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Gear Overview

Lesson 50 from: Portrait Photography Fundamentals

Scott Robert Lim

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Lesson Info

50. Gear Overview

Lessons

Class Trailer
1

Class Introduction

04:10
2

5 Shots That WOW

14:08
3

Four Fundamentals of Photography

08:05
4

Create a Visual Impact with Composition

07:04
5

Importance of Foreground and Background

08:30
6

Create Depth in Landscape Images

18:09
7

Photos Don't Always Follow the Rules

02:11
8

Composition Practice Exercise

10:41
9

Composition Critique of Student Images

05:28
10

Keys to Posing

05:37
11

Shoot: Classic Elegance Female Pose

14:46
12

Shoot: Modern Female Pose

09:04
13

Shoot: Rollover Female Pose

08:10
14

Female Hands & Arms Poses Overview

19:52
15

Shoot: Hands and Arms Poses for Female

08:58
16

Seven Posing Guidelines

04:18
17

Headshots Poses with Male Model

14:59
18

Shoot: Headshot for Male Model

06:45
19

Shoot: Sitting Poses for Male Model

10:03
20

Shoot: Leaning Poses for Male Model

06:43
21

Shoot: Standing Poses for Male Model

03:32
22

Keys to Couples Posing

10:31
23

Shoot: Couples Posing

06:17
24

Couples Transitional Posing Overview

14:28
25

Shoot: Transitional Posing

15:25
26

Keys to Group Posing

07:12
27

Accordion Technique with Groups

07:46
28

Shoot: Accordion Technique

04:11
29

Shoot: Best Buds Pose

04:54
30

Shoot: Talk with Your Hands Pose

02:33
31

Shoot: Lock Arms and Hold Hands Pose

04:34
32

Run at the Camera and Dance in Your Seat Poses

04:13
33

Shoot: Pod Method Pose

17:58
34

Posing Critique of Student Images

09:32
35

Introduction to Lighting

05:38
36

Soft vs Hard Light

17:10
37

Difficult Lighting Situations

05:52
38

Bright Light Techniques

18:16
39

Overcast Light Techniques

10:34
40

Low Light Techniques

10:27
41

Lighting Techniques Q&A

14:58
42

Drama Queen Lighting

06:26
43

Laundry Basket Lighting

09:44
44

Make it Rain Lighting

03:48
45

Smart Phone Painting with Light

07:53
46

Mini LED Bokeh Lighting

08:22
47

Choose the Right Lighting System

13:30
48

Hybrid Flash System

06:42
49

Innovative Accessories

05:35
50

Gear Overview

06:19
51

Theatrical Post-Processing

06:07
52

Ten Keys to Post-Processing

08:37
53

Essential Skills to Post-Processing

08:25
54

Headshot Post-Processing

24:53
55

Bright Light Post-Processing

09:45
56

Flat Light Post-Processing

14:46
57

Low Light Post-Processing

08:24
58

Introduction to Fine Art Post-Processing

09:06
59

Light & Airy Fine Art Post-Processing

27:34
60

Dark & Moody Fine Art Post-Processing

13:36
61

Post-Processing Critique of Student Images

36:56

Lesson Info

Gear Overview

Let me show you this next picture. This picture here it was at a workshop in London and we're having a great time and so we're going to this restaurant, and it was pure dark in there, this restaurant (mumbles) and guess what? There's like 15, 20 of us there. It was taking forever for that food to come. We were waiting literally an hour. You get photographers in a room, and you give them an hour, they're gonna start doing stuff with their cameras, right. So we're messing around and we're like, oh hey, we got the model there. Right, let's take some pictures. So I decided to take this picture of her. Let me show you how dark it was in there. This is at ISO 3200 at F1.8. So there's hardly any light in there at all. But I got this shot with taking an Iphone flashlight, firing it through a fork to give me this pattern light on her eyes, taking another little flashlight, firing it against the wall but creating, instead of a laundry basket, I used two fingers there to create that pattern on th...

e wall, okay. And so what I want to say is, it's never about the gear, never. It's always about what's in here, and our mastery of light and posing, and composition and then making it happen with whatever you have around you. Never let, oh I don't have enough money for this, or I don't have enough money to get that camera, or whatever. Never feel that that's gonna limit your creativity. It's not. Your creativity comes from you and your knowledge of how to use light and not the equipment. It's never about the equipment. On your adapter that you have that holds the flashes. Yeah. Does it have a thing for one receiver, or do you-- You can use one as a receiver. But I mean-- Oh, hey, that's a good idea. (audience laughing) Like you have a, what the uh... Like the receivers that are-- Yeah, what's the popular one again? I am getting old, I can't even remember that. You know everybody used to have-- Pocket Wizard? Pocket Wizard! Oh my gosh, I can't remember, I forgot Pocket Wizard. Man, I'm gettin' old. Okay, yeah, so you could put your Pocket Wizard down here and then your other flashes right there, and you can... So all four will sync up to one receiver? Well no, but you can just, So you have to have a receiver on-- You could do this, right, You need to modify that so you can... You have to get my triple mount, that I have, that does that. This doesn't do it. Okay, so this, you could put a flash here and you can make it trigger with your Pocket Wizard here, but you could set these on slave, so when it sees that flash go off, these other two will fire. It'll see 'em that close together? Oh yeah, light is amazing. (laughs) I love it, light is amazing, and that's what photography is all about. So we did have a couple of specific questions. You were showing us, sort of the standard flash, a hybrid flash, and then these flash on steroids. Did the hybrid flash have, or maybe each of those, did that have a cold shoe mount, or does somebody need to hold that? No this has to be mounted on a stand or something. Yeah, usually what I do is, you know my video light situation? Okay, here's what I do typically for a wedding, is I have a bar here, and so I put my video light over here, and I attach this onto here, and then I can put an umbrella through it if I want to, and I'm good to go, all situations. But, however, I do have to admit, there is one picture that I showed you, a picture in Paris, and when that light was in that in between stage, where it was not quite low enough for video light, but this was too strong. Because what happens is, when you make this flash very, very strong, you can't finesse it down into lower light, right. So at this lowest setting, which is 1/28th power, is still, like the power of three flashes at 1 28, right. So now you're at 1/32nd power, so that's the one thing is, is that it's great on the high end, right, so if you're shooting in bright light and whatever, this is amazing for, but if you're still shooting through the day, sometimes you need to get that light just a little bit lower and this is too strong sometimes. So there's positives with everything, and negatives with everything, just remember that. There is no perfect solution, and the manufacturers know that, so that's why we buy everything. (laughs) (mumbles) we're just like gear junk-- we love it. What's new? Okay I'm buying it, whatever. (laughs) I know that we talked about, it's not necessarily about the gear and you've given us for your 99% of solutions you could take your video light and the two flashes. The question has come in, "If you only had one light to take "to an outdoor photoshoot of a couple, "what would you bring?" Would you focus on that video light or would you bring a other flash? If I couldn't-- well that's a dumb question because that will never happen. But, if you gave me a hypothetical situation, you probably wanna bring your flash because you can do it all at that point, but it's just harder to do. Whereas you take your video light, it's not bright enough in the day time. So you can do everything with flash, but it just makes it harder if you don't use constant light. So, yeah, I would definitely, there's no question I would bring the flash.

Class Materials

Bonus Materials with Purchase

Alien Skin Software Discount Code

Ratings and Reviews

Vitor Rademaker
 

This course is amazing! Scott is extremely straightforward. He goes directly to practical problems, tips and etc. He explains every thing very clearly, and he is also very funny and charismatic, making you laugh as you learn. He shows that you don't need a lot of expensive gear to make very nice pictures. So I have saved some money as well, cause I was about to buy some gear that I wouldn't need right now. It is for sure one of the best photography courses I have ever attended to! I highly recommend! Thanks a lot Scott! You are the best!

user-b48fe5
 

Another fantastic class with Scott Robert Lim! The combination of his knowledge, willingness to share, passion & entertaining personality makes him a top choice for photography education. Learning not only the "what", but the "why" & "how" can transform one's entire approach towards MAKING pictures. A constant inspiration to get better & better through practice.

user-9994d2
 

I have purchased a number of classes, this being one of them. The quality of the information was good and the level at which Scott spoke was appropriate for me. Having a course sylibus would add greatly to the value, which usually is not part of the programs I've purchased including this one, unless I've missed it. I believe the speaker should be required to provide one. After watching the videos, much of material can be recaptured by seeing it in writing. I would like to hear back from Creativelive their thoughts. In sum, good topic, good speaker, good technical audio and video quality by Creativelive

Student Work

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