Lessons

Lesson Info

Pop Quiz Review

now it's time to see how much you've grown as a photographer and how your skills at seeing light have improved. And so what I'd like you to do is to go back and look at the pop quiz you took at the beginning of this class and look at those same exact images and do the pop quiz again. And so now use the vocabulary that you've learned and the understanding of light that you've come to understand and describe those and see how it works. Now remember to look at light and the speculum highlights and the shadows and the quality of light. If it's hard light or soft light, is it directional? Is the light from above? Is it from below? Sit to the side is a reflector. Are there multiple lights? Are those multiple lights? Hard light fillers or soft light fillers? Try to describe those images to the best of your ability to do that right now, pause and then come back. Okay, now that you've paused and come back. Come back. Come back whatever. Yeah, well it's not so good. So what we're gonna do now is...

I'm gonna take a quick look at these images that I've sent you out and I want to try to remember how these were created now. The good news is for these images. Almost all of them come from videos I've done on Youtube and so you can take a look at them and see exactly how they were done some of these, I created 10 or 12 or even longer ago. Long time ago. And so some of them are pre uh Mark Wallace on Youtube days. But what I've done in the bonus materials on the class page as I've gone and tried to find every single image in the sample images that I've created. And I've added a link to that document, You can click on that and go see a video of me creating most of these, not all of these, but most of these images to see if you were right or wrong, but let me just quickly go through each of these. Um and see if I can give you some hints. So this image is an image that was shot with a large four by six soft box on the the hand side, the right side of Marlowe here, and then there was just a silver reflector on the other side. This is one Giant light is six ft soft box with no grid on it. And then there was a five degree grid on the background, creating that uh sort of silhouette. There are not silhouette but that gradient on the background. So this is two lights, that's all that, that was And with a roll of seamless blue paper. Uh this shot right here is Gwynne, not Quinn, this is Gwynne shot on seamless gray, that's a window screen that's illuminated by that same exact four by six soft box and that's it, 14 by six Soft box, it's to the right and elevated and you get a sort of a hint of that by looking at this speculum highlight in the shoes. You can see that there's this big soft box to the right, it's not to the left because you don't see any speculate highlights on the left. You know which direction lights coming from the shadows to the left, so you can see the direction of light that way. And I lit this to the side intentionally so that we would get these highlights in this window screen um and that also sort of obfuscated her body, which was important in the shot. We wanted to be suggestive but not revealing. And I think we did a really good job. This shot right here was shot where I'm standing right now. This was one of the very first images I shot at lost 19, which is where we are. This is shot with a beauty dish. It's just a beauty dish. So the beauty dish is illuminating the model. It was way up high and a little bit of a distance, no grid. And then we also had Um some tool that's really soft fabric and that was lit to the side behind the model. So two lights were lighting the fabric, but there was probably 10 or 10 or ft between the model and the fabric and the lights on the fabric had a red jell to match the dress. So this is a three light set up. This is a shot that was made with a giant parabolic reflector. So similar to the last shots we just did. Um this was just a big, I think a six ft parabolic light and one light on the model. That's it just one giant light. This is a light that was created using a beauty dish And you can see this is desk to, you can see the beauty dish right there and we just elevated it above the model. I was a little bit lower than the model and Clickety click done one light, one modifier beauty dish. This is a very complicated setup actually and it was lit from the side with a grid and then we had another light going through some uh, it's a like aluminum foil, black foil and the light that was shooting through that black foil had a grid on it that creates something called a cookie and it throws light on a background. We shot that as well right here where I'm standing Here in Las 19 and the background was just a big white background. But because only the light coming through that cloth or that, that aluminum foil hit the background, we got this effect. I have something similar to this. I think on a YouTube video, I'll try to see if I can find a video showing how this was illuminated. I'm not so sure I have that. This is just a beauty dish and it's right above the model. That's all there is to it beauty dish. This was shot again with a four by six soft box to the side and that's it. We had a smoke machine going to add sort of that smoky effect, But it's just one big four x 6 soft box coming from the side. And I think it looks great. Um This here, I don't know if you can guess it, but guess it is a beauty dish beauty dish with grid. Uh there's a very small five degree grid hitting a gray background. I did some uh split toning to make the background a little bit more blue than it is. But that's it. It's a beauty dish. This was shot with a very small parabolic Octa box. It's probably about a foot, foot and a half. It's an soc F modifier. And it was shot with a grid to the right of the model. This is Emily and it was just shot straight across. So this is sidelight, but the model is looking into the light and that's again, that's a window screen. And so it's just sidelight with one small soft box with a grid on it. It's the same setup. Soft box with a grid on it shot from the side. These are on an aroma tv videos. You can see how those were created. This shot right here was shot. I don't remember how to tell you the truth. I don't remember how I shot this, but I believe I had to kicker lights that were soft boxes and then a very large soft box to the front. I'm not sure how I lit this. To tell you the truth looks like it was some clam shell light. So I had a light above and light below. This is sort of the shadow lists. I've got a very soft shadow here. So probably I used my soft my my small um soft box and then a fill in the bottom. So a top and bottom light to create this look. I'll make sure to include a link to the video where I created this image. So you can see for yourself because honestly, I don't remember how I did it. It's the same shot exactly the same shots just corrupt. So these are the same exact shot. This uh was shot um This is Nicky Nicky, my friend from cambodia. We shot this with a small soft box that are small Octa box around Octa box just to the right of her. And um we just uh put it back a little ways you can see that we have some harder shadows here. But because the angle of light from the right to the left, we got away with it. So it doesn't look like it's very hard light because it is a soft box, but you can see the shadows into her lips and her chin and the texture on her on her dress. And by her fingers that this light is a little bit harder than it looks. So it's a smaller Octa box maybe about two ft Octa box. Something like that. Pretty small. But we were able to get this beautiful image just using one light. This is actually from an event I did in new york city inspire. And I was doing a photo challenge against it was a contest between me and my friend Gavin Hoey and we were supposed to pick these challenges out of a box. And one of them was we had to do a portrait using nothing but lights from sell our cell phone. So what we did, what I did in this shot Is I had the audience hold up all of their cell phones. I shot this I think it was 12 With an 85 millim lens. And then you can see this dot in our models eyes here. And so this is sherry and that is the light from my nieces cellphone. So this was entirely lit with lights from a cell phone. This was shot with a magnum reflector. So it's a hard light modifier And it's probably about uh 10" maybe a foot in diameter. One light above the model. This is Nadia. And that's it. Again, one light that's all you need. This was shot I believe with a row deluxe. Uh really nice soft roe deluxe Octa box. Some of the um it's not quite round but it's an octagonal box uh to the right I believe. I think that's how we did it. It was some small some large soft box to the right of the model. Again this is on Youtube so you can see that. This was shot I believe. Yeah you can see this is why the either rhoda Luxor large umbrella. So this is large soft light to the left of the model. Just one light. I am a fan of one light setups. This one we did in class but this was done with a bear head behind the model and I think we shot with a much smaller light with a grid on it to the opposite side of the model. I think we even took a grid from somewhere else in the studio and clamped it onto a light. I think that's how we got that. But that's how this was illuminated. This is in a video on Youtube so you can see that as well. This was shot pretty much the way we did it here in our class. We had two soft lights, some soft boxes. The light from below. The only thing I didn't do here in the class. I think I had a light above the model that we didn't use and then I had a like a five degree grid on a normal reflector on the background. And so we got this really beautiful light. This again this is on Youtube so I'll make sure to include that. This was with a large Octa box and then the white actually came from Photoshop. So this was a light gray when it was shot in the camera, but I brightened it up in Photoshop. You can see that this is one big light because we have the speculum highlights That are just big and long. They're not like multiple dots here. There's just like one long highlight on all of these folds. That's what you get when you have a large light source. So those big big lights are just really wonderful for stuff like this. This was shot with a very small soft box. It's an O. C. F. Socks, soft box that I used for years and I believe I did not have a grid on this. And I just walked around the model. This is Karen and we got these beautiful shots. Um Here's another shot of that. Let me just take a peek. I may have had a grid, Yeah, I did have a grid on the soft box. You can see that in the speculum highlights there. So it's just a very very small soft box um around octo box actually with a grid on it. These again are on Youtube. You can take a look at those. This was shot with a row deluxe and it was raised above the model coming down to create vertical contrast. So we've got contrast um top to bottom, a bright top, dark bottom. And so this this works just great. And then this is shot uh Sydney here, we shot in the studio, we have a small Octa box on her face. You can see that we have this little penlight here because it was sort of far away, you can see your skin is really speculator, so it's sort of harder light than we probably should have used. And it was, I think 100 and 10 degrees in the studio. And we shot this, you can see these harder shadows underneath um are from that smaller light source. And then what I did is I took a bunch of um uh speed lights behind board and drilled holes and it shot those in all directions and smoked up the room to get this. In fact, I think it was a speed light on her face. That's why it's so small and speculator. That's right. It was a speed light that we used for that. This is all a speed light setup and this is Quinn. So we shot that using the light motive that we just showed you. And so that's how each of those was made. So you can review yourself, see how you did. I hope that your understanding of light has increased what I really would love you to to is remember to get a grasp on this subject. And so it's up to you now to go and replicate. These are the things that we did here and then the repetition and practice Practice practice. If you do it, I guarantee that your understanding of light is going to be rock solid, and you can confidently take different light modifiers and use them as tools to get the look specifically that you want. Okay, Class is almost over, but I do want to say a special thanks and wrap it up so we're gonna do that next.