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Shoot: Row Boat in Fog Part 4

Lesson 39 from: Portrait Photography: Creating and Styling your Environment

John Keatley

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Lesson Info

39. Shoot: Row Boat in Fog Part 4

Lessons

Class Trailer
1

Class Introduction

20:10
2

Creative Photography Path

22:57
3

Importance of Personal Work

15:25
4

Concepts and Inspiration

12:04
5

Choosing Your Environment

05:03
6

Research and Mood Boards

06:58
7

Finding Your Style

09:34
8

Establishing a Team

10:44
9

Jobs on Set

28:38
10

Production Hurdles

13:45
11

Working with an Art Director

07:01
12

Pooling Resources

03:43
13

Casting

17:26
14

Wardrobe

11:24
15

Set Design and Props: Interview with John Lavin

35:06
16

Gear

09:59
17

Lighting

29:10
18

Technical vs. Flexible Lighting

07:56
19

Creating Environment

07:59
20

Gear Essentials vs. DIY Solutions

07:02
21

Lighting for Your Subject

04:10
22

Lighting for Your Environment

05:17
23

Q&A

08:36
24

Directing Your Subject

34:03
25

Tips for Directing Talent

09:58
26

Pre-Lighting and Test Shoots

05:08
27

Shoot: Stylized Portrait - Close Up Part 1

49:55
28

Shoot: Stylized Portrait - Close Up Part 2

20:19
29

Shoot: Stylized Portrait - Close Up Part 3

17:19
30

Set Tour and Lighting Set Up

05:41
31

Shoot: Building Environment & Lighting Adjustments

33:13
32

Shoot: Building Environment Part 1

18:45
33

Shoot: Building Environment Part 2

18:39
34

Photo Critique

26:06
35

Shoot: Row Boat in Fog Set Tour

03:54
36

Shoot: Row Boat in Fog Part 1

42:19
37

Shoot: Row Boat in Fog Part 2

28:34
38

Shoot: Row Boat in Fog Part 3

24:34
39

Shoot: Row Boat in Fog Part 4

04:10
40

Shoot: Scuba in the Hull Part 1

44:27
41

Shoot: Scuba in the Hull Part 2

21:50
42

Shoot: Scuba in the Hull Part 3

16:40
43

Image Selection: Stylized Portrait

30:53
44

Image Selection: Building Environment

10:52
45

Image Selection: Row Boat in Fog

11:53
46

Image Selection: Scuba in the Hull

06:38
47

Next Steps: Create New Work

05:44
48

Next Steps: Share Your Work

12:03
49

Next Steps: Marketing and Branding Consistency

12:52
50

Final Image Reveal - Concept and Casting

13:20
51

Final Image Reveal - Retouching: Communication and Direction

14:13
52

Final Image Reveal - Final Q&A

34:52

Lesson Info

Shoot: Row Boat in Fog Part 4

Hi John. Any particular reason why you chose fog machines over dry ice, or not a combination of both? Was it just allowance? I haven't really worked with dry ice so that could've been a good solution. So I'm not really familiar with it and it's just not something that we'd considered. But it may have been harder to work with, too, would be my initial reaction. I know you have to kind of be a little careful with that. But yeah, I mean, the honest answer is this is just kind of more of what I'm used to. If we could, just now that we've established all what the lighting ended up being, could you just quickly talk to the different lights and what aspect they were, where they were hitting, or what aspect they were doing adding to the environment? Sure, sure. So we'll start with our key. So this is a seven inch grid reflector and it's got, looks like a 20 in it. Ken is that? 20 degree. So it's a 20 degree grid. So it's just literally, grids they have different hole openings in the grid...

and the wider the hole, the more the light will spread. So the narrower the grid the more focused it becomes. So 10 is real focused, 20's a little more, so on. So we used the 20 because we wanted to light her up, but we didn't want a ton of light all over the boat, we're trying to keep it moody. So you can see here, I don't know if you can see, yeah see this light is creating all of the shape, basically, on Jessica. That's our key. Oh thank you. Yeah, here's a grid. So this is when, like when we always have someone go behind the model and look up, like get dangerously close to their face. When you look at a grid, I don't know if you can see this on camera at all, but when the grid is tilted it cuts off the view, but when you're dead on it can see straight through it. So that's a good way to read where the light's actually coming from on a grid other than seeing where the light's actually hitting. Thanks John. So that's our key. I think we were using this fill, right? Yeah this fill was on basically providing light on this part of the boat and on her face. One thing when we first setup we had a bunch of lights going and that was a really beautiful picture of the boat and the edge light and the key were lighting up this side and we had bright detail over on this side of the boat. And as a picture it was pretty, but again, thinking about motivation, why would she be so bright over here and then the underside of the boat would be really bright over here and dark here? It just doesn't really make a lot of sense. The main source, unless there's a way you can justify it, it wouldn't be doing that. So that's why we have the fill coming in on both sides. And again we just have some white fill over here because we do want detail on this side of the boat, but we don't want it to be brighter than that side. So this is just to kind of bring that up. And then we have an edge light back here that's gelled warm, it's CTO gel, it's orange, and then we have a blue gel over here. And the purpose for that is if you've ever worked with smog or haze or anything, if you light it from the front it just flattens it. The only way to pull in detail is you have to rear light it. So that was why we had that back there is we wanted to create that depth and the definition in the fog. And then we brought in extra lights because I was feeling like those were not creating enough depth. Because the scene is so wide it felt like to kind of get definition up here and back there we needed additional light sources to pull that in so that's why they rigged up these additional ones. And then they kept them gelled, I think, kept them gelled to again motivate and match the light that was already, the color that was set over there. And I think that was, I think that was it. Really the fog and the haze was also kind of a light source in and of itself. It provides just that blanket diffusion all over that kind of lights up the air and everything.

Class Materials

Bonus Materials

Keatley Keynote Presentation
Casting for Nautical Shoot Video

Ratings and Reviews

a Creativelive Student
 

What an amazing show. I'm so happy that I could be a part of it. It was so great to see John at work and in his element. I learned so much from watching his process from beginning to ending. So many questions have been answered. I feel more confident, to get myself out there and create and make work that comes out from my imagination. I will definitely be keeping a journal/notebook with me at all times. I would also like to suggest that we have another course for John Cornicello, home studio. I'm curious to see what John is working on in his studio.

Doppio Studio
 

It's amazing to watch and understand how this great creative professional work. There's a lot to learn about with his production process. For me, that lives in Brazil, is a major opportunity to enjoy this class.

Vitamin Dee
 

Wow! There's just so much great information in this class. If you've ever wondered what it takes to produce an environmental portrait, this is the class for you! John did a superb job of taking us step-by-step through his process. From model casting to set building, lighting setups to culling; it's all here. He even wraps up the class with next steps and how to put it all together. He gives the knowledge so you can take it to a place you can create your own magic!

Student Work

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