All language subtitles for 1_Lyrics shoot - Introduction

Well welcome to our

studio shoot that I did with our
beautiful model lyric.

And we did a 5060s

sort of

throw back to the Irving pen.

Who, if you don't know Irving Penn, you
should look him up.

Probably the biggest inspiration in
terms of portrait,

beauty fashion

photographer.

Back in the 5060s and 70s, he really
kind of was the king.

And I think when you look at ansell
addin's being the master

landscape, grand landscape photographer

Henry cartabuson was the decisive
moment.

The street photographer, the
licushooter,

Irving Penn was the portrait.

I think, beauty, I would call beauty
portrait fashion photographer,

way ahead of his time.

And one of the reasons why I think that
he was so far ahead of his time was

that he was a painter

turned photographer.

So I talk about this a lot.

And when I go into the artist

talk about being an artist, this is
important.

Folks.

Photographers learn how to take
pictures, and they get so wrapped up

and technical that they don't really
understand what the final end result

that they want.

So if photographers are being spit out
of photo

programs,

and

I really don't think they

get a sense of

they get too connected to the technical
part of photography.

They don't understand

the artistic, the creative,

what has been done in the past?

Who were the Masters?

You had to learn, study the Masters,
because they

have been inspired.

Like even Richard avadon was inspired
by Irvin Penn.

If you don't know who, Richard avadon
was big time fashion

portrait photographer in New York.

And he came later after Irving pen.

And so Richard avadon inspired a lot of
photographers.

So this chain reaction kind of
happened.

Same with ansell Adams and

Henry Carter bassan.

So

when I was in school, I studied

a lot of art history

and

history of photography.

Didn't really know much at the time in
terms of, I want to be a landscape

photographer.

So I wasn't really looking at portrait
photographers so much, but I remember

Irving Penn.

And so

later, when I started to

do portraits,

I definitely gravitated back to Irving
pen, re studied him.

Still, to this day, I go back to his
work, relook it as images to get

inspired.

So he used graphic black

and well, black and white when he
started out.

But black and white shapes

the curvature of the body, the hats

really used elements

of design.

So I want you to think about that as
you are creating images,

look at your image.

Often, what I do is i'll flip my image
upside down, and look at it upside

down, and say, hmm,

what are just the graphic elements that
are happening here?

And so

I think it's important as you

develop your eye in,

to get it to inner result.

So,

throw back to Irvine pen.

I went on Amazon and just

ordered a bunch of

hats,

dresses,

5060s, looking kind of thing.

Now, these dresses aren't very
expensive, so I probably put about 500

Bucks into this.

Just a wardrobe on this.

Not a lot, but, you know, I had thirty
Bucks here, addressed, 3040 Bucks here.

So with, you know, two days later, Saul
shows up.

Never thought I'd be going on to Amazon
buying dresses and getting all excited,

but that's the way it kind of work.

So I also hired and hired.

Tilly came to one of my workshops.

And I watched Tilly

as she was posing models, when she was
doing the workshop,

when she had her hands on, I thought,
this is what she really knows what

she's doing.

So when I did this, I said I called up
Tilly, and I said, Tilly, because she

lived locally in phoenix,

and I said, would you like to help out
on this photoshoot?

So I had Tilly take over the wardrobe
once we got the wardrobe there.

And then when we were on set, she would
say, oh, watch the hand do something.

And it really helped me, because I'm
just a guy who doesn't have a clue, right?

So

that was kind of fun to have her there.

We had a makeup artist,

I had al, my assistant, and then Wyatt
was doing all the filming, and I think

my wife was there doing some behind the
scene stuff.

So we had a good little crew going
there.

So simple one like.

So let's take a look at some of the
images that I produced.

No particular order here, I just
dropped them in here, all Jay pegs.

And so I retouched a few of them.

I even have more to retouch, but I
don't have time to do that.

So it's been a while since, about a
month, since, maybe three weeks, since

I photograph this and started
retouching.

I did a couple new ones yesterday just
to make sure that I had a few more to

show you guys.

So here we have lyric in this

black hat, black dress, black gloves.

I took a piece of phone core, laid it
on the table.

You'll see me doing all these beyond
the scene shoots.

So I'm going to explain a little bit
what we did here.

And then, of course, well, you'll see
me in action, which is kind of fun.

I wanted, and you'll watch how I had
lyric kind of move and lean a little

bit.

So I wanted this flow with a hand.

And so

let me just preference something here.

And I want to make sure that you

realize

that I am no creative genius.

And I say that not to put myself down,
but to say that this is just the way I

am.

I've been doing this a long time.

I love, and I think I have a certain
eye that I've developed over time.

And I haven't a particular about things.

But I'm no creative genius.

The thing that I've got going for me is

that I have been doing this a long
time.

But also

I realize

that it's all about getting the model
in, on the set, in position, and get

her to start to work when

things start to fall together.

So for example, this, I did not plan
ahead of time.

I'm going to have her leaning into the

off to the camera, right, her left.

But as she was moving, and I'm like,
oh, just move a little bit more.

Stretch, stretched, lean, stretch the
neck, things like that.

So

I hope that encourages you not to be
intimidated by the fact that I am some,

you know

this, we're all special,

but I'm not extraordinary,

special in that.

I just get out and I get a subject in
frameliness.

In fact,

Richard avadon has a quote.

He said, give me a model, put her on a
white sweep, and let the magic happen.

It's paraphrased, I'm sure.

But I remember reading that years ago.

That's kind of what I do, is like, just
give me a model, get her, or get him,

or whatever,

in front of my camera, and let the
magic happen.

here we have this

float.

So I had a piece of foam core.

Now I added the texture.

You'll see a little bit of texture in
here.

I added that texture later in

Photoshop with the blending mode

mode.

Blending mode of multiply, I believe,
so multiply, works with white

overlay and soft light work with gray.

And so

when I go to a blending mode of
multiply with a really light little

texture, it just goes

clicks and sticks right to the wall.

And I've been doing that for probably
five plus years.

So

it's

given me a tool that I didn't have
before, so, like, I can make the

creative decision later.

Ervine pen didn't have that.

And so I feel like I am literally.

I have tools that Irving pen didn't
have.

I know that,

but

I have Irving pen to look back onto
that he didn't have.

He might have had the painters, the
master painters, that he probably was

inspired by, which, by the way, I
studied a lot of art history.

And I do have a little bit of the

master painter influence in me too,
which I would encourage you to go and

look at

to be inspired.

So people ask me what inspires you?

I say, sometimes I just go back to the
master painters

to get inspiration.

we have her leaning here with that
white wall, white piece of phone core.

And I had to straighten out a little
bit in Photoshop

because it was just an old piece of
form, course.

So I had to fix some of the lines on
there.

So here is a black piece of phone core

with,

I think that wall kind of went a light
gray.

And so in one light, these are all one
light here.

That was a pretty big floppy hat I had
to fix a little bit in Photoshop.

We have warped tools like that, which
help

to

fix some things that you couldn't have
fixed back in Irving pen's day.

I love this one again.

So are you going to ask me, why don't
you leave that in color?

It did look pretty good in color, I
think, because I've been, this is sort

of the Irving pen.

Throwback 50s, I wanted to keep things
black and white.

I love black and white, in fact,

when I was in the 90s.

So in, I started the mid 80s

full time.

Because I did photography, going
through college, shot weddings and

portraits, and lots of landscapes and
stuff, but not portraits.

But I did weddings, well, like an
engagement portrait or something.

But I just didn't know what I was doing,

don't tell the people that I grabbed
their engagement

back then.

I was really green, but

I kind of specialized in black and
white in the 90s.

And

so when I was in Denver, Denver market,

I was sort of like the black and white
portrait guy.

And

then

with digital, we kind of got the black,
sort of put it on the backseat a little

bit.

I see it's a beautiful black and white
stuff coming out.

I'm hoping there's a research in black
and white.

I think there will be it's just classic.

Oh, so I didn't really talk about this.

There's a light gray background.

Now, this light, if you Recall, when
you see the behind the Scenes, I

actually took the bank, the octo, and
ran it

horizontal to the floor.

So equal to the level or the angle of a
floor, not 45.

And I don't really do that, but I
thought, I'm going to try that.

And so I'm not sure

how much I explained that in the actual
chute that I'm doing.

But watch that light.

I believe this is the one I had.

The light was horizontal over the top.

So it's throwing light down,

which feathers it, by the way.

So that's the gradient.

Great age I talk about.

So here is, now, this one is not, so I
kept saying, cross light, overhead

light.

This is more 45 degrees

coming to carry the shadow on the

wall that she's leaning up against.

I think I had a film foam core over
here.

Simple.

I think this is my better shot, though.

So her skin looks great, snappy.

But the foam core is bouncing light
back into the scene to soften the shadows.

And so it's

very simple.

So that light was about

twenty feet back, maybe eighteen feet
back

with standard hood.

So if you back that light up to thirty
feet, it'll be a little bit snappier.

If you bring it into ten feet,

it'll be a little bit softer.

Now, remember this, if I'm going to do
full length, I want to make sure that

light is spreading equally from top to
bottom,

from her head to their toe, and maybe
at least a little bit of white around

her, so that I can clean that up in
Photoshop later, if I had to.

But when you back it up, it spreads the
light wider.

So this one, now, I cheated a little
bit here, so I said it was one light

Joel grims, one light master class.

And I hear, I cheated and used a light
to make the white on the background.

But

this is a bonus, and a reason why I
think this is a bonus, because I have

not done a tutorial on this.

And I did this on the floor of Adobe
max last year

at the cannon booth.

And I took, and I had two little speed
lights that lit the white background,

and then one little speed light over
the top that I would fire the

background fire, then turn the speed
light on, fire and then I would, in

Photoshop, paint back

just what I want on that silhouette.

I'm going to retouch this one for you,
because I think it's important for you

to see how I'm thinking.

And if you have not gone to the

master class that I had been selling,
the whole, forty hours of training, I

go on there.

Under the craft, I talk about
platography,

a term I coined, which I don't care if
it doesn't stick, it's talking about

working in multiple plates.

That's how in the commercial
advertising arena, we talk in plates.

And so we can say, exposures, orb,
frames, whatever.

It doesn't matter at this point.

It was a double exposure, in that

I'm exposing.

exposure is for the silhouette,

and then one exposure is the whole
body's lit.

And then I am going back with just a
simple mask and just

one little tap with a, well, I say one
little tap, but you've got to get it

just right.

I try it a couple times with a soft
brush, and it brings in the light.

Now, this, I don't think her pose is
perfect here, but I didn't do a ton of

these, so this is really the only,

I think framing I got.

I would like to have her chin down a
little bit more.

But the point is this technique

will open up more Doors for you down
the road.

I'm going to be applying this more for
other things down the road, too.

So I wanted to show this to you and get
you thinking about this.

when I talk about the future
photography effect, I'm going to a

Photoshop world next week, and one of
my classes is,

what's happened, what's the future of
photography.

And what I do is I kind of show the
last ten years of all these little

techniques that we've come along.

And then we, I look at platography,
some of these techniques that have come

along.

I, when I say this, I don't try to pat
myself on the back, but some of them, I

was the first on the planet to do it,
or at least I know that I know of.

And there's a lot of photographers
doing things that

an Argentina somewhere.

Maybe someone was doing it.

But in terms of me bringing it to the
marketplace, I was the first to do some

of these things.

And so

I have this

little brain that goes in there and
tries to figure out, what can I do?

What's new, how do I try this?

This came up as an idea last year, and
I've done it a couple of times since.

So let me just

add one little

and really cool thing that.

Well, I did not get a chance to use it
here, but is now on the market, and

I've tested it.

It works,

but I didn't get a chance to use it
here.

And the reason why is, the strobes I
was using, I have all taped off and

someone's going to email me.

What kind of scrrobes did you use?

Well, they're being released, I think,
next month.

So that mum is the word.

I can't tell you who is releasing
those.

I got some prototypes

and I've been testing those.

But

they have a feature in it that will,
you say, your one light on the

background is group a,

and your

second light is group b on the body,

fold overhead light.

You can tell group b to fire every
other shot.

So you go, pop the first shots of
silhouette, pop.

The second shot is.

Bolt strips going off.

So it alternates.

And the go docs, 86 hundreds will do
the same thing.

So I've tested it on those new strobes

have come out with the same thing.

But when I tested them

three weeks ago,

I did not have the

controller

that it just got it, like two days ago.

And so

I wasn't able to do it.

The controller that I was using was the
cannon controller, which will actually

run these strobes also.

So

real exciting things coming up.

So that you can create a mask.

So it's not just this.

I can create a mask,

that, which is basically did,

that I can use for cutouts.

So now, with the subject moving,

with the strobes set up, you go pop up.

You can't be jumping or he or whatever,
in the air.

But for product shooting, which you can
do manually, but people are doing that now,

you can shoot a black silhouette and
then fill it in and use the mask later

to cut things out.

That's been done for a while.

In fact, I think when I say this, I
don't even know, but I think people

were doing that with film, back with
product stuff, back

ten years ago.

So

I say film, maybe film, but also with
the beginning of the digital.

But now doing the portraits, it's a lot
faster,

a

subject in the scene.

So

good times.

I'll retouch that for you guys and show
you how simple it is.

Here is the shallow depth of field.

So I set my aperture to 1.2

or four, I can't remember now.

And then,

so I did a cross light.

I started out with f eight or f some
0.1.

And you can see the texture of the
background.

The texture was there, and it was a
little bit too

strong of a texture for

this look.

And so if you watch me, I immediately
go,

let's do

high speed sync,

because I'm in a studio, has some video
lights and stuff on high speed sync.

And then I was able to shoot it wide
open

and still keep my exposure correct,

and throw the background out.

So really basically, her eye is in
focus.

And this was with the cannon usr, with
the eye tracking.

So it was just like click, click,
click.

I never even had to focus.

It's incredible.

Here is,

I think I did the same thing here as a
shallow dip to feel one, but I'm backed

up, so

there seems like there's borver in
focus.

Not a big fan.

And I kept this in color because it was
such a bright background.

I thought, let me just show you guys
that I would probably rework this, and

maybe I look for a different expression
or something.

That's not quite just looking in the
lens.

Here's that big seven foot behind me.

So it's just this big banquet bank of
light.

You'll see me do this.

you can see this shadow, or the chinch.

I've raised it up to get the shadow.

If you get too low, it just looks like
a ringlight kind of thing, a soft ring

light, which isn't, maybe not a bad
idea.

I've tried that before, but you raise
it up, so you get a little shadow.

I had a limit to how I can raise the
light, which is another thing that you

might run into if you're doing

a photo shoot out of your garage, like
I do.

Sometimes this was not my garage, but

like, you go to a studio, you rent that
studio for the afternoon, and find out

the ceilings are only twelve feet.

And you just need about fourteen feet
to get that big old octape a little

bit.

So sometimes I actually crunch it into
the ceiling, just to get a little higher,

gorgeous, soft light.

So I did a compause at folks.

I know that you're

saying, what a cheetah.

Well, at least ten years ago, people
told me I was cheating all the time, but

so

you'll see them.

And I did a portrait with just a
regular gray background, and then i'll

sit and look at this picture.

I'd go, I'm just going to track a
positive, found a backdrop dropter in.

And I kind of like it, kind of like it

that's kind of the old style that I
should do all the time.

So here

I did something a little different.

Now you'll see me beyond the Scenes,
that hat is not that big.

So I made a comment during, I think,
the shooting.

I said, you know, I could always take
that hat and Photoshop and make it

bigger.

I didn't do that my first go through
the images.

And then yesterday, I was getting
prepared for this,

and I thought, oh, let me see if I can
get one of the images, take and make

the hat a little bigger, and fit it
back on the head

and just see what maybe is too big.

I don't know.

I just thought I'd show you guys that
it's possible to take something like that,

that you would take the warping tool,
stretch a little bit to fix it, and

warp it, get it a little bit more
shaping.

So there's the same hat.

So you can see, it's a lot bigger.

So I might have gone too far, but I
just wanted to make you guys

see the option.

This is actually one of my favorite
shots.

I think I might retouch this one for
you guys.

I'll do at least two.

I can't re touch all of them.

I'll do that one with the two exposure
thing.

And then i'll do one of these to show
you the background, how I put the

texture on the background,

and

the retouching of that.

This is another one.

It's not bad.

Different, hat,

white, gloves a black phone core.

But I love these elements.

So I think that if I was to redo this
shoot again, maybe order another black

dress, someone made a comment on
Facebook that bow's too big.

And then you start to look at it every
day and you go, maybe what is too big?

I don't know.

And then my wife says, I like the bow or

the wardrobe.

Untily, she said she likes the boat.

So everyone's got up an opinion.

The point is,

the more elements you have to play
with, the easier it is to work things.

So this is one of the first ones that I
retouched.

I love this one.

Just kind of simple.

And again, I added the texture in
Photoshop, one light.

So we're back to where we were before.

So

enough, me, I can hear, we're going to
take you behind the Scenes to

watch me do these photo shoots.

And

I do some talking during this shoot.

We'll see, because

my web guy, our video guy, is doing the
editing, or put it together.

So i'll have to take a look.

Before we post it to see what.

Hopefully we get everything in there.

So we'll come back after

you watch me beyond the Scenes, we'll
come back and do some retouching and

finish this off.

So I hope you enjoy this series.

It's a lot of fun.

It's not rocke science.

Folks, it's,

like I said before, get

some, get a model, get some wardrobe,
get her in front of your lens,