hi this is jp morgan today on slanted lens we're going to do five portrait lighting
positions in 360. we want you to be able to slip into the scene and to be able to
scroll around and see exactly what we're doing as we set these five portrait lighting positions
this will be a lot of fun because you'll be able to see exactly where we move the lights and to be
able to connect with how high how low and how we are related and relating to the background
it'll just be a way to really understand and educate yourself how we set this up
so i've got generally here with us and she's going to help us show the five portrait
lighting positions but there are three cameras at play here i've got my bts camera the camera
i'm talking into now we've got the 360 camera you can look around and see what we're doing and then
we've got a camera on generally here so we can see exactly what the lighting looks like on her face
all right let's talk about our setup in this 360 view i think there's some things here you can see
and i can explain a little bit that'll help you understand how this is set up first off i don't
have my background very close to the camera it's eight feet back here literally eight feet from
behind her that eight feet gives me uh two things one it gives me complete separation of the light
from her to the background when i say complete it isn't complete but it's pretty isolated when
i light her face the light's going to fall off enough that it doesn't light the background very
much so that gives me control of the background separate from her that way i can light her get the
right light i want her face then i can go back and i can light the background if i'm using a second
light in order to accomplish that i've got a an 85 millimeter lens on the canon r it's a tamron
85 millimeter that's going to give me a little because it's a bit of a telephoto it's going to
bring that background in and give me coverage so i'm not falling off from the background i am
in a portrait mode here that portrait mode though does have one problem you can see it on the bottom
of the frame and that is that my background even though it's high and it's all the way to the floor
i want to be up above her eyes just slightly that's the best place for me to be to give a
nice look at her i'm seeing the floor i'm seeing the backdrop that it ends on the floor so you
want to sweep your backdrop don't just drop it but always i always try to sweep my backdrop
forward by at least two or three feet that gives me a lot of latitude i can move around a little
bit and it gives me a little bit of wiggle room to set my camera exactly where i want and the
seamless doesn't run out so let's take a look at our lighting setup here i am only
using this key light it's an aperture 300x and it gives me the ability to light her face but
it's the only light we have on in this room we don't have any other light working here today
just this single light and that's going to give us a look at exactly what it's doing in the live view
but it's also going to have to be our bts light so it might be a little dark around us more than
we usually have but i think it's readable in that 360 view it looks pretty good so i
don't want this light too close to the camera i'm using savage light stands here these are 40 inch
silver stainless steel stands it's on a rolling base if i bring this light up front here and i
get this up front if you look at her face it's i mean there's something there but it's really not
that interesting we're looking into the broad side of the face it's just the light is is directional
it's right at the camera we don't have near the interest that we can so the first thing we're
going to do is we're going to roll this light way around we're going to come all the way back here
and i'm going to get it just behind her normally i would use this large octadome because i just
love how it wraps and how soft it is it's a gorgeous light and it's really good for someone
who's a little older generally here has beautiful skin so we can get away a lot with her but for
demonstration purposes this makes it hard to see exactly how the light falls on the face i mean you
need to really see that and understand it so you can see exactly where each one of these positions
at so in order to demonstrate that i'm going to take this off i'm going to put a very small it's
a beauty dish it's a very pretty light as well but it's much smaller more directional and the shadows
are going to fall very short more sharply on the face you'll be able to see them a lot easier
okay we've got a smaller box here so it gives us a really a more defined shadow it's going to help us
see these positions a little better let's start off with if you take this light and i slide it
way around towards the camera the further i get towards the camera i got stuff in the way i can't
really get it over there the flatter it becomes it's really not very interesting when you have
it up front like that it's just directional and flat the only way it's interesting and this is
if i get it down on camera view this is camera view this is right at lens height it's straight
in on the face i mean look at the highlights look at everything going on there just does not work
so you've got to get the light away from the camera if your light is at the camera it's in the
wrong place the further away you you get the light from the camera the more interesting it becomes
here's the problem that most people face when they take this light and they slide it over here to
give us our first place this is like a loop light that's our first position the loop light as we
move away from the camera with the light our light if you buy an inexpensive stand is way too low
this loop light goes straight across her face you see it come straight out from her nose it
is not in a very flattering position at all this light needs to be up higher so you've got to have
a stand that goes up tall enough you've got to have a ceiling that allows you to get your
light up high enough in order to get really nice light on people's faces so the first thing i want
to do here is i'm going to raise this light up high enough here i'm going to raise this up and
there's my first lighting position very distinct uh loop light there is a light that passes between
her on her cheek here the loop of her nose shadow does not touch the shadow of her cheek
and so it gives you just a little loop on the side now from here i can take my fill light
and fill lights are just they're so fascinating if i throw this fill light back here just out
of camera it becomes a backlight basically i've got a little rim on the side of her face it's
actually a pretty look uh but if i bring this around that fill light now starts to open up
and as i come closer and closer to the front of the light to the front of the camera there
it's going to just open up her face give me a really pretty light there with that loop light
okay we've got her on a loop light here but let's talk about another lighting position
this is called a broad light the broad light i'm shooting into the shadow side of her face right
now which is generally what i like to do but if she swings around on the table on her chair here
i'm now shooting into the broad side of her face we're shooting into the lit side of her face not
the shadow side of her face and you know what you see this used a lot if you want to have a very
open light on a person's face and you want them to look extremely not a lot of shadows not a lot of
of depth you know if they have a lot of skin you're trying to cover up or what have you this
is not a bad light to use but it also gives you some mystery because you see the shadows how they
fall off on this back side actually follows that loop turned into a rembrandt but we're looking
at the broad side of the face so now as you swing back around so there's a loop light as i move this
light around now and i'm rolling on that savage rolling uh stand this got my 40 inch c stand on it
i moved to a rembrandt this is a classic lighting position rembrandt painted this all the time if
you look at his paintings most of it not most but a lot of his paintings have a rembrandt light this
little triangle he was looking at people's faces you know in a window you know using that window
light and moving them to where you get that nice rembrandt light so just just a beautiful light we
see it underneath her eye here i want this to be up high enough that it doesn't open up her eye too
much so i like this light to be up pretty high to give me a nice rembrandt but it's getting pretty
close to at a 90 degree off camera here it's somewhere around 75 or 80 degrees from the camera
again i can bring my light my reflector in with that reflector i can refill from the back
i can bring it up front filled from the front but that rembrandt is always there you see that
beautiful rembrandt light on her face okay so now we're moving further away from the camera still
this rolls back into a split light split light is a lot more dramatic
it's just really more it plays more on the face and that is that we have really at 90 degrees
at least and that 90 degrees now is going to split her face as you look at the face here
each face is a little bit different on her face that light's too high now because her eyebrow
and is just it's casting too much of a shadow on her eye so i'm gonna have to bring this down just
a little bit and open up her eye i'm gonna bring it back just a tiny bit i don't want to open up
the other side of her face but that's going to give me a nicer look at her face if you look at
that you're thinking okay so i don't see her eye very well but look what happens when i bring this
reflector in if i bring this reflector in and this split light up front i start to open
up all the shadows there's a it's just a nice look at the face there it's way more dramatic
i mean you a lot of people will shoot things like this this is a perfect position here i love this
position in a split light because in this split light position if she simply looks at the light
it gives you an absolute gorgeous light on the face so go ahead and look at the light there
and what we get here is we get this beautiful butterfly light which is going to be the last
one we look at on her face this butterfly light hits her face we're getting a little
bit of shadow chin down just a little bit for me there you go i'll come up just a little bit
and this is a gorgeous just a little too bright here let me bring it down just to hear my light
it's just such a beautiful light on someone's face so it's fascinating because if this
light is at the right height and you're using that correctly you can now swing this around
and you get several different positions in this position we can shoot her in this kind of profile
butterfly on her face but now she looks back to the camera go ahead and look back at the camera
we're in that split light and as i bring it around forward forward here
i go into the rembrandt into the loop and then i'm gonna do the last one which is gonna be a
little hard for me to squeeze in here to do but i'm gonna squeeze it in here and this last light
is called a butterfly so looking straight into the camera and now i want this light to fall
and the shadows to fall underneath her nose so i'm in a butterfly position there
that butterfly position allows me to open up her face this is very much a beauty light this is used
a lot of times when you're you want directional light no shadows then i would take this
i would fly it in with a c-stand take one of those savage c-stands and i would put it underneath and
i can now open her up from underneath it gives me a nice open light from underneath
so there's a butterfly this is the this is the most useful lighting tool you'll ever get in
your life that costs 1.50 if you go to a dime or a dollar store in california you buy these for
a dollar 39 because the dollar stores are not a dollar anymore 3.39 but i buy two of these little
white black foam cores and i tape them together and now if i want i can come up here and i can cut
this light off from her and just very easily just by sliding this in i'd get my short c stand there
that 20 inch stainless savage stand just slide this in here and just cut some of that light
it becomes very moody very interesting looking so if i take this in and open up the cyber face
and i cut the light off from this here in the side
now i get just a really interesting portrait it's open yet it's kind of moody it gives us
nice definition on all of her skin tone it's just a beautiful light start to use these type
of things to shape the light start to cut the area of coverage down so you just start to light the
pool around her face all right so i hope you enjoyed this i hope it was info informational
and i hope this 360 made sense you can look around and just see exactly what's going on
because i think this is kind of a fascinating way to look at this type of thing the next thing we're
going to do is a three light setup so you'll see all the different lights in play on set that'll
give you the ability to really know how to place those lights and just see exactly what we're doing
so i hope you enjoyed this leave some comments any thoughts you have on how we can make this better
it wasn't informative enough did it help you to understand and just help us know what we need
to do to make this even better we're going to start doing these in the future to be able to
teach lighting in that 360 view so keep those cameras rolling and keep on clicking so i'm
super impressed with this savage 40 inch c-stand i've used c stands my entire life but this is an
innovative kind of a different look at that at a c-stand a standard c-stand there's several things
about it that i absolutely love i can take and pop this off right here in the middle and set this out
on this post it's got a junior receiver on the post now take that and shove that in a corner it
comes with a 20 inch riser i'm basically getting two stands out of one stand i put a translucent
here aim a light through it or i can put the light here and through the translucent it just makes it
really easy to work with this has a pin you want to take the pin out and drop the pin in you want
to get it even lower which is really nice tighten that out here and now i can put that on a step so
it works like a rocky mountain leg it comes with a gobo you can set on the end of the arm so you
can clamp things like reflectors in that which is really nice also comes with a standard head
so it comes with a 40 inch stainless steel and also a black version and it comes in a 20 inch
stainless steel in black so there's a savage c stand it's almost like two c stands in one