All language subtitles for 1_Faiths Shoot - Introduction

Well welcome to a continuation of the
one light master class.

And so we are now at our third scenario
of, actually what I call a photoshoot

that I did.

So we have our little girl, Melanie,
and then I have

lyric, which we did the sort of the
throwback to the 50s.

We did that in the studio.

And then now I took our model faith.

We started out indoors, but then we
went outdoors with the late light,

using high speed sync.

I want to

teach you guys how to go and create
simple images with our beautiful images

with one light.

So that's what we're all about.

You learn one light, you can learn how
to use tin lights.

So

we started out indoors, because it was
so hot.

I thought I had our model show about
three o'clock, 330.

And we are now September,

in mid September,

but it was last week, was still too hot.

A week, a little over a week and a half
ago,

it was about a week ago, week and three
days ago, so ten days ago roughly.

And it's cooled down a little bit more.

Today.

We've been a beautiful day.

We had gorgeous clouds outside, but we
didn't have any clouds that day.

And so I had to wait until the sun
dropped a little bit.

So what I did was, I just got back from
portrait Masters, and I ended up

getting two backdrops,

not the ones that I printed, so they're
a little bigger,

but we had two that we could mirror to
create a wedge wall.

And so I thought, well, I got this,
wedgewall it's a little hot outside.

Why don't we just start indoors?

I quickly set up a wedge wall, and

let me show you the image that I pulled
off there.

So

here it is, of faith.

She's got her hands touching the
backdrop.

They're this thick,

but it's not.

You can't just lean up against it.

But I wedged it to where it looked like
it's a wall.

I've shut the wedge wall many times.

Before the concept, I did not start at
folks.

Irving pen

was, I think, the first photographer to
ever use the wedge wall a concept.

And so when I did this, people said,
brilliant, amazing, whatever.

And then someone said, yeah, copycat.

So there's always,

we live on the Backs of many amazing
photographers that have come before us.

And so I'm not trying to just sit there
and copy someone.

But it is fun to go and take a concept
like that, and look at it, revisit, it,

whatever.

But I did it with one light,

and it was a small, beauty dish

right over the top.

And remember,

if you watched the session on the
inverse square law, maybe you skipped

it because you said, ah, too technical.

But

to get

the background, which is not super
dark, but

you want the wall to taper into a
little bit of darkness in the back, so

that she feels like she's coming off
out of it a little bit.

You want to overlight it.

So a small modifier and close gives me
the bill to do that.

If I had a five foot octo, it would
like the whole thing.

Or some foot octah would just like,
blast it.

Maybe it's a good thing.

Maybe that's a good look that you could
maybe try out.

But the fact is, I wanted a little bit
of a tapered feel,

so that,

I think worked pretty good.

And then I went to a portrait,

kind of a tight portrait.

And then I went to this one, which I
darkened the background a little bit

more, so it's kind of fun.

It played around.

You don't know what you're going to get
until you play.

And that's what I did.

So one light, very simple,

and then I did

a cross light.

Now, this crosslight was not super,
super rembranding.

She's lit fairly fairly,

a little bit even more even.

And I had a fil card off the side.

You'll see there would beang Scenes
here shortly.

But I went a little softer.

So we tried that

and that.

Once I got done.

Then with that, the sun dropped a
little more, and we went outside, and I

started to

work on

the

illustrating the high speed sinking
capability.

Now

the next lesson, before I get to the
behind the Scenes, I'm going to go and interject

a little

what I call

an explanation of high speed sync.

I think

it would be

to your benefit that I do that

it's not very long and it's not very
simple, an animation.

And so some of you may be saying, I
don't understand how a high speed seek

works outdoors,

because basically you're opening up
your lens, so you're letting as much

light as possible in, and then you're
still trying to overpower the sun.

So to do that, you get to raise your
shutter speed,

shorten your shutters speed.

Well, if you know, your camera

flash doesn't work

technically

outside

above your sink speed.

So my sink speed on my

cannon five.

Dsr and the canon us are at 2 point of
a second, and most cameras are around that.

180 to 250

that's your limit.

Unless you have high speed sink.

That gives you the ability to go above
and use a higher

shutter speed,

which makes me be able to knock down
the ambient and the sun and the

background and blend.

Beautiful, beautiful

technique of shalo, depth the field
with a

gorgeous light on the subject.

You could not do that

without high speed sync, unless you had

maybe maybe a six top to ten stop end
filter.

You might be able to do it then, but
you've still got to have a flash that

puts out quite a bit of power.

So the Nd filter system will work, but
then you can't look through.

It is really hard.

And I've done that.

I've done demos than that before.

But now with high speed singing there's
no need to use

entilters anymore.

So

let me show you.

That was right underneath the tree.

So basically I do is I put my subject
under the canopy of trees, which,

if I don't have the sun on the
shoulder, this way, I have the ability

of complete control over my subject
with my stroke.

So there's no light hitting her face.

Or sunlight.

That is

when I go outside of that.

I said, I go into the sun,

then I will turn the sun to her, just
on her shoulder, coming across her face

a little bit.

So here's a shot that I did

this.

I like this shot a lot.

And so I'm filling in the shadow side.

The sun give me a little bit of rim
light,

and I have a high speed

shutter to knock down

the sun and the ambient.

And I think that

I just love that shot.

And here's another one

that is the same

approach.

And then I went with here's, another
one.

Let's look at this one

little more portrait.

The wind kept blowing the hair around.

If I didn't, if I didn't want the
sunsetish sun on her shoulder, then I

could have spun her around.

For the wind was blowing her hair
backwards.

But I needed the sun in the background
to do that, so that the wind was just

in the wrong place.

However, I still think I got some
pretty good shots.

Here's one where the wind just whipped
her hair a little bit and

got a great shot of her, which I turned
to black and white.

I think I like it to black and white.

So there's, I think, my hero shots.

And I got a few more.

I'm going to work up for you guys.

When I do the actual,

you watch me.

So underneath the trees, I did one
where I shot it at f eight, which gives

me lots of depth of field.

And then I went and shot it at 1 point

too,

and we're 1.4.

And you see the difference,

and you immediately go, wow,

shout up the field outdoors, looks
incredible.

It separates your subject from the
background.

You do that with two ways, well a
couple ways, but

you darken, the background it's helped
separate it, and you shallow, the depth

of the field helps separate it.

So that makes sure.

When you look at this image, she's

popped right into your face,

and that's really not that attractive
of background.

The sun has already gone down,

so it's not like

I probably could position dirty.

A little bit of the mountains would
have been better.

But the point is, it's because a child
of the field it's not as critical,

so it just snaps.

So that's what I'm, why I'd like to
show you guys this.

You can make a living with this.

You can go out and create portraits,

unbelievable portraits, with one light
in the field,

taking some basic tools.

And

so let's go from here

to

explaining to you

the

high speed seeking technique

that I kind of animated.

And then we're going to go to me
shooting.

And then we'll take, and i'll do a
retouch for you, all of faith.

And you guys get to see this whole
process.