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.