in this video we're gonna break down at
getting to this final image, where we've
added visual interest by not only
lighting the shot, but also incorporating
motion into the final image.
My name is Pye,
and I'm one of the founders of Lynne
and Joseph photography and
SLRLounge.com, we're teaming up with a Adorama to
bring you a new series of photography
tutorials called Master Your Craft, right
here on AdoramaTV, so let's dive in.
What's up friends, welcome to Adorama TV
my name is Pye we're gonna dive right in
and this is a two-part series so this is
Part 1 and in this tutorial we're
gonna walk through the entire steps of
capture, so...
How did we compose the shot?
How do we light it?
How do we shoot all the images that are
going to go into this final photograph?
Then in part two, you all are gonna get a
chance to download the exercise files
and you can grab the RAW files,
and work along with us as we process
them and create a simple composite in
Photoshop to show you how you can
easily create complex images like this,
using simple compositing techniques,
let's go ahead and dive right in.
We're gonna start with the camp
framework and we're gonna begin
with composition,
so see for composition
let's start there okay, so we're in
downtown Los Angeles, and as soon as we
arrive to this little spot I saw this
Clifton's building, and I love several
things about this one, was just the
overall tone and texture of the building,
but I really loved the red LED lines, and
also the, the type that I knew would kind
of stand out in an underexposed image on
top of that, if you actually look below
in this image where the doorway is, we
have this kind of natural framing right
here where we can place our subjects
right in these two little door frames,
so we have this natural framing that worked
perfectly, so I set on my tripod directly
across on the other side of the street
as you guys are gonna see in the video,
and we're just shooting a straight onto
the building now, we're moving to the A
of the camp framework, or ambient
exposure.
Now here's the deal, and looking
at this standard shot right here, well at
this bright level of exposure the shot
doesn't have a lot of visual interest to
me to get those rich tones, to get the
the red LEDs to really pop I need to
under expose this image, so my first thought here
is darkening down the image, let's take a
look at the actual settings so we're at
1/50th of a second f/18 and ISO 100,
the lens we're using is a 20-70 f/2.
This is a super nice lens but
honestly you can use anything here if
you have a 24-70mm.
If you have a 50 million or prime that focal length is
gonna be totally fine and we're not
trying to use any crazy depth of field
here, so honestly any lens is gonna work
because you're gonna be stopping it down
your aperture to really close off light
right, so this is about the level of
brightness where I start to kind of find
a lot of interest in the texture of the
wood as well as the LED now, I need to
play with my shutter speed to start to
incorporate motion into my shot, so we're
on a tripod so we don't have to worry
about camera shake from our hand, we
need to slow down that shutter speed so
that we can start seeing movement in the
people walking by as well as the cars
that are moving by.
So I'm testing this around one fiftieth of a
second, and I end up landing at around
one tenth of a second for our final images
which you're gonna see in just a moment,
but anywhere between I would say 1/5 all the way to
1/150 of a second,
is gonna be that range you'll test
depending on, you know, how
much motion you want to capture as well
as how fast the objects are moving
across the frame.
So given in this scene
everything is moving across the frame
very slowly, we're gonna slow the shutter
speed down quite a bit, but step three is
the M right to modify or add light.
This is where I'll usually place my subjects
into the shot for a test shot,
or you can put test subjects in either way,
but I want to see if I can modify my existing
light or if I need to add additional
lights, I'm wanting to add additional
lights usually you're gonna start with
one, and then add from there.
In this scene there's no way to modify existing
light, we just need to pump a lot of
light in, so my thought is we're gonna
place two flashes in there, let's
actually zoom in and check these flashes
out, so placing down I believe these are
two Profoto A1's, with Magmod grips.
I don't believe I ended up using the grids
for this shot, but we have the we have
the grip on there just in case, and then
they're placed onto the Magmod Hotshoe,
just on these small Manfrotto nano
stands, these little easily compatible
stands, and what I need to do is get them
equidistant from the subjects, right,
so you'll see this one's a little bit
further away, this one's a little bit
closer, but if you look at this next shot,
essentially both these flashes are
firing, I know that we don't have grids
on because you can see the the flare
spilling into the lens right, so we know
that there's not a grid on there, but
each light is essentially lighting up
each individual subject, and they're
placed in a way where we're not casting
shadows onto each other, so they're kind
of placed at the same distance or
slightly in front of where their feet
are, so their shadows are still dropping
behind because the light is coming at
such an extreme angle, we are having them
look towards those lights,
and these lights, if you're kind of running your
exposure, so when you look at this, this
is that f/14 ISO100, and 1/30th of a second
right, and I believe we keep stopping
down in the final images, so when you're
running those types of apertures and
you're really closing down and really
darkening the frame, a safe place to
start on a flash that's at this distance
is like 1/2 to full power.
These are 50 well, an A1 is like 70 watt
seconds, but most flashes this size are
roughly around 50 watt seconds, which
isn't a lot of light.
So the rule is, you know when working in
the Sun 1 over 1, or full power, but also
if you're kind of just shooting it very
like, working the Sun is typically like
an F/11, F/14, you know, sunny 16 kind of
rule, right, so if your apertures are f/14
f/18 you might as well be thinking this
is just gonna be a full power shot so
kind of start there, back it down if you
need to, but make sure that the light is
even on both subject, and it's the same
distance, so you get the same light
output okay, so with the light setup with
our composition, everything is dialed in
our subjects are in place, now we're
gonna go to the final step to photograph.
This is step #4 the P, and the
camp framework and we're actually gonna
take our shots, and I want to show you
what to kind of look for so we're at a
final setting of 1/10, f/20 and ISO 50,
have actually zoomed in a bit on my
28 - 70mm, so I'm zoomed in all the way to
70 millimeters, and this is kind of the
final look, the final composition, and
here's the deal, you're gonna be shooting,
and what we're looking for is to create
motion in the image, or to shoot as I kind of
see cars driving in and out of the frame.
Sometimes you're gonna mess it up, and I
mess it up here, where you see a car
literally driving right over the center
of the frame, that's not what I'm aiming for,
but you know what, don't toss out those
images because we're shooting on a
tripod for a reason, what we're trying to
capture here is a very complex shot.
I need motion on the left side, on the
right side people walking behind, I need
all of this stuff right, to get that all
in one single frame it's possible, but
you might be there for 15-20 minutes to
get the shot and if you're doing a
portrait session for a client, I kind of
find that you know, I'd rather spend that
time in post doing a quick simple
composite, which you're gonna learn, and
then move on to other pieces of the shoot.
I don't want to waste 30 minutes
setting up a shot, and trying to get one
image when my clients are paying me to
work, so instead, I like getting a piece of
the image, and it only takes a couple
minutes to do this composite technique,
as you're gonna learn in the next video,
so what I'm looking for is getting some
motion on the right side, getting some
motion on the left side, as I have people
walking through I'm gonna shoot that, got
some more people here, now you're gonna
end the image, so here's another one, we
had a nice little car on this side, so
I'm getting kind of a nice grouping of
these images.
By the way we'll cover the
the Lightroom RAW processing as well in
the in the next video.
I want you to end that sequence with a
plate shot okay, so the plate shot,
your subjects actually don't need to be
standing in the shot anymore,
but what I want to do is remove
the light stands, make sure again the
tripod does not move the camera still
set there, and you're gonna take the
exact same shot, just without the light
stands, and without anything else in the
frame right?
This is so that we can
remove the light stands easily in post.
It's gonna be very simple, very easy to
do, but those are the final steps, so with
those shots, what we're gonna end up
doing is, going into post to create this
final image.
We're gonna do that in part
two of this series, so be on the lookout
for that, and also this image and this
video is actually a little bit of an
excerpt from our entire lighting series
on SRLoungeworkshops.com this is an
advanced lighting training system that
starts from the fundamentals and goes
all the way through to advanced lighting
techniques like this and far beyond, so
it's a 100 Plus tutorial series, and it's absolutely
awesome just check it out.
If you guys are interested in a to Z training we
have the best stuff available on Slrlounge workshops.
In the meanwhile be sure to
subscribe to the channel, like the video
feel free to share it,
comm below, and let us know what you guys
want to see next, and be on the lookout
for Part 2 and I'll see you guys in that video.
Bye.