Setting Up the Image Style Pre-shoot
Lesson 5 from: Tethering to Lightroom: Simultaneous Shooting and EditingJared Platt
Setting Up the Image Style Pre-shoot
Lesson 5 from: Tethering to Lightroom: Simultaneous Shooting and EditingJared Platt
Lesson Info
5. Setting Up the Image Style Pre-shoot
Lessons
Introduction to Tethered Shooting using Lightroom
03:56 2Equipment Needed for Tethered Shooting
03:55 3Setting Up Your Camera for Tethered Shooting
05:36 4Setting Up Lightroom to Receive Images
16:05 5Setting Up the Image Style Pre-shoot
10:24 6Creating Client Collections in Lightroom
10:44 7Updating Client Revisions through Lightroom Mobile
23:47 8The Versatility of Lightroom Mobile
09:57Lesson Info
Setting Up the Image Style Pre-shoot
Okay, so we are ready to shoot. So, Carmen, can you come on in here, please? Hi. Okay, this is Carmen, and she's gonna stand right there, and we're gonna be shooting from over there, and we're gonna put up that hood. Nice. Now we specifically shows this coat and the for and Carmen and the backdrop because they're all the same. You see that? The green and the greens and the browns and the brown and the brown in the so should be really muted. It will be quite a nice shop. Okay, so let me show you. I'm gonna just give you a tour around what we've done on the lighting. So we have a knocked a bank here. That's going to give us some nice soft lighting, but it's it's coming at an angle. So we do have some direction of light, but notice it's over here because it'll sneak past her hair. If I put it over here, her hair would create shadows on her face. All right, so you got a light your subject based on where the hair is falling. Otherwise, you get those shadows. So that's the first thing is we ...
got this light here. We also have a hair light over here that's got a grid on it. Carmen, can I get you to look back here? Tell me when you can see the silver in there, So I need No, It's pointing right at you. No. Okay. Mom, I think I need that better. Okay, hold on. Still good. Okay. Can you see it better if I go getting darker moments? The brightest right there. Okay. It's the easiest way to get a grid to be pointed right at your person is asked them to look inside the grid and see if they can still see the silver. Because once they can see the silver that lights coming straight towards them. All right now. Right here we have. We created a snoot with some black foil, and we've also got a grid in there. It's a very it's a 10 degree grid. So I got a 10 degree grid in there, and then we've created a little snoot so that we would have light kind of hitting this backdrop, because if we don't, if this lights not here, this backdrop is quite dark. And we wanna have some of that light on there. Okay, Now we're using pro photo lights. I'm using a pro photo communicator on the flash are on the camera. And I have three groups that I can control from the camera. So this is the main light is always group A. So I always put the main light on Groupe, Whatever is hitting her and lighting her is gonna be group A Whatever is hitting the background is gonna be group B. So this is group B for background, right? And then this one is group C for coming back towards the camera. Okay, that's how I remember it. So that because you'll have a whole bunch of lights all over the place and then you'll be like which one is which? Well, if I always follow that mentality than I know that that one is my see light, cause it's back coming back towards the camera guy, be background. A model is enough. OK, we're gonna take a little test shot here, and we're doing a magazine shoot. So we're doing a cover here, and Carmen is tall, very tall. Ok. Carmen, um, can I get you to turn a little bit towards the light? Actually, There you go. Yeah, that's nice. All right. And I'm gonna give her a little bit of space. Now, remember, I'm shooting with 50 megapixel camera so I can shoot quite a bit of space so that my client can crop in the way he or she wants to. So I'm gonna make sure I have plenty of space. There were just going to take a quick test and hopes My communicator. You can see I just took a shot, but it didn't fire the flashes. So this is what Carmen looks like in complete darkness right here. You look great, Carmen. Okay, so but you noticed that it came in now. Once it came in, it just came in. But this is a small, raw and by the way, I think I need to hear Can we point back at this? It's going to the menu again. Sorry. No, in the queue. I need to point out something in order to tell it. Which photo descend? Because there's two cards being ah sent are being recorded in order to show which one I'm using. There's you highlight the two cards and the one has the arrow pointing to it. is the one that's sending out the files to the computer. Okay, so just make sure you have that set up. So it's pointing to the car that you want to send it out. All right? I know I didn't mention that, so I thought it was important to mention. Okay, so notice what happened when I shot that shot. It came in black and all, and it showed it to me inside of this folder. But when I go down to the collection that I want to send it to notice here that when I click on that collection the only images that we see are these. We don't see that image coming in on the reason we don't see that image coming in. So I have a picture of my daughter there. I have a picture of John and another picture of John in black and white. And some comments, by the way, let's click on those. Let's go and see this. Go. Lots of all right. Got victorious. Says gotta love John. I think this is more about you, John than anything. Yeah, John is good looking. John is awesome. John Stud. It's like great looking Carmen. you can just sit down. John is clearly more popular than you. But of course, if I would shoot you right and actually turn on my flashes, then maybe they would start commenting on you. So but notice that this black shot didn't go in because I don't want my client to see that I didn't turn on the flash, so I'm not gonna do anything. I'm not gonna have this show up. And that's why we didn't automatically have everything go to the collection. Because otherwise the whole world would be looking at a black frame. Okay, so I had to turn on my flash communicator, and I am ready to shoot, and we're just gonna take a test shot here and make sure that we have everything, right. So it's moving over sale quickly. That comes in. If that was a 50 megapixel file, that would not be coming in very quickly. So I'm just gonna look at it and see how we're doing. And John, I think we need to have a reflector board brought in, but I like the I've got a nice room light. You can see that rim light happening right here. You can see it happening on her shoulder. You see, the background has quite a bit of light. But, John, we need toe till the background. Like up because she's taller. We, uh we used John as our subject, and so we positioned all the lights for John, which is about at shirt shoulders. So we want that light to be up here a little bit more. And with that reflector that's going to kind of fill in this area here. You see how dark it is there, and we don't have a lot of light going in on there, so that reflector should help us. So let's take another notice. I haven't said anything to the client yet, so I'm just taking some pictures because clients could be a little bit annoying and that they think that they need to tell you that you didn't turn on your flashes. Okay, here comes the new one. The new one is gonna be a little bit softer. See that? See how it fills in. So I'm gonna go back and forth. You can see how dark it is there, and the new one fills it in quite a bit more. I like that. much better. Um, that's pretty good. Let's Ah, let's do one more thing here. We're gonna take this, bring it around just a little bit more like that and there. Okay, let's take one more shot. Okay? This time, get into it. Turn this way towards the light, and then bring back. Yeah. There you go. I like that. Good. Turn your head a little bit more towards me. There. That's it. That's good. I like that a lot. I like when your head is straight. They go and then chin down. Just that's it. Right there. That's great. Keep that. Okay, so now we're gonna take a couple of these shots, we see them coming in. And by the way, you see how long this this camera button thing here is? That thing is really annoyingly long. If you hold down the option or the all key the right to the left or the right side of it next to the button. If you hold down the option, the all key, it turns to a minus. If you click that, it just turns into a button. See that? So now I can just put the button. I know, right? here. So it's out of the way. Okay. What's that? No, I wouldn't hide it completely so you can turn it back on. And because Because, by the way, if you want to, um, change the shot, you just click right here where it says magazine cover. You click on that, and it will then allow you to change the name of the shoot, and it'll make a new folder. So I clicked on that. A new thing would say, What's the name of your shoot or your shot? And then you would have a new folder made, So it's a good idea. Keep it around. So we're just gonna collapse it.
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Donna Michele Designs
Mind blow! This was a great course and Jared explained in detail and with great clarity a comprehensive approach to using a Lightroom workflow that collaborates with multiple software platforms. Lots of "A Ha" moments. I think I can actually do this now where I didn't have a clue how to make this all work before.
inferno2nite
Absolutely great class. Lots of useful information. Thank you!
Renata Caughlin
Awesome class... So glad I got it.... Who knew I could do so much with a cord and my Lightroom... Totally hooked!
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