Lighting Basics & High Light Portraits
26:10 2White into Black
19:31 3Simple Portrait
14:14 4Making a Window
13:51 5What Makes a Fashion Portrait?
16:00 6Fashion Portrait Part 1
18:42 7Fashion Portrait Part 2
24:00 8DIY Lighting Modifiers
19:39Lesson Info
Reverse Engineering Part 1
How did they find the statue almost like the statue I know it's pretty amazing we got white bricks instead of black bricks but that works oh yeah just some to put this up get it more so she can like kind of lean on it what I like to do is reverse engineering is let's look at the photograph the first thing I want to d'oh when I see anything a study shadow so where do you think the light source is coming from and how many light sources are there how many light sources even though I just said right what kind of light is it that's pretty harsh it's harsh what do you think I used it with maybe a beauty dish how about just like yeah yes you can see first light I mean it's it's a speed light let's try it they say it's gonna be a little whiter it's not gonna be that we're not going to have the kind of drama that way we can make the drama a little bit so yeah where's our alana what's right and then you can actually do something else we're there is in the pocket yes sir yeah we're going to use t...
o believe for a minute in a second see what she's doing she's mimicking her but I'm going to have the mimic her so maybe and maybe I'll have you do this and just look at that one come across like this and I might even have you put your hand on a plane is it what will you do that we'll talk we haven't figured ok good we're getting that I'm going to go ahead and start while they're doing it let's start meeting and start kind of taking some test shots because I do that a lot all right let's do boost way have got a strobe somewhere this really might not work with that light because of the white you know so let's you know that's a product of our environment speed light words feel it's really gonna light up that white background and kind of night be exactly what I'm one so we could put a black background behind it we could or we could try something else or we could pull it farther away from the wall so the falloff will make while darker we could try that exactly I want to try something else if that's okay gel no now I'm gonna try using the grid but I'm going to do something with the grid ok ok um that's not going to get it in a minute all right this isn't mine or like yeah but I want her looking at her look what I think I like it yeah you all right? Let's see where's the grid at mr box your box yeah. This is quickly becoming my favorite light source right here because I can do so much with was that why it's pretty hot what you're checking out running maybe like like something I'm doing this I'm going you know I don't know oh be a model or just look like anybody know who did that song be a model or just look like one kind of done it all right that there's got to be a prize for that somewhere that's obscure but bonus points begin tell me here the guitar player singing for you no that's not my camera sixty has seen better doesn't yes then grabbed my battery out of my camera right now and we'll be ready to go all right weii workin yes we are are we control in power yes we are right good work everyone knows john is gonna be changing the battery that's for the crew so check you you were with the alien be because of the white walls the white wall I want to kind of make a little bit more dramatic by greeting it like this I could do it she's vertical to see what the out of that shot were outside in the courtyard that's in the middle of a building so it's surrounded by brick so that's really dark but we've got this weird light coming from the top so that's kind of what it looked like naturally and I'm just making what it's doing naturally we took the speed light and just put it up and kind of angle that down under you can see the shadow on the wall you can see how the speed lights lighting the brick you see this? I mean it's pretty hard, right? And I've got a pretty bright, but because of the brick absorbing the light, it worked. This would just go white, and I'm want something a little bit more dramatic than that. So that's, the reason why I'm not you play for what we're presented got it now and I wanted to show this in the last segment, but I didn't get a chance you were kind of doing this, but this is something I do quite often. Um when I get the light source is high, we've got almost half a five point six to, uh, lots of fall off and when I'm photographing, you know, full link like this now this is going over the top of her, I could probably drop this down a little bit and that's something be aware of your positioning sometimes I even get in and kind of feel that cone of light because its like, if it's off a little bit, especially the great deal. No, um, faa for this is what's take a picture and see what happens, okay, yes, and I'm not going to shoot ok really like lean into getting to put your arm upon her holder hold the wrist like this year running and then just like lean in and even yeah and then turn your head this way and up like fat open your eyes and really kick that leg like really yes and create some angles like arch your back yeah there yeah yeah let's see, we got kind of what I was expecting we might have to pull you out just a little bit our light like this and I'm going to shoot like this let's all right, cool. Are we each other? We're going one more tether come on what's really going on? You know, they just stop the other week tell me after when we see it's a start our other restarting like restored what we're getting is incredible fall off for you guys this week here I mean it's looking like that, right? Um so we're working on tethering it's going to be about two minutes, okay? We'll talk about what we're getting is something that's very flashy looking with dark kind of darkness, what I'm wanting to do and what we're going to hopefully look at ihs I'm going to take this grid and do this with it because we get a lot of paul walker you saw, you know, faa like that too, you know, a good spot, her head basically I'm just gonna take this and put it back like that most going to take this off the inner baffle what what are the dimensions on that particular I think it's ah it's a ten by something in there okay, this is just gonna put up in there like that area now what should happen is we get a lot more spread and let's just like that so I'm just gonna test the camera no problem here now with you holding your camera and we'll see what we got going on yeah, almost a fate there eleven there and turn it down just a little bit you can see it still kind of going over head just a tiny so what what's an acceptable range as faras you know f eleven interface and what would you no, I don't know maybe half stop stop and we're getting now it's only were five six seven there five six one there so about a half stop where we were going almost two full stops now it's just a half stuff so that's one way to you know keep the focus on her face but then spread out on the way good. Okay, so let me show you what's happening and then I'll explain how that shot we did ok, so here we go three, two one okay, cool and I think that was even shot from this angle right now the white see how it's kind of eliminate even just get a black dress on its eliminating the dress right but what's wrong it seems a little flashing and I want to pull in some of those ambien because that's what we had in that shot was we were outside we're like we open like one more than I could do that either by a lower my shutter speed or in this instance of the reason why I so I'm gonna pull it up to about four hundred why why the I s o r not the shutter speed because I don't want to go under the fiftieth of second thirty second want tio you know papa so raising by selling four hundred totally I mean these cameras and you know six simple because we're you know outside in shade in the film buck said four hundred that's all right now what's going to happen with my light though yeah it's going to bright but miami in is going to be there it was just take a shot without the just the ambient light I might even still take it down the sixtieth in a second yeah there you know so we're getting a little bit were ambient light you turn this down a little bit pop it and now we're starting to see a little bit more of that after this one a little bit more of the brick that concert kind of pulling us around three two one well, that's what kind of more like gather you look at me. Awesome. Cool. Look off that way. That's! Gonna yeah, like kind of bring your head back right there. All right, so wait, what kind of community is your dress to cover a falcon box a little bit? Okay, we'll head up a little bit. Area three to cool. So that's kind of how that was created. And if we look at that other picture there's hard shadows on the ground or on the wall from that other foot area so it's looking at the pictures of, you know, reverse engineering that now do I particularly like that on this one? Is it could be cool strike that might be really cool. Black and white too. Got a lot of fabric that so let's turn your body will always to the front of that dress, kind of lean back into it and like, maybe even yeah, like that in paris. Correct, sir. Like that that's kind of fun. All right, keep it like this. We will just dio shoulders and take your hand and kind of pull it up right here. There you let me see your fingers like putting on her waist and roll your hand there you got it cool three, two, one awesome we're doing that
Ratings and Reviews
SunSoBright
I just watched the rebroadcast of Hack Your Light with Chuck Arlund and at first wondered if I would get anything out of the class as he seemed ADD (he warns you he's scattered and a "blond"...LOL) but I stuck with class and by the end was sad it was over. I have a few years experience in photography so I could perhaps understand what he was teaching better than a true beginner. He gave some fabulous points and even demonstrated how you could overpower the sun with one speedlight something I've only seen others do with a strobe or multiple speedlights. He took some awesome pictures without thousands of dollars in camera and lighting equipment. He explained the difference between the portrait and the fashion look. He showed you could potentially go above your camera sync and still get a decently exposed pictured without high speed sync. Best of all he reminded me of the principles that it's the photographer not the camera/equipment that makes the difference, it's all about the light and most of all photography should be FUN! This was one of the most awesome demonstrations of lighting. I would love take a workshop from Mr. Arlund as he is obviously very talented and passionate about photography and knows his subject even is his explanations aren't practiced. Some found him frustrating; I found him refreshing. If you like experimental you will probably appreciate Chuck Arlund.
DeniseWinters
I have been a pro photographer for 30 years, and I loved watching Chuck and even learned quite a few things. He is creative and enthusiastic, and reminds you to think outside the box and get back to the enthusiasm you had when you first picked up your camera. He certainly knows what he is doing, and he has fun doing it...
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