LIVE Photoshoot - Single light portraits

LIVE Photoshoot – Single light portraits

Oh bottom shot of early started recording okay we said this is going to be live I keep record so let's just leave this in hi guys we're back this is another live portrait shoot where if we screw things up you'll see it um or if there's any wardrobe malfunctions as we're talking about off camera then of course they'll be blowing it out and then stars everywhere just my uncut version will be in the pain section of that nickel go calm just getting us all free and just that means the website is very powerful those are job there won't be any well drug bail functions did you put all of that tape in road with so nothing okay just forget interesting anyway in this video we're going to go through and do a series of one light fortress for those people who only have one flash this is how you can create some interesting shots indoors if it's you know at this time to use some parts of the world our forty-five degrees some parts of minus forty five so some people don't want to go outside use some shots you can create indoors nice and easy and we'll start off doing a simple simple simple simple lovely portrait so again same room that we were shooting in on the last one big window here on the side which is you know bringing light in I'm going to guess my settings here say at one two hundred that f4 iso 100 i think probably won't be totally black in the background but let's have a look okay now so you can see the light creeping left to right there if you go up to 5.6 almost there's still a little graduation there from left to right but so that means let's go down to one 120 actually so a halfway at 5.6 okay so just that little bit of radiation there in the background which we can play with by doubling our shutter speed up to one 250th or dropping into one sixtieth and bringing that ambient up so to start this off let's grab a single pocket wizard in flash just turn off the other ones of Google using last time so this is a $60 $80 however much yn5 60 flash notice a cheap one who does everything you want for this kind of thing a well I don't know how much an umbrella costs 10 20 30 50 dollars then you get a brand new one but basically just to shoot your umbrella and basic stand as well so this is as simple as you get this is what a lot of you would on one light one umbrella easy okay so on this where this kind of a shot works really well for a low-key shot if you have someone wearing dark as teener is the black will eat up the light and remain really black black is dark black blah blah ma whereas the skin is going to create a really nice it's kind of like a window to the shot so you can see dark hair well you'll see it in the shot but you can have this triangle look like yeah I'm sure the soul they say it's the eyes and then dark hair is wearable framer so we're going to have a really dark background up shirt and everything with some teeth next comes because black texture texture is texture and detail so we've got black and extra wowza and then just the skin tones coming up that's the shot that I'm going to be looking for and we're going to try and have it nice and low key so on this one I'm going to pop my flash to order a power on the 561 6n power n is going to depend on your flash on your env and how far you are from your model you need to go and try it then I'm going to pop this up this is you know up from one corner is Rembrandt lighting pretty much Rembrandt lighting is the one comes in from an angle leaves a nice little triangle behind the nose obviously called Rembrandt lighting because it was the kind of lighting that ye oldie mr. Rembrandt used to paint with so let's just check out they are talking okay this one is still on in the background and blinded me a little bit a green square in my eyes make sure these guys are both turned up okay so now just you okay so one sixteenth power one 120 left up to one to two hundredths of a second at 5.6 and let's just totally have a look II just if you just to get the light we can just look straight up the flash heads of that piece of it right there chin up actually changed my mind eyes to me keep your body where it is okay so you can see they're not too bad that's about the amount of light I want in the shot but the umbrella is spilling onto the wall that's that's just a reality of umbrellas that's my video on that later but I personally think you know people think white shooter umbrellas are so simplistic and basic and kind of Lube gear so useful they're wonderful the only downside to them is will they break easily with me but also they spill so that's the benefit of having a softbox it has the dark sides to send a light in a more restricted line for here by popping the rogue flashbender on I can just kill it please don't send too much light up in that direction and I'm clearly what it's cold again nice to me can you just fight me here at a little flat black OOP no wardrobe malfunctions bring the shoulder around a little bit shoulders from it yeah and then just a chin up Lou they some it keeps at the moment that your head is not on that end get straight so then we've got fats getting there you know nice contrast eliding simple now if you want to just make it really and truly edgy take the light off this is not the most flattering right to use an air flash on someone I'm going to have the amount of power bring it down just test it down the road now this is going to be a much harsher shadow and light source another letting go down to the hands on this one and you'll see there is a lot of fall-off we're not going to have even coverage everywhere but then you can really get that contrast be light to dark black to white crisp shadows so I'm shooting these in roars but so I'll just output it there for you as it came from camera okay and you can see we're kind of losing her left eye I'm just checking this on screen as I talk you through it going in close ruber detail on the face because it is a bear light and this is the d800e so not much you can do about that but because we're losing the second light we can bring it around just a little bit and I don't want to move a too far in front of her because then we're going to definitely get spill on the background but we'll just have her so follow my finger with your head like your eyes have a blue pen and then little okay yeah and then ice to make so just turning her head physically towards the light a little bit more he lies on us yeah so that's taken away a lot of that shadow and even kind of a nicer result that's the one we just shot and that's the one but what do you mean your posture what would you mind the second sit up straight need to vegetables should say what are you worried and you say oh shut up it's the nineties actually you even born in the mines yes so again I chin a little bit that way shoulders back so that lets you know I'll come back pop your booty even though you're sitting and here's what I want your hands put the back in on top gear here isn't it nice nice nice nice low she not just a wee bit here good okay so there you can see the majority of the shadow is actually falling onto her neck which will distract some people but I think that's a better place for it then all over her face so let's just just for argument's sake change nothing in the shot try not to move darling except for because I can hit you it's coming away familiar one nothing tipper adding the umbrella I'm not even going to change the flash power up let's just show you the difference that that looks or in Popat okay so you can see the background has copped a lot more still on that it's a huge light source going back to the one before much brighter highlights the umbrella use knocking out some of the light so let's pop it up I stopped just moving it back a couple of inches to make it about two-thirds of the stop and try it in okay mr. hands on that one okay just turn it a little bit to the umbrella eyes for me it's you know very good that's fine as well okay so that's single light nothing dramatic about that at all and if we want to change the look of it you can change the angle of the light and the axis of the light so if we move it around to more front on its going to give us some spill on the background we can you know there's a definite fall-off of light so if we have it the right amount of light on Tobit up really close by the time it gets to the wall it will have faded off a little bit so let's have a look at that just check the balance now to each other I'm going to crop your hands off okay so there you can see the light is actually doing double-duty the school I've taken off the the gobo here he's throwing light on the background but it kind of works as lighting her and giving a separation light but it's not really adding a whole evil light to the background if we move the light twice as far away smash things in the process and then put our tower right up to keep her the right exposure you'll see that the ratio between her and the wall compared to the last one is a lot different okay so then she's pretty much exposed the same I moved it back more than double and I put it up by it was three stops she has pretty much stayed the same this is what we're demoing at the moment workshop as well but the background has completely changed why that happens is without getting into masks because I don't really understand it as light leaves whatever light source it gets broader and broader broader and softer and softer and softer in terms of its power not in terms of actual softness oh it gets less intense as it moves away so when the flash is here and Tim is here let's say that's one meter and then it was to three meters to the background so that's a one meter to her three meters to the wall a one to three ratio when the lights all the way back here it's like a I don't know like a five to seven ratio so the light isn't going to fall off that much in as it did in the last one because the ratio extra to the background is different does that make sense I hope so smile or not if your understanding is okay so there we go nice bright background on that one and you will see the shadow coming in so let's get a wide shot that shows the whole scene in focus there we go okay so you can see it shadows coming in there you can easily shoot that out both by just not framing it in the shop so that's good to know but we be nice okay pretty simple now directly yeah let me check that hasn't been 20 minutes I hope good for checking those six minutes and 30 seconds let's should we do it here it one let's I know this is a single light note I was going to pop in a second light in the background to show you how to create some effects but this is specifically a single like let's see the light shot so let's just play with that a little bit more so here I'm going to all the light in the room is coming from this direction there's none really coming from that other direction so here we're going to pop it down and then I have this apply power actually want you to face your back causes go so this is 1/4 power and I am going to grab that to try and restrict the amount that's going on the back wall it's not going to restrict that much using an umbrella but it's better than none let's see how this slide is on you so and then I want you to keep your back to that so keep your shoulders level and turning your head to look over your shoulder comes back and turn it as far as you can now let's go around like Chucky now something to know do these fun job let's get the library for us ok now actually does it say you up but just let me turn your chair a little bit so then so it's not actually perfectly back to it anymore ok so there were only picking our pitching can you put your hair all the way around to the back to the back side actually going to feather this just a wee little bit more and pretty much what I want to pick up is all of this side of her face but the beside in darkness so let's try that just straight yep that's pretty good and just turn it a little bit further Dave : okay so that's the kind of look we're talking about and it's cool that whatever this outfit is is um got the sheer back on it because that's picking up a bit of skin tone ends now so these days under 20 minutes I'm actually going to stop this here obviously there's a million different single bite shots that you could go for next up we're going to do some others a single light but they're all about a stripping light so I'll make a playlist of all of these live photo shoots and later actually going to do one where Tim is the shooter and I'm the model so tell Eve that way I might even be wearing that onesie we'll see so thank you very much really simple one guys spend a bit of time on it try different settings is going to vary depending on where you are and the ambient light in the room but you know one light and basic equipment is no obstacle you don't need to be using pocket wizards for this you can just use cheap ones I use these because they're bulletproof and I don't want to miss a shot so up to you anyway thanks for watching please like subscribe don't hope that that nickel DICOM get involved we'll see you soon oh it did it cut off no three minutes and three seconds goodbye you

28 thoughts on “LIVE Photoshoot – Single light portraits”

  1. Goes to get passport photo. Photographer: “Ok step one… take your pants off. Poke your lady parts out. Greaaat… one more… one more… take your shirt off…”

  2. I dunno about all this but some illustrations of Rembrandt shadows on her areola and gluteus maximus would have been interesting 👏

  3. Well, I saw some crazy comments! I don't know How I missed this video but I'm watching it in 2019!!! I miss Tina. I know that Matt and Tina are friends and was great working together. For all those comments got to remember this was not a photographer, a model relationship it was a long time knowing each other and friends. Matt its called the reverse square law… In simple terms closer the light to a subject faster the light falls off. Move the light further away less light falls off. Great video like always…

  4. Ah, Tina, had to come back for another look. She’s your best Matt. She has no equal. A gorgeous, quality gal and a perfect babe. She has that special, indescribable something. She made you, and you made her. All the best to you both!

  5. Nice presentation Matt. Do you have suggestions for photographers who do not normally do portraits and don't want to by stands?

  6. You know your stuff yet, I thought this was a video on how to make one light photography look good. Obviously I'm watching this so I am no expert, but none of these shots I would consider to look good. Seems like more of a precursor to "this is why you need more than on flash"

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