Shoot: Row Boat in Fog Part 4
Lesson 39 from: Portrait Photography: Creating and Styling your EnvironmentJohn Keatley
Shoot: Row Boat in Fog Part 4
Lesson 39 from: Portrait Photography: Creating and Styling your EnvironmentJohn Keatley
Lessons
Class Introduction
20:10 2Creative Photography Path
22:57 3Importance of Personal Work
15:25 4Concepts and Inspiration
12:04 5Choosing Your Environment
05:03 6Research and Mood Boards
06:58 7Finding Your Style
09:34 8Establishing a Team
10:44Jobs on Set
28:38 10Production Hurdles
13:45 11Working with an Art Director
07:01 12Pooling Resources
03:43 13Casting
17:26 14Wardrobe
11:24 15Set Design and Props: Interview with John Lavin
35:06 16Gear
09:59 17Lighting
29:10 18Technical vs. Flexible Lighting
07:56 19Creating Environment
07:59 20Gear Essentials vs. DIY Solutions
07:02 21Lighting for Your Subject
04:10 22Lighting for Your Environment
05:17 23Q&A
08:36 24Directing Your Subject
34:03 25Tips for Directing Talent
09:58 26Pre-Lighting and Test Shoots
05:08 27Shoot: Stylized Portrait - Close Up Part 1
49:55 28Shoot: Stylized Portrait - Close Up Part 2
20:19 29Shoot: Stylized Portrait - Close Up Part 3
17:19 30Set Tour and Lighting Set Up
05:41 31Shoot: Building Environment & Lighting Adjustments
33:13 32Shoot: Building Environment Part 1
18:45 33Shoot: Building Environment Part 2
18:39 34Photo Critique
26:06 35Shoot: Row Boat in Fog Set Tour
03:54 36Shoot: Row Boat in Fog Part 1
42:19 37Shoot: Row Boat in Fog Part 2
28:34 38Shoot: Row Boat in Fog Part 3
24:34 39Shoot: Row Boat in Fog Part 4
04:10 40Shoot: Scuba in the Hull Part 1
44:27 41Shoot: Scuba in the Hull Part 2
21:50 42Shoot: Scuba in the Hull Part 3
16:40 43Image Selection: Stylized Portrait
30:53 44Image Selection: Building Environment
10:52 45Image Selection: Row Boat in Fog
11:53 46Image Selection: Scuba in the Hull
06:38 47Next Steps: Create New Work
05:44 48Next Steps: Share Your Work
12:03 49Next Steps: Marketing and Branding Consistency
12:52 50Final Image Reveal - Concept and Casting
13:20 51Final Image Reveal - Retouching: Communication and Direction
14:13 52Final Image Reveal - Final Q&A
34:52Lesson Info
Shoot: Row Boat in Fog Part 4
Hi John. Any particular reason why you chose fog machines over dry ice, or not a combination of both? Was it just allowance? I haven't really worked with dry ice so that could've been a good solution. So I'm not really familiar with it and it's just not something that we'd considered. But it may have been harder to work with, too, would be my initial reaction. I know you have to kind of be a little careful with that. But yeah, I mean, the honest answer is this is just kind of more of what I'm used to. If we could, just now that we've established all what the lighting ended up being, could you just quickly talk to the different lights and what aspect they were, where they were hitting, or what aspect they were doing adding to the environment? Sure, sure. So we'll start with our key. So this is a seven inch grid reflector and it's got, looks like a 20 in it. Ken is that? 20 degree. So it's a 20 degree grid. So it's just literally, grids they have different hole openings in the grid...
and the wider the hole, the more the light will spread. So the narrower the grid the more focused it becomes. So 10 is real focused, 20's a little more, so on. So we used the 20 because we wanted to light her up, but we didn't want a ton of light all over the boat, we're trying to keep it moody. So you can see here, I don't know if you can see, yeah see this light is creating all of the shape, basically, on Jessica. That's our key. Oh thank you. Yeah, here's a grid. So this is when, like when we always have someone go behind the model and look up, like get dangerously close to their face. When you look at a grid, I don't know if you can see this on camera at all, but when the grid is tilted it cuts off the view, but when you're dead on it can see straight through it. So that's a good way to read where the light's actually coming from on a grid other than seeing where the light's actually hitting. Thanks John. So that's our key. I think we were using this fill, right? Yeah this fill was on basically providing light on this part of the boat and on her face. One thing when we first setup we had a bunch of lights going and that was a really beautiful picture of the boat and the edge light and the key were lighting up this side and we had bright detail over on this side of the boat. And as a picture it was pretty, but again, thinking about motivation, why would she be so bright over here and then the underside of the boat would be really bright over here and dark here? It just doesn't really make a lot of sense. The main source, unless there's a way you can justify it, it wouldn't be doing that. So that's why we have the fill coming in on both sides. And again we just have some white fill over here because we do want detail on this side of the boat, but we don't want it to be brighter than that side. So this is just to kind of bring that up. And then we have an edge light back here that's gelled warm, it's CTO gel, it's orange, and then we have a blue gel over here. And the purpose for that is if you've ever worked with smog or haze or anything, if you light it from the front it just flattens it. The only way to pull in detail is you have to rear light it. So that was why we had that back there is we wanted to create that depth and the definition in the fog. And then we brought in extra lights because I was feeling like those were not creating enough depth. Because the scene is so wide it felt like to kind of get definition up here and back there we needed additional light sources to pull that in so that's why they rigged up these additional ones. And then they kept them gelled, I think, kept them gelled to again motivate and match the light that was already, the color that was set over there. And I think that was, I think that was it. Really the fog and the haze was also kind of a light source in and of itself. It provides just that blanket diffusion all over that kind of lights up the air and everything.
Class Materials
Bonus Materials
Ratings and Reviews
a Creativelive Student
What an amazing show. I'm so happy that I could be a part of it. It was so great to see John at work and in his element. I learned so much from watching his process from beginning to ending. So many questions have been answered. I feel more confident, to get myself out there and create and make work that comes out from my imagination. I will definitely be keeping a journal/notebook with me at all times. I would also like to suggest that we have another course for John Cornicello, home studio. I'm curious to see what John is working on in his studio.
Doppio Studio
It's amazing to watch and understand how this great creative professional work. There's a lot to learn about with his production process. For me, that lives in Brazil, is a major opportunity to enjoy this class.
Vitamin Dee
Wow! There's just so much great information in this class. If you've ever wondered what it takes to produce an environmental portrait, this is the class for you! John did a superb job of taking us step-by-step through his process. From model casting to set building, lighting setups to culling; it's all here. He even wraps up the class with next steps and how to put it all together. He gives the knowledge so you can take it to a place you can create your own magic!
Student Work
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Portrait Photography