Lessons

Lesson Info

Shoot: Broad, Short & Profile Lighting

And can you just killed the modern little known background? Okay, so let's turn you my dear that way. In fact, I'm just gonna move you forward. Love it. So let's, just bring you right up here. Let's put you right there. Okay? Have a seat. I'm going to leave this. Yeah. Waking to put this on him. We could maybe get rid this just to make it less weight. Yeah, so I can move it easier. I'm just going back a couple of quick changes here on the gear just to make it quick. Easy to show this. So you, me? Yeah. Can you give me one second? You want to say they give you all the second way would love to talk about a couple different special offers that we had from people we haven't mentioned those yet. Today we do have a triple scoop, triple scoop music who are awesome people. They are just launched the tony core bell signature collection a day in the light, which has ten songs which the lessons individually as a package force package, which is fantastic. We do have pocket wizard who is running so...

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Ok, so here is my light source right here. Here, here let's put my light over here there's the nose there is that side of the face there is that side of the face come into the lens you follow me. Ok, so that would be the broader side of one half of the face we're relative to where her nose is placed. In this case you can see where the light is I'm lighting the narrow side or the short side of the face. Okay, if she turns and that little nose goes over there, everything changes and now that's the broad side the face because her nose turn to the other direction. So now I'm lighting the broad side of the face, ok, think about itjust intern is just it's just from the position of the camera it's a relative position thing so now let's just show you so from here here's my camera and you can see that her nose is right between the life and my lens she's right here in the middle her nose is I'm lighting the shortest side of her face if I bring that light around that side if she stays where she is and I bring that light around that side I'm lighting the broad side of her face and I can bring it around illustrate but you guys can't see it and have the cameras can't see it but the fact is I could do the same thing by just turning your head just if her nose those past the camera lens right there I'm lighting the broad side of her face because now our nose is pointed over there so now this is a narrow side and this is the broad side lighting the narrow side will always be flattering and well almost always make people look like they weigh a little bit less broad light will almost always tend to add weight to someone space it's that simple? Yeah tony if john r jones would be willing could he get in the chair and you take a couple shots like that with the way a beautiful girl got his feud with john yeah come down for a sec here's what we're talking about broad faces here you stand behind the terror I want your hands up there so what's interesting about what's interesting about this too when I talk about getting rid of glaring glasses this the broad and short light comes into play because you can get rid of glare and glasses by broad lighting people in a short life situation just turn your head this way down a little bit right there chin up a little bit and let your head this roll over right there in a situation like this my limbs and his glasses and that lighter on access I'm gonna get a reflection in the light so if I sure like him without a lot of care I'm gonna have reflections his face will look awesome short lived probably not so awesome broadly but his vices look good so you know a cz we've talked about for two days everything's this thinking tradeoff up and down every direction but I think for john I would like him with a short life and kind of close like this something like that and in fact I'll shoot one real quick later is upon them up here with white cord on it way go sorry sorry sorry I mean grab a quick exposure on his face I guess I should turn it on turn on meter okay, so right there I mean pretty tight I'm getting sixteen so I'm just going to shoot it real quick it sixteen but you can see that I mean this is this is a good this is a good face to show not a great face you know love but it's a good thing okay, so we're sixteen oh so here's what I want to do john's a really unique I loved and I loved seeing john coming in my class in las vegas last year but I like what the way he's positioned but I want to create a little bit more drama with him in a little bit more dynamic so I'm just going to tip my camera to introduce that so as I tip my camera well let me do it this way here it is here he is straight up and down and then here he is with a little more pronounced strength so let's put these two up side by side and see what you think there's that one and there's the other I may have overdone it I'm I could split the difference let's split the difference and give them all three here we go right there good, good, but look at the light quality on the face and that's one of the things that I like about uh a soft bucks can we zoom in on that that last one there mike if he could it would be awesome and go back some yeah so you know look at the light quality take a look there jonathan this looks awesome but with a short life here's the way it works that shadow is and this is something I said day one I seemed to like my pictures when the shadows coming toward the lens when I short like the shadows always coming toward the lens when abroad like the shadows always going away from the lens silly low silly little statement to make but a statement that to me adds drama and impact and texture in my photographs if that's not what you want well then you've got a lot of differently and with him I have moved that light around the kuffar around it is that light is way over there but I think I've got a picture that might make a nice head shot for him yeah one brother in fact turn your shoulders toward the camera your shoulders your hips your legs everything turn turn, turn, turn, turn turn more, more, more, more, more, more yeah now lean over toward the that now turn your head right here may turn right here right there don't move, don't move don't know now he's now he's in a broad light situation totally different picture I've also got a split I'm gonna need to twist you a little bit more to the light right there and let you keep your nose right here though right there in fact you stay right where you are, I'll move this I just need your nose right past my camera right there that's it that's it so this would be a little bit more of a of a broad and opened up about a third because I moved it back a little bit pardon me I don't know which one you like better but can you take this one and the not the previous one but the one before that mike I know it's hard but yeah that one and the last one perfect you can dump the women middle so broad broad light short like his face seems a little bit more narrow doesn't it on the left that's my point did they get them? That was fantastic that help love that look of that and a lot of requests no offense john to bring the model back but everyone has a photographer should come on this side of the camera too because I always say the same thing that people play point your nose between the light on the camera and when I'm here I still feel like I was pointing this way but you're telling my nose yeah yeah e feel what it's like on this side but it is pretty different you know I think if you photograph people you should be photographed yourself said I want to I don't want to talk about something that we haven't discussed yet and I want to talk about how the light the profile one of the things that I've seen over the years is I've seen an awful lot of profile pictures and we used to do in our studio we had a scent pattern with our high school seniors where we did you know this same twelve poses on every kid and pose number seven was always a profile and I had some problems with it I couldn't figure out what was going on with the problems were you know now that I know kind of what I'm doing I realized that I poorly poorly lit him and that's why I didn't like him so let's bring let's bring tested back and I want to put you right here my dear with your back sort of like this way and with your head turned like this way yeah you just put your hands out of there great um I think I need turn your morning we turn the chair more on this train you more there would go yeah you know I'm going to really push your hair back contracted visiting when you push it behind your ears even great okay, now just twist your shoulders to me yep. And your turn your head this way right there. Perfect perfect perfect. Perfect perfect. Ok, so if I were to shoot her like this in fact let me spend this back I'll put this back horizontal just to make it a little bit more easy to work with here we go good john come right here from first second stand right where I am look past for next year here is getting back moving here. Thanks. Thanks. Thanks. Okay, let your eyes go up a little bit higher and I'm just going to back up a little bit here and I'll show you guys what I'm doing and so we'll be starting here and I want you to see where we end up so here's our first picture this is this is a this is a front this is a back profile that's that's that's fully lit and it's and it's broad lip and I can't stand it so now we gotta fix it so if we're going to do this if I'm going to use short lighting on this gorgeous face I've got to get our nose between the main line in the camera because that was the rule number one few minutes ago, right? Okay, so it means I gotta take this pain life and start moving it and move it and move it and move it and move it right back there now bring your head to me and now it's your eyes go right there now we're cooking now raise that up for me about six or eight inches ok, now we're cooking now we're cooking now we're starting to make something happen let your eyes come down a tiny baby out right there yeah yeah yeah good good good good good good so now look at the light on this one ok so let's split the difference and bring it this way just about a foot john right like that and then I'm going to bring this guy up I love I love working with a with a profile like this and what I'll do is I'll cheat again you guys know how I am about where my placement is with my model relative to the soft bucks I'll cheat this forward like this and I know just hold it for a second I know that there's too dangerous here one I'm not wild about my contrast range your eyes up just a tiny bit right there I'm not wild about my contrast and there's a little danger of flare so let's bring this guy up and almost everybody I know would use a reflector on it's not like this from over here and try to fill the shadows in like this but don't do that if you're smart enough you can put this guy hold your left hand right next to the soft box as if it's a barn door so it acts as a filter light and lends protector at the same time so it'll go below my lens and fill in the shadows all of one swell food our one fell swoop depending on where you live there you go good so now look at the difference in the shadow density is this one pops on I think well let's do it again john let's get a little bit more shot out of in fact I can't see from your let me all directly for just a second I'm just going to turn this a little bit more like that now bring back in and then just walked in that right hand in closer a little bit closer to her you can move on in you're not in the shot there you go there we go good good so now you can see the difference here this is more like a two to one ratio as this one pops on and it may be too much so let's put your hand back up there again john and now just bring it open down that's it that's it right there now there's other one other thing that I would do on just about any profile I would do I would do this I would go ahead and tip my camera I am going to go back tio vertical because I want to tell you now now that we've kind of got that part of it illustrated now let me show you sort of what I would do with it and how I would actually actually use it in a working situation so let me just bring this guy in here and let's get you in position there perfect now what I would do is I would tip my camera like that and shoot it something like that and I think that in this case we might end up with a picture. I think the main thing to think about here guys is that, you know, and everything that we do uh, I think I think we're good at being good to you. Thanks. You're not going down. I think that everything that we do photographically there's more than one way to do it. There's there's probably six ways to do it, just like in photo show. Just like in any of our post production software everything that you want to try to accomplish there are multiple ways of getting there. Same thing here there's several different ways like that face you can you can light it with a big source of small source hard shadow, soft shadow, broad light, short light, rembrandt light, flat, light. Whatever you choose on, I think the biggest challenge for all of us is to try to figure out you know which one is right. And the one that's right is the one that you like and that your client likes. And I think that you know, the for me what I have always enjoyed is not having a style. Some people have a style and they have a look you can't tell by looking through a magazine if you see one of my pictures and I kind of like that and I kind of picked that up from a guy named gregory heisler in new york. Hizer heisler is one of the top photographers on this particular planet and I love highs there because he never know what he's shooting next and it's always brilliant, he shot doors, scotch ads and he shot the cover of twenty five time magazine's one year I mean, this guy has done any shot world leader portrait's like you wouldn't believe and then he did aerials I mean, the guy does everything and does it brilliantly. I can always thought that I was sort of like that I was kind of like a heinz fifty seven sort of hybrid I kind of have always been able to shoot pretty much anything I've always had to because that's what it took get a job done that's what it took to make a living and established the business uh but there are some people that are known for one thing in one look, I don't know that that's wrong, I think in fact that's probably simplifies everybody's life a little bit, but I have to find I found myself having to make a lot of decisions when I walk into the room whom I please in here and I was trying to keep in mind. This is a fun little tip for people to keep in mind, you guys, there are three people involved in every photograph you'll ever take. One person thought of the shot. One person took the picture. One person is viewing the picture. So if you're an amateur photographer, you might be all three of you. I had an idea for a shot. You took it and you framed it. It's hanging in your office. If you're a commercial photographer, it might be that an art director somewhere in chicago thought of the shot and sent you a comp. Then you took the picture. And in some business traveler at thirty seven thousand feet on continental flight eleven is beaune it in a magazine. You need to know where you fit in the food chain. You know, how much input do you have in this picture? And if it is for you, then you have all three positions. If its commercial, you have one position. If it's a portrait, you probably have two positions in my hang in someone's home, but you probably thought of it, and you probably took it captured for them, so you just have to figure out where you fit in the food chain in the photo, I called the photo food