All language subtitles for 2_Lyrics shoot - Behind the Scene

All right?

So here we are at the studio.

And we've got

so many options today to cover,

it's sometimes a little bit
overwhelming to know where to start.

So what I want to do today is

we're start simple.

So obviously this is a one light

master class approach to doing
portraits in whatever photography.

So we're going to stick with one light
concept, but I've got

a whole bunch of modifiers over there.

I'm going to start out with a 36 inch

it's kind of, see what they call it.

Westcott calls it the rapid box, it's
the switch octo.

I don't know how it's going to look,
but I do know this.

I want my

phone core

to be pure white,

and I want my wall to be a

light gray.

I might bring it to fifty gray, if I

want to go and add a texture to that
later in Photoshop.

Fifty.

It doesn't have to be fixed percent
gray, but it's a lot easier with fifty

percent gray.

But the idea is I can add a texture to
that wall if I want to.

I may not.

I may want that nice, smooth, pure gray.

So

we're actually standing on a gray sweep
here.

So I can swing around, and we can shoot
to where this gray wall is my

background.

But remember the invers square law,
we're going to talk a lot about that.

Gray is going to get darker

if my light and my subject is

not right up against it.

So my light exposure gets perfect on my
subject, the background is going to be darker.

That could be good or bad.

We also have, over here,

we have

a black wall.

We've got some fun pour against it
right now, but basically I can go all

black.

So this is really a nice setup.

I've got white, gray, black,

and

we've got foam core.

We've got enough options to kind of
play around with.

So

the idea is to mix it up.

And I have

somewhat of a game plan.

But really the best way to do this is
just to let it happen.

We're going to do now the most
beautiful light on the planet, which is

crosslight.

We've talked about this a lot

in the geograms academy.

But

basically I have a big source coming
across.

And

we've got a painted backdrop, or a
printed backdrop, it's about

five by seven inches, our feet, sorry,
five by seven feet.

And we've got lyric about a foot from
the background.

I've got a piece of foam core bouncing
light back into the scene we'll maybe

move it around a little bit.

And here's our very first, kind of,
like,

take off of.

It.

It's pretty easy.

But

we've got this beautiful

pose that lyrics doing that's sort of
the wharve.

We're trying to fit the timepiece of
the dress,

the hat, everything.

So

we'll fine tuned.

But big, cross light is beautiful
light.

Folks.

So let's try this.

Here we go.

Since we have our crew here, we got

lyric, our beautiful model.

She did amazing.

We got Lauran over here, Lauran Reid,
who is our makeup

artist,

and she's amazing too.

Al over here, he made sure that I had
my camera turned on.

And Tilly over here, she made sure we
did all the posing and everything correct.

So it's takes kind of a crew.

If I didn't have a crew, I would be
fumbling

really bad.

Right?

Al,

he knows.

So we got some good one light stuff
done today.

What I'm hoping is that, not only will
you do this in studio thing, but we'll

also do maybe outdoors.

We got thunderclouds coming to happen
right now, the monsoons.

So it would be great to go out.

Do you want to do this again?

But we'll continue to do it