All language subtitles for 2_Case Studies

Ok so let's take a look at some one
light images

that done in the past.

And we're going to

watch me do some

hands on shooting,

and we'll do some retouching of some of
the new images that I've set up just

for this class,

do some pretty fun stuff.

And I can't wait to get to those.

But let's take a look at some one light
images I've done over time.

And I don't really think about
necessarily.

Well, let's put it this way,

if I'm going to approach a subject, I'm
going to look at it from two different perspectives,

our approaches.

One is

cross.

So that is right here.

We have the cowboy.

Greg.

This is out

in the field

with one light, which is a 36 by 48,
which is now I think the two by 42,

way, 32 by three.

Westcott just changed all their
Numbers, 36 by 48 inches.

And that was a box that I used for 25
years

before I started doing this edgy,
before digital.

So all the days of my film, back in the
start, in the 80s,

it was a 36 by 48 box that I used.

And I shot

thousands of cross slight portraits.

So that was sort of my staple approach.

When I started doing the three light, I
started putting a light over the top of

the camera.

And so with that, I didn't even know
what to do prior to that.

I never had light over the top of the
camera before.

Then I started learning how to do that.

And then I started doing the edge
lights.

And so that brought me into a three
light approach.

But

I look at it from two perspective, two
approaches.

One light approach is

crosslight,

or overhead light.

So if you can learn those two lighting,
you'll see them here.

You can do a lot, and there's really no
end to how many pictures you can do.

Here's an overhead light

it's out in obvious, in the water, in a
kind of lake stream,

and Texas.

And I have 124

inch beauty dish right over the top of
the

camera, over the top of the model,
looking down,

and I'm balancing

the

ambient, and I think.

And here I used an Nd filter, which now
I use high speed sync.

And I will occasionally use an ende
filter to give me that shallow to the

field using strobes.

We'll talk more about that.

Here's crosslight

across.

There was a big door over here, that
entry to this old shed.

But there is a couple Windows above his
head.

And you can see

a little bit of rim light on his hat
and on the top of the motors.

And that was from the natural light
coming through.

So I'm blending a little bit of natural
light.

So when I start picking my shutter
speed, I will start dark, usually, and

i'll work it down until

I go far enough to where I start to see
some ambient coming in, but not too

far, because then I blow the whole
thing out, and I don't get my cross

light effect.

But

very simple.

Now, this was shot hdr.

Three exposures under normal over.

And I put it together to get one final

32 bit file.

Then I eventually

turned it into sixteen bit file.

So

it's a really beautiful detail.

Here is one light over the top.

Really tight.

So again, 24 inch, beauty dish at 24
inches, to my subject.

This was shot with an end filter,

that shallet up the field.

Again, like I said, I use

more high speed sinking today.

So some of these little old cross light
again.

So we're going to go back and forth
here.

Look at the Rembrandt trangle on the
cheek right here.

One big

seven foot octo off to the side,

coming across beautiful light.

Maybe a little filthcard.

I don't even know how much of the filth
card don't overuse the field card on

the side.

We'll talk about that when I do my
demos.

This is out

Doors.

So there's the sun's creating in a rim
light, but I'm filling in right over

the top

on the face.

So you can see the shadow just a little
off.

So I had an assistant hold it up.

So we were trying to get to get it
right over the top of the lens.

Sometimes

models move and whatever he's just a
little off.

That really, my goal was to be rudder
of the top crosslight, again, of our

cowboy, Greg,

pushing the light in the direction it's
already going.

So the sun's going

that direction.

I take the light and push it in the
same direction.

Sounds simple, but believe me, there
was years.

I didn't understand that.

It takes me a while to learn things.

I had to beat it in the ground.

Finally, one day it all kind of clicks
to me.

One light overhead, twenty fourage,
beauty dish.

I'm going to be doing a scenario like
this for you guys live.

So using my table, I have kind of a
table series here's one light over the

top, there's a big canopy of trees.

And there might be a little teeny light
on the top of her head, where that's

just from the trees light hitting the
trees, kind of coming down on her.

But really it's one light over the top.

Again, very simple, but in this case,

it's

shooting a shell to the field to get
that.

Here it is.

Again.

Now I have the sun striking the
shoulder, across the back.

You can see it just a little bit of her
forehead or hair on the shoulder.

Really simple scenario.

Folks, this is great, because

what you're doing is you're using the
overhead light as you're

filling in the beauty, the beauty
light, whatever, filling in the top.

The sun is causing the drama.

And this has been done for years

more in the lifestyle and the beauty,
or, say, in the fashion industry.

But

it makes for great portraits.

One big, huge, eight or seven foot octo
behind me, it's right behind my head.

I'm tight shooting.

And

again, one light source

on a location in

Iceland.

This was a 36 inch rabbit box

about four feet from my subject.

You can see the blue sky, which means I
used

the

sunny sixteen as my base exposure.

So I'm getting the sunny sixteen.

You see the highlights of the sun
hitting here maybe a little bit on

earth side, right there.

And then I'm filling it in

with a light.

Over the LEDs.

Very, very simple.

Here's a 24 inch beauty dish right into
a wedge wall,

but the light Falls down, so you kind
of just goes right to our face.

Very simple.

Same thing.

Same beauty dish out on location.

Though,

I pulled this out of the car, shot
really fast.

It was moving pretty quick.

Seven foot octo off the side with a
filcard.

So I'm really smoothing out that one
side.

You see the rembrand trangle just a
little bit there, but

it's

pretty simple.

I love it.

The reason why I think Rembrandt is so
delicate is that it gives you a depth.

So you have the highlights to shadows.

This way, the overhead still gives you
highlights and shadows, but it's coming

underneath the chin,

lips, the nose, the eyes, or the
eyebrows,

hats, or whatever.

But you're still building depth.

That makes sense.

One light over the top in a wedge wall.

We have this, by the way, is a start to
finish on the geograms.

Academy, showing me, showing you guys
how I did this beauty dish right at the top,

balancing

it in overcast, a

24 in speedy dish, right over the top.

You see a pattern here?

Folks,

there's a lot you can do.

24 inch b dish.

Now, again, this is outdoors.

I have to apply the sunny sixteen rule,
which means I have to account for the

exposure of the sun.

Then I build my strobe to fill in

and my shutter speed and everything to
make sure that, in this case

I used an Nd filter.

I would be, again, using high speed
sink more.

Today,

handy filter is a great way to do it.

It's just that you have to put
something in front of your lens.

Every time you take a picture, I take
it away, focus, put it back in.

And that gets a little bit cumbersome.

This is high speed sink.

18000th of a second,

2035

millimeter, 14 lens.

So I'm shooting it wide open at 1.4,

which is really bizarre, because you
think, wait, that's a semi widing a

lens.

But you're getting a really cool effect.

And that's just two speed lights.

I stacked them together,

but it's still high speed.

Sink.

Cross light, seven foot or off to the
side.

This is a twenty fourage b dish.

I manipulated the tones and Photoshop
it.

Very simple, but it's just because I
convert the black and white, and I'm

changing the skin tones with my slider.

And kind of fun.

that matter.

24 inch, I think it's somewhere around
there, 22 or 224 inch, beauty dish.

So this is outdoors.

again, I have to place the sun
correctly.

And this is tough because it was hynoon,

literally, twelve o'clock in San
Francisco, baa.

And

so you can see the shadow of her arm is
landing across here.

So the sun is straight over the top,
pretty much.

Maybe it's a little off

because it's in the

southern horizon so slightly, but it's
still high noon.

Not bad though, I mean, it's kind of
fun.

But I have a 5th fill in with the
overhead light.

Cross light

off to one side.

24 inch, beaty dish.

Again.

So simple.

This was for a project with Adobe,
Russell Brown.

It was kind of a Renaissance thing.

And I added that texture later in
Photoshop,

using my technique with the gray, this
gray backdrop,

using overlay.

And what I did was, I took the image
that was shot in England,

and I

distressed it a little bit

desaturated.

It

kind of

think, I

call it brown I'm color blind, but kind
of browned it up, warmed it up to make

it look like an old painting.

But I have the cross light coming
across.

So you have the highlight on one side
of the face shadowing, going to the

shadow.

The other

very, very simple

look.

Got that in twice.

So this was shot out right outside my
backyard here with Vincent, one of my

models for a workshop.

In this case

I use 124 inch, be dish.

But instead of doing high speed sink or
doing

endy filter system, this is the old
school way I should do it, which was to

go to, like, f 22.

And I put two goatox into one head.

They have a special adapter, so it's
1200 Watts going boom through the

to get f 22

at 200th a second.

So I met

the

highest sync speed I can on my camera,

but you can see the depth of field goes
all the way back to the golf course and

the mountains in the background.

So my goal was to get that sky really
dark.

And

I don't like shooting it at 22, because
it's not my sweet spot on my lens, but

it's still kind of a fun technique

across light.

Now, this was about a five foot octo so
now, let me explain something really

simple here.

When I do a seven foot octo

it's a bigger source, same distance as
the five foot octo that I'm using here,

just out of frame.

Except the seven foot octave will light
more of the body down toward the feet.

So in this case, the five foot octo is
up a little bit coming across, and now

it's lighting the face, but the light's
tapering down to dark, really, darkness

below.

You can maybe do that in Photoshop a
little bit.

You can add a gradient.

But in this case, like I said,
naturally, by using a little bit

smaller box,

still pretty tight,

gives me a nice Rembrandt.

But doesn't overlight it.

There's a seven foot or see how it's
lit more down below here, seven foot,

or off to one side.

One light, beauty dish over the top,

and you're getting a little bit of a
light coming on his knee and stuff.

But really the light is just kind of

concentrating on his face.

This was done at Texas

school.

And I,

to be honest with you, I cannot
remember.

I know it's one light,

and it is a black felt background.

And I think it was the 36 inch rapid
box, about 100 percent sure.

But you can see it tapers down.

It might have been the 24 inch, beauty
dish.

But anyways, one light, or the top,

seven foot, right behind my head.

So it's lighting very evenly across the
top to the bottom.

But it's one big source behind me.

This is a five foot or at ten feet.

So look at the shadow on the chin.

And now we're getting a really sharp
edge underneath her chin.

That's because that light source, even
though it's a pretty good size, when

it's actually a zeppelin, five foot
zeppelin,

but it's ten feet back, which makes a

harsher light.

We'll talk more about that later.

A seven footer off the side, but she's
leaning, it's a white wall, which makes

it bounce all this light back, which
really softens it down

and sort of flattens it out a little
bit.

But it's absolutely gorgeous light.

So still, one light here is right
outside.

We get a workshop

in my driveway, and I just put a light
twenty feet off to one side, with just

a standard reflector

to simulate a

sun,

the sun

approach.

I got a coup more here i'll show you.

But I have a big fill car right off the
side, and a big filcard underneath her.

So I'm basically creating an l,

a big white

foam core l shaped

to bounce light back into her.

So that really sharp,

contrasty,

edgy light,

it gets countered by the softness of
the foam core.

This is the sun,

so it's still one light.

It's god's light.

I have a fil, a piece of form core,
over here, and she's standing on a four

by eight piece of white.

It's like a foam cord, but it's four
bay, but it's

just pvc.

Plastic.

You by the home, deep or lows.

Now this one is an interesting shot.

It's the same approach.

So I've got one light 25 feet off

stannard hood,

shooting across.

She's laying down.

I'm over the top with my tripod on
apple boxes, looking down,

but I'm behind me.

Wrapped around, here's a big v flat of
two pieces of phone corps.

So it's 24 by eight feet of foam core,
balancing light back into her.

But we're going to talk about the
universe invers.

Square law here, cut it up.

And one of the things that

we all use him for, square law, whether
or not we know it.

And I'm site gravity, I don't know.

Maybe I don't know gravity exists.

I'm a cave man and I'm going around the
club, gravity still there.

I just don't know much about it.

In the case of invers square, lost,
same thing.

But because my light source is so far
back, we're going to go into this in

detail coming up.

Look at the exposure on her forehead,
versus

by her arm down here.

Because my light's so far back, the
exposure change is very minimal.

If I had a light source that was two
feet away from her, and I exposed it

and I got her face lit, then her

body and her, get her skin down lower,
would be much darker.

The fall off is much quicker.

So

once we get into the infer square while
you'll understand how this all works,

and how you can apply a technique like
this.

And the reason why it works is because
my light source is so far back, and

also because I have lots of bounce into
it's.

Kran Clemens, gold medalist in 400
meters.

He is

just simulating sunlight.

The light's 28 feet back.

Boom, just

barehead, and I'm trying to freeze
action.

So that was high speed,

high speed,

high flash duration, a high speed seem,
high flash duration, strode.

So I'm at 16000th of a second flash
duration.

Same with this one.

Here

got a fun to do.

This it's really simple.

Now here's one light overhead.

And I believe I have this.

Let's see if I have a tutorial of this,
but it's the same approach you'll see

here.

This is down when I was down in Mexico

photographing the refugees.

And I've also been back just
photographing

some Mexican

like

farmers and stuff.

24 ingenuity dish right at the top of
my lens.

But instead of my beauty dish

at 24 inches, which is my standard
approach to easily most my portraits,

in this case, I backed it up to 36 inch

or three feet.

So two feet, three feet, which gives me
a little sharper

shadow edge crispness.

So i'll show you another picture here.

That's about the same approach.

Website, got that in there twice.

This is 24 inches from my subject, a
little softer.

Now it's a darker background,

but you can get so once you understand

how to get your light

edgier or softer,

there's no end of what you can do.

There's literally no end at what you
can do.

Bigger source, unlike shift the subject
with software light.

So if I move at annecca, back it up, it
gets harsher,

so I can fine tune my edge, niche my
look by

moving my life source in and out, or
taking and changing out my modifies.

We're going to talk more about that
coming up.

So here's the Hardy series I did.

I love doing this stuff.

Now, this is one light,

but I've moved the light over into two
positions, but basically making one big

light over the top.

I did that.

All the tardy stuff is shot like this.

So it's really one light.

It's

really fun.

It's.

The old thing is that would have had a
whole crew out there,

big Banks, and I would have,

it would have been possible, because I
would have

not been able to use a widowing, a lens,

because the whole lighting source would
be in the picture.

Today, I don't worry about that.

And I talk more about that if you have
not

purchased the whole bundled

That has the craft in it, the series I
call the craft.

I have the retouch, the craft.

I have the artist.

I have the business.

But the craft talks about this concept
I call platography, which is working in

multiple plates,

so that I'm actually standing around
this thing, shooting it.

But then you don't see me, because I
pick myself out, and I use multiple plates

to build a background.

So here's the Hardy stuff

is awful fun.

Ok?

I think that gives you a good overview
of some images that I've been shooting,

oh, in the past, with using one light,

master the one light.

Then you can move on and maybe add an
accent lighter, like a sun, be an

accent light, or things like that, that
you can add two your

images, but start out by mastering one
light.

It's so much fun.

I

feel like a little kid in a canny
store.

I can't get enough.

This is what it's all about, it's
playing around.

So I've learned all this stuff primarily

because I've gone out and I've

repeated the process over and over
again.

I did not learn this stuff from a book.

I didn't even take

lighting classes and fine arts.

We didn't have any strob lighting or
even talked about lighting really.

This is all because I've had to learn
it the hard way.

And so I'm helping you take a shortcut.

But there still has to be a due
diligence on your part to go out and

practice.

But we're going to talk more about
that.

So let's move on from here,

and

we'll continue the series that we have
here.

On this