All language subtitles for 5_Crack the Code - III

All right?

We are back with the

part three of our

crack to codal lighting.

We're going to talk about Rembrandt
lighting.

And I call it cross light.

People want to crook me all the time,
i'll say, Rembrandt crosslight.

I'll say, oh, no, no,

you can't.

It's Rembrandt is 45 degrees to the
subject.

And I discussed this many times.

The studio that Rembrandt painted in
the window was ninety degrees to the

subject.

And that's how I learned, or I came, to
understand and learn across light.

It wasn't taught to me that way.

I just ended up bringing my source
around the side across late.

And I've been doing that for 2535

years now, at least thirty years,
because

about ninety says 1984.

So whatever that is, I'm terrible at
math, long time folks.

So

doesn't matter what you name it, you
can call it whatever.

Billy Bob jones's light.

I think I use poor Billy Bob jones all
the time.

Whatever you want to call it.

I'm going to

call it the cross light, and the
Rembrandt is the triangle.

I'm going to show you a live demo of
this.

I got my beautiful model lyric.

We did this, we did some overhead
light, we did a bunch of one light

stuff.

I'm going to show you this in action.

So this is just the,

I guess you would say, the beginning

PowerPoint keynote.

What are you going to call it?

Presentation.

On lighting, we will go into the field
and ore into studio and show you.

We've got a couple scenarios I want to
show you.

So stick with me, here we go.

Let's talk about it.

So I use this.

This was shot a long time ago with
Bryce.

Again, I said, take you into a studio
and do a different scenario.

But here's crosslight.

I don't always use an octabox that's
eight or seven feet big.

You can use an umbrella with a
diffusion on the front, and you can use

a piece of silk.

You can use a shower, curtain with a
fuse shower, curtain a sheet.

Whatever it is, you light up and make
it big and broad.

We'll create a nice, beautiful light
across your subject.

So,

on occasion, use a filcard.

Don't always use a filc, but i'll show
you how I do that.

All right.

So let's see here.

I don't, I'm always afraid to use a
schematic.

Which is kind of an overview, looking
down,

showing where a little stick figure is
with a box and all that.

But I wouldn't do it.

In this case,

the image on the right of Bryce.

You might

look at that and say, that's not very
flattering.

Joel, no, it's not.

We are going to make Bryce look a lot
more flattery.

So to where to put the

modifier

in relationship to the subject is

extremely key.

So here we have it

a little bit back behind her.

I could have proud pushed it a little
bit further.

It would have been

pure light on one side, no light on the
other.

But

it doesn't matter.

That would have been a worse picture.

This is still not a very good picture.

So we're going to bring the box toward
the camera, away from the background.

Eight inch increments.

So here's eight inches.

There's the picture.

The rembrand triangle starting to show
up a little bit more.

Here it is, again,

eight inches.

And you start to see that

Rembrandt drangled, that highlight of
the cheek there.

So there's a little bit more.

And then it might be too far.

Depends on what you want to go.

But on a beauty,

ish fashion, beauty shot,

I say beauty fashion, beauty headshot.

That's coming forward pretty good.

Then if you want to bring a film card
in, it'll a little soften a little bit.

If you come too far,

you might overdo it.

But anyways, there is a much more
pleasing approach

to a subject and what we started out
with.

So

that's

kind of fun.

And then I'm going to show you just
some pictures here of Bryce

with just,

these are all jpegs, right on the
camera, so you're not retouched at all.

She's got beautiful skin, though,

we can take that out.

So there you have, just zooming in with
a semi 200 zoom or 7200 lengths.

So

it's fun.

So here's some examples of crosslight
that would be more finished off images.

I showed you some of these on the very
beginning

intro,

but basically

you can see the Rembrandt

on the

cheek right there.

Same scenario I just used.

Bryce there.

Just out of frame

is the octo.

And you can use it rectangular box.

In fact, I use rectangular boxes more
over the years than octo,

because the ox is so big.

I tend to kind of go with that to get
me ultrasoft.

Look

here is a five foot, a five foot octo.

And that is just out of frame.

And look how dark his feet are.

So that's tapering the light down a
little bit more.

A big seven foot, or been lighting the
whole thing.

So what's your vision,

here's a seven footer I showed you.

Closer of that

seven foot, right out of frame, white
wall, bouncing back into it.

Now here is a scenario.

I've got 27 footers

further back.

So instead of seven feet back, they're
about fifteen feet back.

27 footers creating ultra beautiful,
soft light.

We are going to talk about, I've said
this many times already, the invers

square law.

So, and the reason why

this is a good illustration is that

the cheek that's got the Rembrandt,
which is further from the light source,

is the almost exact same value of light
as the other cheek.

And her shoulder is the same value of
light as her cheek.

Our aller skin is pretty lit, evenly,

maybe's a little darker on their arm.

And I might have darkened that in
Photoshop a little bit.

But

the reason why that soul even is
because my source is so far from my

subject.

So the closer you bring your box in,
the more fall off you're going to have

from the first cheek to the second jeek
to the shoulder,

whatever,

good or bad, that's how it works.

So if you say, I want a more evenly
lit, but still cross light, get big

source, back up.

Two big sources.

I don't have a fifteen foot

soft box.

So I use two modifiers,

which is still a one like, because it's
basically putting one, making one big

light of source, same direction.

Here's a seven footer off to one side.

We talked about that earlier.

Here's another seven footer with a
little filter, a big fil cart on the

side there, making lots of light
bouncing back into it.

And so here's

the same thing, only I've used a shadow
depth of field

with an end filter to give it in, an
ambient studio, to give me really shout

up the field with strobes.

So if you didn't, if you use in hot
lights or continuous lights, you

wouldn't need an indig filter.

Someone called me yesterday said, hey
as well, I'm doing, I'm using

continuous lights, big source.

I said, perfect.

You can use a shod at the field.

And they said, I never thought of that.

This is a little bit harsher.

So I've taken a seven foot and backed
it up.

So it's a little bit edgier for a guy
this got a rough looking guy.

So

that, and I have all these other
pictures here.

I think we've got some of a wrapper.

We've gone through many of these
pictures already.

So I don't want to just beat a dead
horse on the ground.

there's a small beauty dish there,
with, look how dark it tapers down.

That's just natural.

I don't think I did that in Photoshop.

You could do a little bit of that in
Photoshop.

We talked about this one marine outside

with a

high speed sinking scenario.

So what I hope that you've learned so
far is that

there's two major approaches that we
can talk about,

and cross light.

And now

we did say, if we did do the simulating
sunlight, which showed you of

Bryce outdoors, we're going to do that
with lyric in a studio for you.

And that's actually about 45, maybe

kind of 45 off to one side.

So it's not always straight over the
camera, or ninety degrees, but

that creates that shadow against the
wall, kind of simulates the sun, but

with lots of balance.

There's one image that, as if I can
find it here, that I

thought we would talk about.

If it's in here,

I don't see it.

Well, I didn't show you this one the
other day.

For the other beginning, this is my
brother, who is a fireman retired now,

but he's always fishing.

I'm always out taking pictures.

And so I went fishing with him, and I
grabbed my camera, didn't even have a

fishing pole, and I chased him down.

Did this picture

with, I think it was two speed lights
into one beauty dish and high speed

sink, 35 millimeter,

super wide angle, and that's super
white, but super white aperture at 1.4.

And

that was shot the sun on his shoulders.

So you can see how simple it is.

Once you get this down, you can do some
really fun stuff, shoot a whole

campaign for flyfishing.

So what I want to do is get you
comfortable with saying, look,

simplify it.

Couple approaches,

I know how to make the light softer
harsher,

add a little bounce,

brings in a little softness, drag the
shut a little bit, brings a little softness.

And those are your basic

steps in controlling your light.

So I hope this helps you when I say,
crack the code.

Now, if

some of you may have been using strobes
for a long time and you go, oh, man,

didn't really think about that.

And that's the way I was.

I was like, wow, discovering things.

Like, I never even thought that
somebody may be starting out.

And you go, ok,

you know what?

This is not as bad as I thought it was.

So that's what I want, is you to have
the Scales fall off your eyes.

But

let me I'm going to say this one thing
here, and then we're going to go into,

I think we'll cover the inverse square
all.

Next,

before we get out to our behind the
Scenes, we're going to do a couple of

scenarios with you guys,

different models.

We get a little girl, I brought in
here, photographed her

very delicate approach, because I don't
do too many kind of young kid stuff.

And so we did that.

But the key to this all now is

you practicing,

you beat it into the ground, and you
get better and better every time.

I do photoshoo.

I still learn stuff.

And,

I mean, once a while i'll watch
somebody and i'll go, I never thought

of doing that.

So I'm learning stuff all the time.

And that's the fun part about it is, I
feel like I've got it down pretty good,

but I'm still learning stuff.

So

from here,

well, let's go and we'll go into the
inverse square while I've already

recorded that.

So it's going to be there.

And then we've got all these different
scenarios on the behind the Scenes of

me shooting, which is always fun.

So, and i'll do some retouching for you
guys, too.

I just want to throw that in there,
because I love that idea of seeing a

picture, watching it go all the way
through, and then the final impact