Lessons

Lesson Info

Lo-Fi (Small Production) Shoot

Okay, so we're here with lovely tori on we're gonna be shooting, as you know, the lo fi set up, so what we have is you've already seen just not going to go talking too long, but we've got toy styled in this nice kind of vintage dress, which gives some nice lightness and also texture, but also shows enough of her leg and a flesh to go. These strips that kind of khun go up and down also got hair done in a really nice, simple way, really nice and slicked as well, so it gives this nice could that nice lines to the back of her head when she moves her head from side to side, and I like that shape that we can see very ballerina like we've got these two lamps here as well, and these are especially brought into kind of demonstrate where I might have been inclined to use lamps in my early work, so I brought these into use is part of the aza prop with tori, not just them, not just a form of light, as in help illuminate the picture, but also becomes part of the narrative and part of interesting pr...

opping itself, so going to be using those we've got a lot of setup going here with shays and tory sitting on the shades but we're gonna be moving in and around this area because I want to try a few different things so I'm using my dear hundred e which khun work quite well in jai I so situations I could put my I'd have no qualms about bumping it up to sixteen hundred uh sometimes a little bit higher but usually not higher than that for most of my images but I'm also going to be shooting with live so as well on the long shot to speed on other pictures because not all cameras do very well at high I sos and I know that a lot of entry level dslr aren't very good on high, I suppose and I want to demonstrate how I could use a long shot to speed teo give to allow more light into the scene as well. So I think we're going to start with um gonna start with some simple shots of tori here by the light and just kind of gauge where I'm going with this I I also might want to do some pictures over here by the other lamppost they don't give off a cz much light is this one here? But I'm just gonna start with some simple images so let's look at my settings here so I would start on eye so start on six forty on a shot speed is on a hundred I'm gonna be putting my camera on a tripod very soon but I just want to get on idea of compositionally well might be going with this this scene so I've got here the lamp tori I see this is three parts got the lamp got tori got the other lamp I'm using my fifty mil lens, which I think is really appropriate because this is quite cheap lens on a common kind of entry level lands that I love photographers start out using for a variety of things on like I was saying yesterday its support its lens that you can use all round it's just because it's a prime lands you want to be moving when your feet because you can't zoom with it. So it's quite nice for this scene I think because it's getting enough of the model let's just test this for him for lighting purposes this quite dark so I'm thinking about okay, so this is um so I'm thinking about doing here is torii is in a position that she can keep quite still, so I'm going to ask matthew if you could bring my tripod over and just hire it to the second level please so I'm going to put my camera on a tripod now because I want alone my shutter speed um probably too maybe about sixtieth maybe a little bit lower but it's important that tory keep still and it's important that my camera on a tripod for that and the good thing about demonstrating this is that I can keep my eye so quite low on dh you generally want to keep your eye so as low as you can um whenever you're shooting um sometimes when you bump it up you're obviously getting the benefit of that extra light sensitivity but you're also degrading the quality as well like I say with this I'm not too bothered about I saw on six hundred but I want to demonstrate for other people's benefit shooting with a low shot speed so that you don't have the quality issue in this case it is tripod that's all so notice that I didn't wantto mike mike come on a tripod before I know exactly what I'm doing with the with the short position because once I'm fixed in place and I can't be moving around it's a little bit I do find tripods helped to work with because you want to be able to constantly move around so it's important to know what you're doing before you then go in a fixed position so let's see that this is about right okay so let's just screw that on it's going to bring this back just to make sure that because I'm using the fifty mil we are getting fairly close to tori I'm thinking in mind off why was showing earlier about stitching the shop? Um I don't wanna make it too complicated to start with but that's something in my mind because this is a nice portrait of tory, but I do not want to make it more contextual using this lens at this distance then it was something that I would stitch so as to start with a simple shot of tory though, so I'm going to change my focus and take my focus off lock that's currently on just shift my focus across so that it's on the plane where tori is on just rearranged my composition so she's really nicely the french just that starts probably out focus, but let me just move my focus point back to her just take a look at that ok, so the ice those on six forty f two point eight hundredth of a second the aperture I can open up the appetite even more on the shop on dh it's something a bit wary of doing because tory's arms in front of her which may go out focus a little bit from a face but let's try that because that's something you would be generally inclined to do if you're shooting with this lens and you wanting to let as much light as possible without bringing your eyes sew up any more than it needs to be so let's bring the aperture downtown point for and see let's move the fish if the focus point across two face and let's just see what the focus is like honor arms because it may be that they go soft I don't necessarily want that to be soft that's a bit soft, isn't it so well that's nice good lets more light in but as a consequence it means that we're losing the not bad okay, so I'm thinking here I'm not really giving tory much direction yet because I'm just working on my settings but I'm thinking whatever pose I do get to taking a second it's gotta be one I can keep quite static unless I do choose to bump my eye so up on dh to face the potential consequences of the quality that I will have that so okay let's do a few more shots like this I'm gonna bring this time going to bring my shutter speed down my eye so is currently on six forty let's bring that down so you bring a shutter speed down here bringing your eye so down because shutter speed is letting in more light this time and make sure my focus point is on tori just going to shift this so I'm just gonna come around a little bit this way so my focus point could get onto her face without writing a composition think of foot is a bit out of shot on that one, okay so what I'm doing with these shots is I'm getting something that is more like an intimate portrait off tory is close enough to her to be interesting but it's also got the background the environment insinuated behind her I I also want to make more use of these lamps it's a swell so I'm going to be asking towards two opposing a minute which is a little bit more with a face coming up to the lamp making use of her flexibility and also obviously the the luck we've got going with the ballerina shoes that we've added since the test you to kind of go in with that thing I'm gonna take this off the tripod for a second because I just want to make sure that I'm rearranging myself to get the best composition here so let's just have a look at this okay so matthew maybe we can bring this lamp it'll be closer to the couch just I mean this it will match the symmetry of this lamp but also mean that I don't have to stretch my shop to be two shots here we could get it all in one portrait shot so I'm shooting this portrait because I'm seeing it as being uh this is one plane of interest and then if I wanted to get more I could shoot that a second plane of interest by shot hoops accidentally fired that if I shot landscape then I can't get I can't get all of it in, but I can't get the lamps in a swell. So the lamps of what is making this for me a situation where I want to read this is one image on then read the rest of it. If I took the lamps out, then I'd be happy to suit her is as one like that. But then that that misses out the lamp. So the lamps were important for me because they're emanating light and I will not like to become part off the image part the point of the image. Ok, so what I'm gonna have you do, tory's. I'm just going to revenge. Shot them. Tank. My focus point I was gonna come, but further back gonna shift my focus point and lock it in the center for just while I rearrange myself a case. So goodbye, my camera on the tripod on dh going to shoot maura, um, poses in this particular spot. It's. A nice picture with her sitting like that. But I want something a little bit more intriguing. Okay? No, just go swivel this that way. I want the lamp in the short time I want tory to be completely in the shop on I'm gonna just move that up so we don't have too much floor in the shot okay so tory it's got a nice and straight tighten that right so I'd like you to be taking on some opposes we did the other day where your was like bending backwards over the arm of the shays and by doing this I make use of tories flexibility but I also get her face the light going onto her face more so um do you wanna help matt with the making sure the shays is and secure yeah uh just just while she gets into position so if you wanna get in a position where you can wear the art that small of your back just make just make sure you're comfortable like you were the other day when we did the test shoot I do need that lamp to be kind of behind torrey not far not too far away here this is looking good so that's gonna unlock my focus point and just shift that focus point along to her I don't want on one point force whatever risk to have my patrolman point for because there's gonna be things that are blown out focus because I can't even tell really when her other hand comes towards me and that's gonna be out of focus I want to make sure that I bring them up to be safe so let's bring up to two point five my shot speed is on thirtieth at the moment which is a bit of a risk also because there's no guarantees you can hold that pose really really still so I'm going toe bring that oppa's well I think two hundreds on but because of that I'm gonna bring my ice up to let's start with six forty so I mean ideally on that lamp too close stories I can but I also know that she needs space to maneuver so I'm just gonna watch out for the balance between what I can get there because like the shot I showed you in the slide show earlier with the picture of me under the lamp I'm going for the same kind of thing um using directing the illumination of a lamp and getting her face to be in the direction ofthe light because of face ultimately is the most interesting part of the image that needs to be the most well presented so let's have you lean over again if you're okay for a second just hold that while I just take this shot okay that my car the lamps of it close to the edge um I lent you my fear of you khun just bring that round her closer round her round you know round towards her sorry. So it's closer to the couch just where I want it to be because just keep the shop type get yeah. That's. Great. Thanks, that's. Great, tory, just hold that for a second. Let's. Just see how that he's looking in our unit was still quite dark, but I'm just trying to keep very careful with my shutter speed. And I so wanna, um, just throw that post me again. Let's tribe let's, try a higher I so, for this one has put on two, eight hundred that's. Quite nice is enough detail that I think to work with. But what I'm also going to do is put my soul back down to two. Fifty it's. Not something that you would all like to do is shooting hirai. So and instead, I'm gonna bring my shot to speed down for this one. So let's, bring it down to a thirtieth. So toilets have you throat throw the same pose again, but keep it very still is you can on. Then I'll tell you to relax again. See how that looks? You wanna hold that for a few more seconds? Okay? Let's, let's. Just bring my shot. Speak down even more to twentieth. Let's. Say fifteen. So just hold that one, two, three! So even the slightest movement and just relax there, even the slightest movement can affect that. So the reason I'm showing the slowest shot speed is because this is one of the ways we can work around a darker environment. But it does require that we need the model to stay still. And it also means that we need the camera to be nicely looked down on the tripod as well. For the good thing about this room is we have unbidden, like coming from these quite bright six chandeliers have got here so it's not the darkest of places. How's that looking matthew there's. No blurring it's. Fine. Uh, you look here on her. Is that blowing? Ok, good. So in the shots that we've just taken, I really like, um, I mean, it's, just like a quirk of mine that I like the thie intrigue of the face and the light coming over. It reminds me of the series I've done of pictures in the past when I have this kind of mysterious lighting that highlights that parts of the face but keeps also a sense of mystery as well. But what I don't like about the picture is the legs and how they're kind of huddled inside the pose. So I'm going to ask if tory can put maybe one for out onto the carpet. Um, I feel quite confident asking tory to do these because she's so good at opposes whereas normally you know it's not every day that you get model that can do all that so that's just part of the benefits of using such a lovely model is yourself. So one for out like that is great and we're getting this circular shape here so let's go for this and just hold that for another shot is still a sze yu can one, two, three allowed just relax thanks not story so let's, look at that shot. Something could come over and look at this and just see whether this is going where I want it to go so that's a little bit of them that's too much like chin there perhaps do you think I'm going to redo that shot? Asked orie to put her face outwards instead of toward me so I get more of a profile that's great tory, just that foot with this one, two, three and just hold still is you can okay now just relax while I look at this shot is that it always no stalling so I'm interested in this shape here is going on with tory that's really what I'm trying to do is get the best shape I can it's more about body shape the dresses kind of accessory to that um a za result the dress becomes um like a compliment to what is an interesting portrait so I'm not bothered about not bothered about shooting any pan's shots yet until I capture what really intrigues me about what's going on with tory first because that's the most important thing uh my sound obvious but a lot of the time when you are determined on getting why the shot we've tilts and things like that it's important not to lose sight of what the point of the images which is getting the pose that you want tweaking that to the point where it's the best quality convey a swell so at the moment I'm shooting on slow shutter speed but that's something you can alternate with a high eye so if you've got a camera that could do that these are always that we'd get round not using lighting gear by using by letting in more light to our shutter so we've got a longer slower exposure which limits what we can do in the image we have to have a posing very still I wouldn't want a post where she's holding a leg in the air for example because that would be too challenging for a slow shutter speed I would want to use a high eye so for that I'd also want to make sure my camera's good enough to cope with high I so so that's why I keep talking about that because that's ultimately the crux of that's one of the main things you're thinking about when you're not using lighting gear you're going with the light around you inside a location especially so let's try one more like that then torrey well a couple more like that I'm just gonna tweet use go along so it's great there we can see both legs that's great poems like your hand kind of comes out like this but you just did that was beautiful on the hand over the stomach's fine so just look out like you were profile to me I want to three some counting down just so I know she can keep still for fifteenth of a second shot just relax for a second please excellent how's that looking that is that working yeah I really like the shapes on this is there any blow out by the chest area? Because that's something I'd be concerned about you such a high contrast picture I want something that's generally quite even so aiken pick up shadows a little bit in raw because these are all full rays raw files I'm not too worried about things being slightly too dark but I am worried about things going two over exposed they can be recovered but not if it's too much is that recoverable or just a bit, yeah, it's. Not something I would want to do. So let's, let's, bring the shot speeding a little bit, tio thirtieth. So this time, story and one just shoot one of you, not completely all the way down, but as you were on your way down, I'm not sure whether you can keep this still enough, but if you go into your pose halfway like about there, and then just look at me, I should let let's try that. Now. Now dangle down a bit more like you were before, and just let your head hang. Beautiful, yeah, so, okay, so I do prefer the hanging head, because that, to me, looks more comfortable, and it looks more serene. Beautiful poses.