just think about think about what everybody else is doing today. They're sitting in offices, looking at spreadsheets on computers. You know, we're out here in a bar playing with light. You know that's the best part of this, right, because it's like being a permanent recess when you're outside with a camera, because everybody else is inside. They got something to do. They got someplace to go. It's such a beautiful thing. His photographers increasingly like we're on our own, you know? So this is beauty about being absolutely irrelevant. You know that? Wonderful. You know, I find it absolutely magical, you know, And then course you are relevant at certain points in time where you have to step forward and complete the job. But especially when I'm getting about with a camera, conjuring ideas, trying to push an idea to somebody, and I actually get that across Oh, man, you know, that's why you remain doing this as hard as it is to continue to do anyway. Now lens through with this 35 on. Right...

now, I'm thinking 35 let's stay with 35. Or maybe let's go with 24. Let's go a little distorted it. As I say. This is your fault. Come right here, Ryan. See where that beam is. I need you to line up right here if you don't mind. And face this way. Okay. Pushed back further. Just a tiny bit. Okay, Cool. All right. Everything else is shut down, so we only have this light going. So let's do this. Let's shut the radio off. Okay? Go up there. All right. So we've got blackness up in here, okay? We've got blackness. All right, Now, remember what you did with the squint. Kind of that, you know? Yeah. Like like, yeah, Yeah, exactly. Um, think, um, think of yourself as an evil minister. Like a puritanical man of the cloth. Right. Okay. You have to have an imagination about this. Okay. All right. So, Callie, let's go. Kind of tabletop. Let's start there. Okay. 00 All right. And I'm gonna go with 2 58 f four. That was an excellent choice. Thank you. I so 200. I would have agreed, uh, come a little tighter to him, Callie. Too much. Okay, let's go see if we can go. Really? Beam on. Okay to him. Okay. Lets go. It's too frontal. Let's go. More tabletop. Narrow, narrow eyes. Right. Okay. And I'm gonna put another stop of power into that light, All right? Now, would you confess your sins to that man? Now, let's do this, guys. Do me a favor. Full kind of CTO. Two sticks, either side zero. Zoom to pop it off of those paintings. Um, why don't we Ah, yeah, Grab that out of their good. I think the CTO is on key on the inside of that. So that's what groupie guys. Okay, now, I don't know that I can spot this, but what you can do, and it usually works better if you're closer, that feels better. And B group? All right. Details work? I don't know either. Okay, I agree. Okay. All right. Now, let's get a second. Fill a 2nd 1 of these guys. Let's let's take this grid out and let's put a normal front on this and but let's take the fill with a grid in. All right? So, directly behind Ryan, please. And try to make it as equidistant as you can. Or symmetrical as you can can like banging right up into the middle of those two paintings. All right, Now that light may ruin everything. We'll see. We'll see. That might be too much light. Okay. All right. So a group. All right, Group B Right in there. All right. See, now how he's got that low gleam in his eye. Right. Okay. Group C detail Yeah, I think was the right call to eliminate the CTO is don't you think it was their warm enough on their own, Okay? It also balances the light out on his face. Better group D. Okay, lets see if Ken screwed this up. A little bit of detail. Now, now, imagine if that was a crucifix up there. Would that be cool? Um, let's do this. Let's take group D up plus one in T T l. All right, All right. I came up a little bit. Now I've got the two flashes in the mirrors, so I have to get I have to stay low because thes two flashes are starting to radiate. I got to get rid of them, okay? And I would also be advised, would get rid of Cali soft box, but now we'd have to modulate that you know, we'd have to modulate that. You see where I'm going with this? Okay, now, that's the language of light. Like before with the bigger soft box in the fill board, he looked like a nice, pleasant bar owner. Now he looks like Welcome to my church. You will seek forgiveness now in appropriate fashion or something along those lines.

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Joe McNally

Joe McNally is an internationally acclaimed photographer whose career has spanned more than 30 years and included assignments in over 60 countries. McNally is often described as a generalist because of his ability to execute a wide range of

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Lighting

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Shoot: Bar Owner, Working Location Options

Shoot: Bar Owner, Working Location Options

Lesson Info

8. Shoot: Bar Owner, Working Location Options

Lessons

Class Introduction

Location Assessment

Gear Overview

Direction and Wardrobe

Exploring Location and Available Light

Bar Owner: Setting the Scene

Shoot: Bar Owner