Hi, this is Jp. Morgan today's slanted lens lesson is a look at doing very basic corporate portraits. We're here in their conference room
We've got a three light setup. So let's see how we put this together
Today the slanted lens will take a look at shooting basic corporate portraits on location
We'll use a simple [four] light set up to shoot 15 members of accounting firm in Los Angeles
This lesson will break [down] the basic elements that we're needed to bring this shoot together
We'll look at choosing the background how to schedule the talent how to set [up] the lighting in a small space
how to alter the lighting to accommodate different clothes and people
Last of all things to bring to just make the day go a little better
My first question for the client always is what's the background or what's the look of the portraits I?
Sent samples of environmental Portraits portraits shot on colored backgrounds
Heal the client reviewed these we discussed what the possibilities were [for] the time that we had for the space that we had available in
This conversation we determined that shooting in their training room on a [grey] background would make the most sense
This will give them the widest variety of use and represents the firm well, we selected a savage fashion [grey] as the background
Now we need a schedule
Making a schedule as paramount you've got to schedule your time to travel to the location
Time to set up time for lunch time for each person to be photographed during the day
We have 16 people to shoot so that translates into about 20 minutes a person 20 minutes is a bit long
so I'm going to schedule them for 15 minutes and leave a little extra time at the end to do some fun shots of the
office staff together
We're going to set up for the office open, so no one has to come in early will arrive around 7:00 a.m.
Get set up be ready to shoot by 8:30
Let's look at how we set our lighting up in this medium to small training room
Our first slide is a dynalite pack and a studio head with a large photoflex Softbox
[I'm] going to add a grid to the Softbox
[I] use the grid because the room is small
And I need to keep all the light off from the surrounding walls and ceiling if I leave the box
Open-faced it's going to create a bounce light that will overfill the subject and make the background too bright in doing so I'll lose control
of the light
Here's our subject with the first light you know I know I'm heading the right direction because the room is dark
We're just lighting her face. [I] actually love [to] look at that dynalite studio head
It's a very soft light and it comes through that Softbox
I'm going to add a small octave dome with a grid as the rim light I use just small octodome because the quality of light
It gives me for a rim light to understand the quality of light coming from an octodome better
Go to our TSL. Lesson called understanding octodome
Here's our subject with the addition of the Rim light
We're now going to add a [dinah] light travel head with a 20 degree grid as our background light
Here's our image with the background light
I'm going to move this background light around with each person my goal is to separate her or him from the background and create interest
You know the shadows are a bit heavy, so I'm going to add an umbrella as a fill life behind the camera this [light]
I'm fine with if it bounces around the room cuz I'm looking for fill in the image
This is our final image. We're going to start shooting now
Right now my setup really is ideal for someone wearing a darker top
People are bound to come in with Lighter shirts white shirts with Businessmen
So I'm going to set a flag in place this flag I can put in when someone comes in in a white shirt
Try to knock that white shirt down a little bit so it's not too bright
When they leave I'm going to shoot some of the darker shirt
I'll pull that flag out so that flight would go in and out as the people come and go just
depend on how light the shirts are
[we'll] also dial our rim light down or up depending on the color of the hair dark hair will dial it up
Light hair, we're going to dial it down
We did end up with some extra time at the end of the days
We brought everyone in that wanted to and [did] some fun shots with the office staff
Here are a few things to bring and to do that will help the shoot go better first bring a handcart
It's a long way from the car to the sixth floor
Ask everyone to bring two or three outfits
You don't want to have some guy [Bregan] shirt his mother gave [them] in the 70s and have no other
Options at least if he brings two shirts, [you'll] have two shirts. Lee's mother gave it from the 70s bring [a] mirror
So people can see themselves on set not that you set it up
So they can look at it through the whole shoot because that'll be a huge distraction
But if someone says you know how I better run and check my hair you say well
Here's a mirror right here, so you can keep them from leaving keep yourself on schedule
So many times in business casual world today people come and not bring a tie and then realize oh
I really should have a tie on bring a nice blue tie that you can lend to someone or to have a time
Bring an extra [C-stand] or clothing rack for people's clothing this gives them a place to hang their jacket or their blouse
It just makes you look like you're together. You're ready to take care of them I
Hope this has been [helpful]. So the next time you go out shoot some basic corporate portraits
You'll have a little better idea some of the things that you're going to face so keep those cameras rolling and keep on clicking
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