View allAll Photos Tagged lightingclass
This is a composite shot in the studio. I wanted to depict how the method of robbing banks has grown more sophisticated in the present. Our most succesful bank robbers today don't wear masks anymore. They wear a suit, tie and an air of respectability.
One of the most fun things to do as a photographer is to play with light. What effect does it have when you put a light over here, and another one over there to fill in the shadows? What difference does it make if the light is in front of the model, or behind her? How about if it's a white light, an amber light, or sunlight? So when we found this matrix of Christmas lights set up in the studio during one of our photo classes, left behind by someone else's project, we gravitated toward it like moths. Our model, Julie, really got into it too, sitting in front of the lights, behind the lights, close to the lights, far away from them, striking different poses. I love the effect I got with this one, with the glow of the lights on the near side of her face but also a backlighting effect behind her profile, and the warmth of the incandescence turning her skin amber. It's not a great photo, per se -- the composure's so-so, and you can see other photographers in the shadows to the left -- but it's an example of trying something out and being delighted by the result. That's what photography is all about.
This image is featured on my photo blog, thelightisall.blogspot.com, on December 13, 2011. (IMG_5707_1)
What’s a CHICKEN WITHOUT A HEAD
NO DIRECTION
2-Day Directing the Camera Workshop
www.solarnyc.com/workshops/directing/introduction.html
Join us. GET CLEAR VISION
Westcott FJ80 flash, TTL, aperture priority, Model in shade of building with bright sun behind, Nikon Z6 in Auto FP, high speed sync.
this was really a funny shot - at one point everyone was lined up with their really long lenses and tripods and it looked like a press conference
model: coworker & friend, Matt Oxberry, goes by 'Oxberry' usually at work since theres so many Matts
SHARPEN your filmmaking skills!
LIGHT & SHADOW: 5-Day Filmmaking Workshop June 10-14
Join us, MASTER the ART of FILMMAKING!
In class today, I demonstrated a few basic ideas in studio portrait lighting. Here, the key light is a large softbox placed high and to the camera left. This provides soft, wraparound lighting and also a catchlight in Brandi's eyes. The fill light is an umbrella, placed camera right and farther away. It is strong enough to soften the shadows but not to eliminate the shadows. The third light was placed to camera left and angled to light the subject mostly from behind. This is what we call a "separation light." The light gives some definition to subject's arm, shoulder, and hair, and "separates" her from the background. The background here is a white screen, but since the only light that's hitting it is spill from the lights pointed at Brandi, it appears gray. (If this had been a commercial shoot instead of just a classroom demonstration, I'd have worked with a stylist to keep hair and makeup perfect before and during the shoot--loose bits of hair can be cloned out with Photoshop, but it's better to address that issue on set, rather than in post production.)
The HOLIDAYS are coming
Why not BRING the FAMILY
5-Day Filmmaking Workshop, January 13-17
Join us. For ADVENTURE.
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Fascinated by the LIGHTING in MOVIES??
Take the 2-Day LIGHTING WORKSHOP. It’ll be LIT. June 10-11
Join us and shine a light on your talent!
My favorite photo from the lighting workshop. I am sure I am guilty here of "big nose", too close. But those eyes distracted me and drew me in.
This is a composite shot in the sudio. Women today are our own worst enemies. We tend to stereotype ourselves much more harshly then men do. Instead we should embrace our independence, intelligence and beauty.
Assignment 1 from Lighting 1 course at the Light Factory:
"Photograph a single image two times. Once with hard light and the other with soft light. Attempt to create specular highlights in the hard lit image and diffuse highlights in the soft lit subject; you may have to add different materials to your image to produce these highlights. Be observant of the emotional changes brought to your subject matter by manipulating these different types of light."