How about this? This is a neat portrait on one lighting reflector and I love it. It could be my favorite picture that I've ever taken. I mean really there’s a lot of favorite but this one means a lot to me because I shoot it to the focus of Cannon and they said, let’s do more picture of her. She is incredible. So I took about the very same day and made this picture.
I make it with the reflector feeling in the shadows with the back with the situation. The light is coming over the hair, and I just have a reflector, and a little flash. I love working with flash to shape the face. The flash is usually a stopper to under the end of it. Let’s talk about the flash. Here, the light on the face is a fake. I'm putting the flash on the facet form, two stops under. Let the background go over exposed, that’s the best way to work with flash. It’s just a little bit under the ambiance.
This is the other way to work with flash when you have a bright sky of 16 so then I put off 16 on her face to match. And here is the way the picture is happening but that reflector back there is lighting the edge of her tummy and lighting the edge of her body. So when the light comes from behind, it’s great because that light gives us that beautiful render. It really separates the subject off and that soft boxes shoot in it out the F16 right there because we need F16 to match the background, so I’ll repeat it!
I need to expose in for the face, let in the background go over exposed, and put two stops under on the flash or I'm shooting for the back ground. F16 bring the light up on the face to match the background. Now, let’s keep looking at these. A few more portraits made that very same day. They were easy once I had it going. Little look shadow; these are what seniors want today. Direct sun so we’ll use this scram from FJ Westcott to soften the light. So we put some filters on here in the graphic authority realm and have this great CDs and DVDs that you can just get these edges so go to graphic authority and see what they’re doing and it work.
Beautiful portrait! These edges pull away transfer things like that are important. Now the sun is hitting her directly. We have to use the scream to take the light off the face, we’ve created all of these portraits right here by screaming the light, and they’re fun. All it is is just off camera light and going to strong light coming right through that umbrella. A little bit now we’re on the back of the hotel, whereas open shade but I'm always shooting from the dark to the light. That’s what’s happening here- shooting from the dark to the light, that’s what we’re doing.’
Here, I said get the moon and I’ll shoot for the moon. And I exposed for the moon because she went dark so I put the camera on an automatic and that’s what the camera gave me- gray. And that’s what the camera supposed to do. It’s supposed to turn white to gray and then black to gray and that’s the automatic exposure. We need flash; F16 on the face is too much. Pull the back to about F8. F8 matches the sky, then we’ll feel in the clouds and the moon and that’s how we did it. We just built it all up and I'm using the Cannon mark three.
Now here’s our simple full faced portrait. Isn’t it? Full faced feminine pose. We just did this from the DVD- basic pose, feminine pose, basic pose, feminine pose, basic pose. Light coming from below a little bit here and when the light comes from below, you got to be careful because it doesn’t watch out the chest, and would later on the paper and then we came in closer.
Feet position! I love talking feet position. There are 5 feet positions, right there; I'm going to reveal it. It just keeps one knee in front of the other to sled the figure. Here we go 530, 5, 530, and 5. Those are the two most popular feet position and then you can bring the foot out, and then put the hand on the chair, or put it behind the foot or in front for a more casual look. That’s a fun thing to know 5 feet position. You can put it around either foot. Now we had this guy Jason who is in need of the head shot, no light in the eye, no light in the eye so I put a spider light with the battery operated spider lights on a snowy day. So now, look at the pop of the light. Let me go back! No light, light! No light, light! That’s just enough light that I'm putting down in the snow. The snow is a background. When you lower the person, the face becomes more important, that’s what happens here.
Now this scene your portrait I started in the studio is a kind of a neutral background with the spider lights. I love working with the FJ Westcott’s spider light. Well the, I went to this white paper and you can never miss that white paper. Here is she she’s seating on the paper and I'm trying to create a high key with spider lights. Do you know how I did it? I have a studio that I can open a garage door arm. Look at the liquified filter. Look at her wear and look at her chin really her there her back her, and I brought the levels down so that’s how it came out of the camera and that’s what I did to it.
And this is black and white version and this is how it’s done. A fill light, a main light, a kicker light, and a hair light just like what we’ve been doing on the tape but then what I did is I open my garage door in the sunlight and is heat in the paper. So that’s how I've created in a high key in the studio. That’s a beautiful portrait right there. Fun portraits lay on your back and that’s how it’s done. The lights here are in a real close. Then when we move outside and then I’ll just back a little. You know, I'm going to put the reflector out in front, but look at this portrait.
Now, the way this is made is the sun is at my back and the sun id hitting her face, the reflector is giving me the kicker light, the edge light, and the back wall that beautiful background is just a tool shed. Isn’t that neat? Here, she’s just lying on the painted background, and I do that a lot and I actually have a scream over her face diffusing the sunlight just a nice look here with feathers and fans and you know the kids love it.
Here’s a lens baby, and they love it. Here’s another man’s baby with a simple head and body to the light portrait basic portrait. Look at here eyes, I love that portrait, that’s the beauty and this is what the kids want. They want something current. How about that for current? That’s a really, really strong scene in your portrait and that is his senior portrait, and one of his favorite it goes too. And now, we’re that great from a Maria Sharp Ovo laid here on her back and worked that great.