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Live Shoot: Three Light Set Up

So we have Alex London, who created this gorgeous dress. And then we have Maya, who's with major models are beautiful model. I love it. Way also haven't take back up here. And then Krista will be assisting today. Two years. He's my studio manager. Yeah, having so today for the lighting. We have the Westcott skylights and Rapid Box working as the main light. I'm always mixing in a bit of natural light as well. So I love this studio space that there is a lot of natural light coming in. And then I have a scrim with Go doc flights, which are constant lights as well above. And that's just kind of mimicking an overhead light. A lot of times in my studio all even reflects the lights up on the ceiling just to provide a little bit more natural light in the studio. You guys, Confucius quite a large dress today, so I probably will. With the backdrop. I won't have a lot of movement to go back and forth. So, with my apologies, have a kind of swinging back and forth, depending on the clothes. A lot ...

of times with movement, I like just having the model doing some kind of constant movement going back and forth, you look beautiful. And then what Krista's doing is she? We have capture one up and she's going to be tethering the images. So this is what I generally have when I'm working with clients because they want to see what's going on. It's such a big teams. Somebody's will have up to 20 people on said. So what different stylist. They want to see everything to be right in camera, and I think that's great. I think that's something that Polaroid working with Polaroids and film has really taught me is to make sure that everything's right on the first try. So they're looking at the the dress they're looking at, especially when it's brighter. We have really long trains, so they want to make sure everything's right with the train and the details coming in, and that we're getting it right in camera and then with editorial to the stylist, wants to know what's going on. So I think I'm gonna start with the different ones, so I'm going to start with the 55 1.8 lens, which is, um, a little bit wider so I can get more. The detail in, um, Krista were between those apple boxes out of the way. So we adjusted the light just a little bit. I'm just gonna look here Or just so I developed this light this on backdrop. I really wanted it. Just a mimic kind of a cement wall. So I really wanted a textured wall that I'd be able to use every day in the studio. So that's what What? It's based off. So with my settings, whenever I'm shooting, I always go with the low, low appetite. He tried to go as low as I can't, especially when I'm doing editorial or any creative work. I go. Sorry. Nine at 1.88 in my eye, eso is down at 1 25 my shutter speeds to 50. So whenever you're working with constant light, it's generally the same. It would be working with natural light. So what? I'm sorry. Always start with the low aperture and then I kind of change everything else based off of that. So I need to go up a little bit higher. My I s o or I could turn the light up a little bit too big. What is the setting on the light right now? Yeah, it's at full power. Full power from to turn it up just a little bit on the eso toe. Brian the scene slightly. I'm going to go upto 1 let me get you get just a little bit more movement, Maya, with your hands. So in fashion, the most important thing to look at is the hands and making sure the models relax. So I like to have them just kind of moving back and forth. I do have my go to pose is as well, which I'll be doing later having the hands I like how she was kind of crossing her arms or having a hands just really softly touching in front. But for Alison gowns, I like a lot of movement, just kind of looking away. But then I'm gonna get down a little bit lower. Two. Gorgeous, Perfect. So also looking a different angle. So I want them one on Meyer. The look really tall. The gallon kind of puffs out a lot in the front, going down a little bit lower with my camera. Where does great Mama Mia does look right over here. The camera for a couple. Beautiful. Put your hand a little bit more in front of the dress, please. See a little bit more of your hands Or just perfect. Beautiful love. The movement. Perfect. Gorgeous. And look right above the camera. Slightly away from me. Beautiful. Great. I'm gonna switch my lens so you guys can see the photos coming up. The nice thing to with capture one is that Christa, whoever you have, we refer to them is Did you check? They can kind of watch the light if anything changes. Especially when I'm shooting outdoors and the sun is constantly shifting, they're able to kind of watch as I go along if any changes need to be mad. So I'm going to switch over and get some portrait. So I'm gonna use the 85 1.4 lens and depending on the client, some clients all day. It's just full body. Any time it's editorial or there's any jury involved in Ideo port a lot of Portrait sa's. Well, untie those. And but if I was shooting editorial, I definitely want some full body shots. Of course, you have your designer in your team. So you want to make sure that you're getting your capturing what they're bringing their Not you're not just getting a bunch of poor trips for yourself, even though for me I love portions of you. Give me a quick look late over here, gorgeous. Let me have you look a little bit more into the bag. We're just beautiful. Drop your shoulders down just a little bit more beautiful and look away from the camera. So with portrait's, I generally don't get as much movement. Generally, the movement is just about having that with a close and just showing a little bit more fullness in it. So right now I just want to get a couple. They're a little bit closer and I'm shooting in the same settings. I did go up a little bit of my I s o toe 1 60 I met 1.4, which is the lowest I could go on this lens. We're just look right over here. Beautiful. And let me have you turned back around so I can see the front of the dress gorgeous back a little bit. So with cropping Teoh, I generally don't want to crop anywhere on the lens. I kind of want to go even there up here or just right here. But I don't want to crop any where where it's gonna look like I took, took anything. I took her hand off or took any on joint wanted around the joint. Gorgeous. Let me get down just a little bit lower. Beautiful. We're just drop your hands back down, actually, like, kind of hold onto the necklace. Beautiful. And let me get one. Just profile. Looking away. Look right over here. So I definitely always recommend looking at different angles, looking a different elements of the clothing. You guys see how beautiful the back is. The front has a lot of great details, so it's playing around with angles playing around the model. Lingle's, too, because every model has different teachers and you might miss something that might look good on one model in the next model. A little bit different. So I always like getting some of them looking directly into the camera, some looking away some. I always love profile shots really long, next of kind of my thing. So I love getting Just let me have you just a little bit softer on the hands, Gorgeous. Beautiful. Let me have you Shape your butt. Curve your body just a little bit to the front So that your yes, you're leaning in a little bit more beautiful. Gorgeous. Great. I'm going to switch over to my from my film cameras. Actually, I do. The, um Can we have put the daguerreotype on there and all Dio a couple. Let us know if you've got any in here. So several folks were asking about You've got the model moving really wide. Aperture. How are how are you focusing our You get in a focused So yeah, and then sometimes I'll use multiple friends. I couldn't have her just moving back and four. Um, I don't know. I really like I really like the Jodi lately because it's it's just sharp. 90. I feel like 99.9 presented a time. I've been getting just able to get really sharp images with that, so you can really see the detail. And then Krista could zoom in a little bit on that as well. So But I'm always focusing in on the face because for me, I really just want to capture the mood and emotion. That's kind of what my photography is about. It's just that that kind of just like raw emotion and in a little bit dreamy of a dreamy face. So that's kind of what I'm going for. And the other question a quick question from Delta Day. Who had asked, Can you put your canon lenses on Teoh Do do that? Yes, I do have amount for my canon lenses, so I do use them quite often as well. So, yeah, that was a good thing with the Sony in kind of what I'm drew me to it at first is that I could also change my lenses. Thank you. All right, I'm going to do just a couple with the like a. This is a film camera. Right now. I have poor tra color film, so I'll be sharing these with you guys later. Obviously, you can share it now, but it's kind of a wider lens, so I'm gonna go back just a little bit. And with a film, I don't get quite as much movement just because it's film. So it is nice. It does eyes a little bit blurrier and with a Porta, you need a little bit more natural light coming into So this is a great studio for it. But the reason I'm going back to constant light I love it cause I could work so seamlessly I can. I'm constantly changing cameras who can go really quickly and keep the light the same. Let me get one of you looking just a little bit away. Let me get a full body. So for this one, I will get just I just want a slight that the movement. I want you to keep your faith kind of the same, but just kind of like I like what you're doing is shifting the dress and looking right over here to slightly away from the camera down here. Think ballot Gorgeous, Perfect. And another thing that I love doing like I used. I always start with digital and then I with film I sometimes go back to pose is what I like. So there's a merry really like and hold that like let me get that with on Polaroid as well, or I have the model. Recreate that later. So let me know when the other one's already. So do a couple with the pets will 58. This has full vocal control, so you can control the amount of swirl that you have. You can't see it quite as much in studio as you would outdoors. It's OK. It's a really nice, painterly effect. So it's a manual. Len, you focus right here. It's a really fine focus point, so it does take a little bit of time to adjust you. Sometimes I'll use my viewfinder in the back just to kind of watch the focusing. But your guys will get to see it up there. This was going to take me just a little bit more time. Let me have the, um I just kind of dropping your hands Just really thought perfect. And you also it's more of a center focused, so it's kind of centering in the very middle of the lens. I'm going to go back just a little bit toe, have a whiter shot, Gorgeous. Perfect. So this one's all about the art. I'm gonna go up just a little bit of my I s o Love the movement Let me have you looking a little bit more in destruction gorgeous. So you guys can kind of see the photos coming on. It's definitely more of a dreamy image, but I love it. Gorgeous. Gorgeous, bad, Great. So you, can you guys see the Boca? When are you guys able to see that Very well in there. You can see it a little bit more when you're shooting outdoors. Let me play around with it here. Seven R two or your spirit canon lenses with analog lenses, or even like a lenses on this is that you can use your zoom function, which is the eyeglass to zoom in up to three or four times, depending on what kind of camera you have to really micro zoom and micro focus on an eye or something that where you're 100% focused. So you're not really guessing so a little bit here, a couple more gorges. So right now I have my on Boca controls it seven, which is the swirly ist it goes, but it's nice. Whenever you're shooting in. Studio just gets that really painterly effect and kind of whatever you're shooting outdoors. It would be a lot more swirlies, so if you guys go over to pat, swollen mammography will be able to kind of see the effects of that outdoors as well in Iceland. So so with the photos that I showed you guys earlier, they were shot with the Petzel lens, shot digitally and then transferred over to Polaroid's. I did a full exhibition with the pets Will lens. So let me switch. Yes, switching. Could you get us again? A little bit about the lighting set up and specifically, the scrim overhead. What kind of light is behind that house on the go docks? Flight is behind that, so it's really just acting. Just adding a little bit more overhead lighting to the model T o Brian the scene a bet, especially if you didn't have much natural light in your studio, which I don't have a lot in mind. So here way have a lot coming in. We did shut off a little bit of the light so that we could dark in the scene slightly, but it's just acting is a bit of a fill light. So next I had the Canon Eos. I'm just going to take a couple of shots with this that all should be showing later on my social media sites. So you have the 85 millimeter 1.2 lens on here. And the only thing that I'm changing is the arbiter. Have you look here beautiful. You get in a little bit close there, gorgeous. Beautiful. Look. A little bit away from the camera, gorgeous. Let me get down a little further. Look up way. Get a couple full body shot. Great. Let me grab the land cameras, This one. So I'm gonna be using the land camera. Next. This has two different viewfinders. One is for focusing. And then once reframing. So first, I'm gonna get the figure out the posted I want. I think I want you just to look like you're moving. So I want it just to be like a slights up here. Perfect. I've been looking just right here. So the first thing I'm going to do on my anus composed my image. Then let me have you stop for a second and focus. All right. Perfect. So let me have you do that. Supplement time. Great. So it's pull apart film. You have to wait 30 seconds. So I'm just gonna lay it right here familiar with this film. It's basically really old style of film pack film that they used to make back in the seventies with these Polaroid land cameras. And basically Fujifilm has been making it since then, pretty much taking over when Polaroid stopped and developing. You know this film, which is now since been discontinued, but you could still find it at B NH, not a Rama and on eBay. So it's up to you guys if you guys want to pick that up. But it's it's a great medium, and all you do is wait 30 seconds for this film when you pull it apart, so you have your positive and your negative, and with the negative, I can go back and scan this and then I can inverted and light room or photo shop, and it looks kind of gets a tintype Phil to it, so it gives a really nice the facts. So it's similar to the black and white 35 millimeter film. As far as the timelessness of it. I love shooting with Polaroids and the land caramel. Unfortunately, they did discontinue it recently, but it's still you're still able toe purchase it online for not to. It's not too pricy yet, so next I'm gonna do the blue. This is super old expired six with nine film So sometimes with different colors that you tried to buy it for certain during certain years. So let me do the same thing for the sentiment. Wanted to be a little bit closer. So, Maya, let me have you for this In my have gonna have you looked slightly away too. Get your hands in there and back A little bit gorgeous. Perfect way. Pull this down just a little bit. Yeah, that's perfect. So let me my I want you to ship just slightly more of this place garden. So the same with the land camera. The two different focus point for two different training points in pulling it. I'm gonna do one more for this one. Let me have you turned back around and face me. Score does. And then we have on your face straight out. We all straight line really intense. They are perfect. Beautiful. So I'm focusing in, and then I am firing. Are you calculating? Basically, I'm I'm timing each one of these around one minute to peel it because it can overdeveloped if you don't appeal it in time. So especially with this specific type of film. It has its own, you know, expired after one minute turns to blue s so you have to peel it before it does that. So it's it's pretty interesting. So this one is about ready? Yeah, e have turned out. So this gives the really old a fact to it. You guys can see here. It's very fired, but it's a beautiful effect. That's great, cause I have a couple clients that they book me just based off of this blue film. They know that I'm able to find the right year and they love just a fine art quality that again, when we're here, Here's the 2nd way. So next we're gonna show the I one camera. So, as I mentioned earlier, it's fully manual so thick it's going Teoh the app installed on my phone and let me turn that on really quick. It's all done via Bluetooth, so you can connect it and it's connecting right now. Sure, it's on. Okay, so now it's connected. Now you can through the app you can adjust the I s so I mean the the I s. I was set on the film. Already at 6 40 you can adjust the aperture and shutter speed and the distance of focus, so it has an automatic feature as well. But it's great, so you can do it yourself or even trigger remotely. So it's all should be all set already. So I'm just setting the distance here and for this one. Let me have you looking back of your shorter, just a little about How about a profile shot? Just looking straight away provides. Let me have with your hands. I just kind of slightly touching your hands. Beautiful. Love it. All right, so there's two different. You have two different viewfinders here, too. There's a little small struggle in the 1st 1 You're aligning the two together, and it is nice because you can meet her over here with your camera with your IPhone and then six actually gonna fire for me as well. So all right, Ready? Has a matter light meter as well. So it makes it easy. So it's nice. It does take just a little while. One, not Teoh developed. So while we're waiting for that, we're going to switch. Look