How to Create Portraiture that is a Work of Art | Lindsay Adler

[Music] today my presentation that I'm going to share with all of you is really meant to help you look at portraiture in a little bit of a different way because I know when I first started as a portrait photographer I thought that my job was really to take a picture of what someone looks like which okay right it's a portrait sounds like that's right but not not really instead what I do now is I take a picture of who someone is but I show it visually or I take a photograph of the fantasy of what someone would like to be or a dream that they have and so I don't create images where someone shows up sits down i snap a photo walk away and sell images because what's important to me is I don't want to be a commodity I don't want to do volume I want to create quality and I want to create pieces of art works of art so that's what I specialize in so as a fashion photographer here in New York you might think okay we'll wait this is a portrait class you're a fashion photographer yes and yes both of those things are true as a fashion photographer I shoot a lot of different things so I will shoot beauty campaigns and I'll shoot purses and clothing and anything related to fashion that of course is the stuff that pays the big bucks anytime its commercial anytime it's with a brand that's what's going to pay you more but what I actually do most often the things that I'm hired for regularly is portraiture but it is fashion inspired portraiture or it's portraiture that that you would be happy to hang on your wall as a piece of art not just a close-up of your face but but something that makes a statement something that reflects who you are something that fits with the decor something that's timeless and so that's what I'm going to talk about today now one of the reasons I like this as well is not only do I shoot fewer but of higher quality but I also charge a lot a lot more because I'm doing a concept development and we're telling a story and we're producing it so that's what I'm going to share with all of you guys for example this is what I'm talking about when I'm talking about portraits as a work of art it's not it's not something that can just happen you have to make it happen you have to develop the concept so this is actually a senior portrait of a girl who had done a senior portrait before didn't like it and so we did her fantasy senior portrait and so it's dressed up in its mood and its concepts and this is a portrait that I did recently of a ballerina and so it's a portrait but it's something more it's it's a it's something you could say yeah no I could see that in a gallery or I could see that hanging on my wall and so that's kind of the twist that I want to take and as you look at these images you'll notice they all like they're all a little different some are brightly colored and some of our sauce and some of them are more gentle there's not a right or wrong way so when I'm sharing this with you guys I don't want you to think about it as a technique like do these plating techniques in order to do what Lindsay does I want you to think about it as a state of mind what can I do to plan a shot develop a concept that is something more and that has more of my artistic touch to it so to give you an example this was for a portrait of a woman that came to town for her wedding anniversary and she brought her whole family she had her husband and her kids and so she wanted to have a print an image that was huge above her mantel place and it would be worthy of her mantel place and so we discussed we had a call we discussed her family what their passions are who they are what her house looks like what color palette she like all of those things and so I came up with an image just for her just for her family and this was actually shot in the Brooklyn Historical Library so man you should see how this is apparently the going rate to rent any space in New York City is like twelve thousand dollars like I tried to call I'm not kidding I called like all these libraries no I can't $12,000 to run on maternity suits and then later on I've got a castle shoots like all the dumb mansions this one was not that good and I'm going to tell you about the fact that you don't need to spend a lot of money it's more the way that you wire your brain not how much money they spend and something it's very important that I try to do is I want things to look expensive they don't necessarily have to be expensive and so that's what I'm always keeping in mind for my portrait session and so again piece of artwork I think you could hang on your wall guess what this thing behind your head is pizza cardboard but it looks expensive and so that helps me create my artwork and do so affordably for myself in my subject by the way guys if you want to see this presentation again obviously you can watch it on the bnh youtube channel but also if you go to this link I have got the notes from today so you can review that and later on in the presentation I am going to be editing two photographs and I have the action or it's actually presets in Lightroom that I'm using to tone and color those actions so if you want to try out what I did at home you can go to that link totally free you can download that and by the way while people are writing that down that is actually what's going to be happening today what I'm going to do is I'm going to give you my frame of mind how I plan portraits as art and then what we're going to do is were going to see portraits as are in action and that's what you see the set up here and the gear here and I'm going to take you through all of that I'll tell you the life side use the cameras I use the lenses I use the print like all of that so you can see the entire process from start to finish so hopefully everyone will be able to take away something useful for their own work so that being said these are the brands that are sponsoring me and bringing me here today but I'm not putting them up in the board because they're sponsoring me what I did is would be an H I was planning this shoot this presentation and these are the brands that I actually use to bring my artwork to life and so I will explain these step by step so you guys will see when I'm actually using what I rely upon so when you come into my studio just around the corner here in New York this is all the gear that you would already see set up I have that printer these are actually my legs I have so we'll go through all of that for you so my thought process is this for me as a portrait photographer I'm really in it for a couple of reasons one of the reasons I'm in it is to create artwork like that's what's fulfilling to me but I'm also in it to make other people look and feel their best and it's extremely rewarding to do so and so I'm going to tell you about how I do that for my porch a client and one of the ways I do this is if I'm trying to help them look and feel their best I turn my portraits into an experience it's not like I have you in the seat from one to two o'clock and then get out of here you're done instead we have a conversation beforehand I get to know my clients I get to know my portrait subjects what are they passionate about what are they looking for out of their images and so some one of the things that you should do when someone hires you is you should always ask why you're getting where they're getting their portrait taken and why you as a photographer because it reveals a lot different people are getting a portrait for different reasons maybe they're getting their portrait taken because you know it's been rough in life recently and they just want to want to feel better they want to feel beautiful they want to feel their self-worth so then it's your job to help them do that even more and they can give you insight into that or maybe they're celebrating a milestone a birthday a time in their life and accomplishment or award I don't and you can celebrate that in the images and then why you why do they pick you is it because the way that you treated them or made them feel or is it a specific way that you light or is it the color or is it supposing what is it because then I can showcase that even more and so I make it an experience and I am a fashion photographer here in New York I've been here now and for just about eight years but I have had a portrait studio I've had a business for 16 years now 15 and a half years and I started my business in upstate New York in a city or around a city called Binghamton and people go oh you've got this fancy clothing and this lighting and like these you can only get that in New York no like it's not that's not the case as I already said I want to make it look expensive but it doesn't need to be expensive and I absolutely marketed this approach fashion techniques for portraits or yourself as a work of art when I lived in rural in a rural area so again this can apply to you as well what I would do is I would encourage people on their shoot day go take care of yourself go to the spa in the morning have a nice lunch afterwards go out to dinner since you have your hair makeup done you're feeling all fabulous I want it to be an experience that you don't hire me because you want the commodity to come in and out you want it because you're making something special and it's important to you so that's how I treat my business so let me give you guys an idea if someone reaches out to me today and says hey Lindsay I'm interested in hiring you for a portrait which hey guys feel free okay you're welcome too but if they reach out to me this is what they're going to get this is some samples from the packet that they get and so what I don't do is I don't have a form on my site where I say hey people pay me like here's my prices you get these photos cuz that's very commodity driven when it's like this print equals this cost no no you're hiring me for the experience and the concept we're developing so if you don't get hit by the price first and instead it is your portrait investment and it's the guide to your experience so let me just take you through what this guide looks like and this is in the presentation so if you guys go download the notes you'll be able to look at this a little closer take a look at what I've written there but I try to make it personal and I try to explain to them why they're hiring me as a portrait photographer why they should be interested and what I do differently than other people and the reason this isn't so important is now everyone's a photographer gear is great and a lot of its inexpensive and a lot of it can take really good pictures simply so I got to do more than just take a picture of what someone looks like I have to develop a concept I have to tell a story I have to maybe offer an experience like what is it that I do extra so that I can charge extra and that's what helps my business grow the longest time when I lived in upstate New York I was competing on price and I wasn't growing and I was struggling but when I stopped competing on price that's when my business grew and that's also when I grew as an artist because I wasn't trying to get people in and out of the seat and shoot as many as possible I was giving them time I was giving them attention I was developing concepts and I loved my images that much more and so that's what I do today so let's take a look at this guide the first thing on the right hand side is a message from me and this message talks about why I think portrait photography is important and my idea is that I want people to start to get an idea of why I'm so passionate about my craft and why I believe in what I do and so I talk about one of the reasons you might be getting a portrait is because you are celebrating a special time in your life and I respect that and I'll celebrate it with you or maybe you're one of those portrait photographers out there who doesn't have a good family portrait you know or even so it's a special time for that or maybe you're a photographer who and not that I market your photographers but maybe you're one of those whose family won't let you shoot them so it's like I just need a picture of my family so why don't you just do it that could we do but if you actually take a look at it what I really say is I say whatever your reason I'm going to make I'm going to respect that it's important to me and I'm going to help you create images for that so I talked about it being to lift you up or to celebrate or to commemorate a special moment and in it saying I think is very important is I talk about my experience being photographed for my 30th birthday a couple years ago I asked all of my portrait photographer friends to take my picture and I did so for a couple reasons one of the reasons I did so is I I wanted to celebrate the milestone in my life and then I wanted to celebrate I felt like I'd finally grown into myself as an adult it was like the real start of adulthood to me so I wanted pictures to commemorate that but I also wanted to feel what it felt like on the other side of the camera and if you haven't done it it is terrifying and awful it's so vulnerable and I was really surprised because I know how like I I know I'm a photographer I know how this how this all works but I found myself like they'd say like you know turn to the right and put your shoulder down I'd be like like this I don't like we just write like I was trying to do a good job and I didn't know and I just felt vulnerable and then it would be like it would see them look in the back of their camera ID like oh god what'd I do wrong like it's a very vulnerable thing and so I also talked about the fact that I realized that it can be vulnerable and I've got you I've got you I'll take care of you I'll make you feel comfortable I want you to feel comfortable and the other thing is I talk about how important the shoot shoot was to me after the fact how I loved the image I cherish them and it made such a big difference so I do think it's important if you can to speak about the importance of portrait photography to you and if you are a portrait photographer who has a crappy portrait of yourself on your website social media you have to fix it because it's showing you don't respect your own craft so I recommend that you trade with other photographers and do this so that people realize you respect it if they're asking if you're asking them to pay for it something that you respect so I start off with that message and then we get to the next page I like this because all of this is leading up to the shoot day right so I'm showing hey there is a lot going into the shoot and this is why I can charge so much right it's not just you show up by snap it you go here's the digital files it's not like that there's a whole process to it so to give me an idea I'm going to do the beginning here I say we begin with an email consultation or a phone consultation to figure out why you're having this shoot done and what your goals are maybe it's personal branding you're trying to rebrand yourself or maybe it's a celebration okay so we figure that out and then we talk about other things I want to learn more about what you're passionate about visuals you're attracted to color palette that you like best or maybe fits best in your house we start talking about wardrobe hair and makeup and all of that so these are all considerations that I have so this takes me to my next point I am a fashion photographer but I don't say this because I'm a fashion photographer clothing is so much more important than you think it is because if somebody shows up in clothing that doesn't photograph while you are working so much harder than you have to and so I always let subjects know what they should be wearing to shoot and what's most flattering now there's a couple different ways that you can handle this for example what I've got like on Pinterest I've got some Pinterest boards of clothing that are inspiration of what you know is flattering what's not flattering I list things that you shouldn't wear but I also will send people to websites like Rent the Runway and so Rent the Runway you can rent beautiful gowns you can rent it in a couple of different sizes or size and a backup size that gives them these beautiful designer gowns that they can wear for their portrait shoot but they don't have to spend a lot of money another thing that I'll do is I will ask them to pick their 5 or 10 different images or 5 or 10 different outfits take selfies of themselves in the mirror and send them to me because I can see if they're going the right direction and for example this sweater that I'm wearing here fine it matches my dress I think it looks nice if you photograph me in this you it's going to be real difficult because it's big and baggy and flowy and you're never going to be able to see my form my contours it's going to be really difficult to pose without me looking like a blob the average person doesn't know that and so you need to be able to help coach them what makes your job easier I also have the discussion of hair and makeup in there when you hire me to create a portrait as art you as a woman if you're a woman you cannot hire me without having your hair and makeup done like if you just not even an option and one of the reasons why is everybody has their imperfections or if they have the issues with their skin and they show up and all they're thinking about is please don't shoot this pimple but like I say I'll go ahead and broke out today or or man like man I like my wrinkles are really showing or the bags under my eyes and they're focused on negative negative negative negative and I'm trying to help them look and feel their best and they walk in feeling insecure and they walk in feeling self-conscious and I need to break down that barrier and so if you hire me you have to have your hair and makeup done but think about how much more of a your job is easier because let's say a woman wants to look and feel sexy and she shows up with her hair frizz out a little bit of eyeliner on some cover up like she's not going to be able to look and feel the part but when she's got that beautiful wavy hair and the bright red lip and the big lashes all of a sudden she's feeling it she's feeling herself in the mirror and she's checking it out and now when I posed her and I'm trying to get those emotions she's already that person and it makes my job so much easier and so now it's not even an option anymore I don't want people worried about what they look like I want them to already know they look like a the best version of themselves and I'm going to make even better with my photograph so hair makeup is all part of that so let's take them through the concept development the color palette we talked about hair and makeup and then over here on the shoot day I talked about what it's like a typical shoot for me is somewhere in the 3 to 5 hour range but also that includes hair and makeup time so here are makeup time they come in and we talk and we chat and they have coffee and then maybe we get hair and makeup done so from start to finish it's 3 to 5 hours which so I'm not doing I'm not doing bulk come out doing volume I'm doing fewer but with a lot of concept development to it and then I tell them what to expect after the shoot and I've got little details in there about how discussing retouching and you know helping them really bring out their best so this is an example here the girl tells me she wants something a little sexier a little bit more grown-up and she shows up with a picture on the left if you don't get hair and makeup done there's only so much you can do and that doesn't mean she's not beautiful but she's not channeling that persona these two pictures were both taken with window light and then this is just heavily styled it's a totally different vibe and it should sort of should have seen how she carried herself differently as soon as she was looking at herself in the mirror so if you underestimate makeup you're really missing out on part of the whole process so what I would like to get into is portraiture as art so what are the things that have made me a better photographer when I first started portrait photography I was not thinking about portraits as art my original setup I had two lights add two umbrellas one on the left one on the right and I had four poses I'd cycled them through and then changed their their expression and that was it there was nothing beyond that and now I have ideas and storytelling and there's emotion and there's mood and there's draw line there's all of that and I create works of art and so these are the three main ways that I drew in elements that help me create portraits art so we're going to talk about those the very first one is to develop a concept I cannot like I cannot emphasize this enough that when I meet so many different photographers that look at their work all the time there's many photographers that are good but what holds them back from great is not technique it is not gear that what holds them back from great is concept always is that they shot a picture that looked pretty but they led with the wrong question and I always recommend you lead with what is this picture about or why am i shooting this image that's what people miss because what photographers start with is what lens am I going to shoot with first and how am I going to light it not what's my idea and what lens is most appropriate or what light brings out the best in that idea they go they go out all the wrong way they know how they want to light and then they force it on the person and that's kind of what's fallen flat so um here's an example that I see all the time when I look at people's work and this is what I'm talking about I'll see a photograph where all of the pieces individually are good so there as soon as photo with a girl and she's wearing like a she's wearing a silver futuristic looking dress cool dress okay and she's standing out in a field and backlight like beautiful backlight beautiful field pretty field it's pretty light okay good so far but then so she's got her hair big kind of teased out in fun shape cool-looking hair and then she's got a cat eye a really nice look sexy makeup and then like a really soft flattering pose but what you've got is you've got a girl in a futuristic outfit standing in a field of the soft pose sexy makeup and teeth out hair they don't fit together individually the parts can be cool but you didn't ask yourself what's this images images about and so everything you do your lens and your background and the color and everything you choose needs to be in service of what the image is about and that doesn't mean that it needs to be profound not like you need to have some massive narrative but this is what people miss because then you base everything off of the why like what the picture is about you choose the clothing that best suits your concept and the posing that best suits your concept and the colors that best suit your concepts and so you lead with your idea and that's that's what that's what separates people that are good from great always if they have a more refined concept and so this is an example I'm not talking about it needs to be a complicated concept but this was meant to be a little bit more of a dramatic maternity image with the maroon themed colors so that like it felt like there's a story is there anything to it but because it's more dramatic we go for dramatic light and dramatic and then because it's dramatic we pick a dramatic color with a dramatic matching background it's like it's not that I'm saying that it's a story and there's a pregnant woman and she's onto this the tale and as it's not only gonna need a story for a concept but it's about curve Maternity color and drama there was an idea there and one of the reasons I come up with ideas and I can do something a little more interesting is because I actually get to know my subjects I try to get to know something about them who they are what they're passionate about not just come in sit down got your headshot and leave I mean and that's completely valid if people shoot that type of photography but you're not going to create works of art this is not going to be that way and so I get to know my subjects in my clients and this takes me to the next level of what I find takes a photographer from good to great and this is another thing that is really really really hard to teach now what that is is personal skills the ability to relate to people make your your subjects feel comfortable make them feel like you you care about them because most people a lot of photographers were real concerned about the settings and the light and the gear and the composition is in the hand in the right place and then we're forgetting that there's a human being over here feeling super vulnerable and so that's the next thing that that takes you up at a level and so there's a couple ways that I get to know my clients one of them is that pre email pre phone call conversation to get to know what they're passionate about and the number one thing I'm trying to figure out is that like what do you wake up for in the morning like what is it what is it that excites you what is it that fuels you what is it what is it that you would do if you could do anything with tomorrow what would you do tomorrow as I try to figure out what people are passionate about because then I get an insight into who they are I get an insight into what's passion what they're what's important to them what they're passionate about and if you're one of those people that struggles with interacting with your subjects and getting them to feel comfortable and that's one of the questions I get most often sure I get questions about lighting and lens choice but I get how do you get your subjects to relax I mean there are many different things but one of the things is of course genuinely caring about them and wanting to know and getting to know them instead of just sitting them there and and there's a book that I recommend you read it's a very very very old book but it's lessons are as true as always and it's how to win friends and influence people and the lessons in that book I think applies so much to how we interact with our subjects and our clients and people just forget and it's something as simple as one of those lines and there's the sweetest sound in the entire world to someone is the sound of their own name and so when I'm photographing someone I try to use their name often because it's just like an emotional massage and it feels like yes you are important yes I care about you yes I'm here with you and when I got my portrait taken for my birthday I remember when they would say my name I'd go and she's a silly thing gentleman I'm telling you secrets here but you save woman's name she always melts like it's not like she might not meet Billy Oh Lindsey and he's yes there's always that feeling so use the name often and there's so many other things in that book but one of them is genuinely caring about people and being interested in what they're interested in even if it's not something that you were already interested in so get to know your clients and the reasons for me doing is a wants them to be comfortable I want them to know I care about them I want to bring out the best in them but it helps me come up with ideas helps me come up with ideas for the concepts for my art because people ask me all the time well how do you keep coming up with ideas well I get inspired from my client Oh from my subject so I'm figuring out what they love what they're passionate about can I take that and turn that into a photograph so it's what are they passion about what do they value and so here's an example this is a mother a mother and daughter and I'm actually photographing them again soon and my photographs on the first time I asked them about themselves what would you and your daughter have in common and why are you taking this portrait like why did you hire me and why right now and they were celebrating an accomplishment for the daughter and so they told me the story and basically what happened as the mom when she was growing the daughter was growing up the mom always taught dance like she was a dancer after always and because of kids music how they are her daughter was not interested in dance because mom taught dance like it's just like okay I'm not doing it cuz mom wants me to and so she like time goes on and it was something like when she was 16 or 17 she finally took a dance class from someone else not mom and instantly fell in love and actually now she's a professional ballerina like here in New York and so what we were celebrating is we're celebrating the new at this particular shoot was actually for a new dance company that she recently joined and so they wanted to create an image that conveyed this celebration of dance but also the mom being part of being part of her and helping her to achieve this because mom later on obviously helped her and so this was the image that that I made and so if you look at it's not like they need to be in tutus and up on a stage to perform that it's an elegant timeless portrait but she's got pointe shoes and it's very dance and if you look mom's leading the way so again there's a concept there I use them to inspire me and it's a little bit more timeless this was not complicated this was one giant umbrella on the right hand side so fashion or a fine art lighting it doesn't have to be complicated as big and soft to responsive story telling and the styling in this one and again there's many different ways that you can shoot it you do things that are soft and painterly you can do things that are colorful and dramatic take these ideas and use it for your style and what makes you different so my first step of course was to develop a concept with what's your idea and I think an important way to do that is to get to know your subject another thing that is extremely important and I know this from the fashion world is that if you want good images like really powerful images you have to plan ahead and that doesn't mean I'm sketching out the pose and the exact lighting and the Everitt but I'm giving myself more to work with so when I show up there there are there more things around this concept so one time when I was in college I heard joe mcnally he came to speak in school and he gave a presentation and one of the things he said is roughly like this that he went to a photo editor photo editor said to him if you want to be a better photographer the next step is go stand in front of more interesting stuff she's like you got the technique down but the things you're shooting are just not interesting and so okay granted I'm not saying go pick more interesting clients what I'm trying to say but if they just show up and then they're in their little zebra print off the shoulder dress that's all you have to work with and if it's just them in the solid background you have that's it but maybe if you have an idea you can coach them on what type of clothing to bring or you can have them get their hair and makeup done beforehand or you bring a prop or you plan out the color or you things like that you're giving your so you're not standing in front of more interesting stuff you're putting more interesting stuff in front of you to work with and be inspired by so it's planning ahead in fashion photography we make the images we don't take the images and we do something called mood boards mood boards are a collection of images all based on a theme and so when I do a fashion shoot for a magazine for a brand every single shoot I do has a mood board I'll have pictures for the type of hair and makeup that I want some pictures for the type of wardrobe maybe a little bit for lighting or props it's like whatever I need to make this shoe I've got it on an inspiration board sometimes people call it inspiration boards mood boards vision boards it's all the same thing so every fashion shoes that I do has a mood board but guess what every single portrait shoot that I do has a mood board because it gets everyone on the same page and then I can start piecing my ideas together and tell the client what they need to bring and so I can kind of give you an example here this is years ago like many years ago as photographing this little girl and her mom said in the pre-interview and the discussion if she loves the movie Grease said okay perfect let's do a shoot let's do a concept around that so my mood board was this real simple not like a huge profound concept but I said to the mom I found this kind of a greaser looking outfit I said to the mom find something like that like it does have to be exact but find something like that and you can find anything on the internet so I give the mom the duty to find that and then I plan out some kind of funky hair like this something a little different and so our portrait looks like this like this is her portrait and it's fun and it's funky and it's different and what I like about that is a keyword that it's different because now I'm not competing with everyone based on price or product but on idea and the different experience that I have to offer and the different types of images that I have to offer and so that's my idea for portraits as art here's another example so in this we wanted to do a bridal themed or a butterfly fantasy themed bridal shoot and so in the past what I've done is I don't shoot as many I don't really shoot weddings anymore what I will do is I'll do conceptual shoes before or after the wedding day because we can play dress-up we can create those images that maybe on the day of they didn't have the time to shoot but something huge and fantasy and creative and unusual and a piece of artwork so we plan this out what we decided with the butterflies are inspired by these kind of images what we did is we I had my friend make a headpiece okay here's what the headpiece is she took one of those pieces of like styrofoam in a ball cut it in half and cored out the center so it made it like a thing to put on the head and then what she did is she bought they're about like I think they're like a dollar apiece these little butterflies and she hot glue gun them two cheap little pieces of wire and then stuck you in the styrofoam so now all of a sudden we have this big butterfly headpiece that looks fantasy and it looks creative we plan out this mood board and then this is kind of a bridal fantasy shot like I said it was it's it's a styrofoam and then all these butterflies stuck in there and wire but again it doesn't have to be expensive to look expensive I think that looks expensive and it looks fantasy for these butterflies flying around here I held out the butterfly on my hand I took a picture and then in Photoshop I've lured the edges so it looked like it was flying and I changed the seismic I took a bunch of pictures and I moved it around a different angle but if I didn't have the concept in mind I wouldn't have known to do that in the moment and I wouldn't have planned ahead to have headpiece made and and and and all of that in fact I even picked a solid green background it was like green shrubs behind her because I knew it'd be easy to change the green to purple versus if it was you know trees in the background in a lot of different texture but because I knew what I wanted then it made it easier to shoot I was give you a more ideas so this is another client shoot this is a photographer she does fine art and boudoir she actually has this whole series of images that she does that took Renaissance themed kind of fairytale Renaissance she photographs her daughter a lot and tell stories with that and her name is Jessica lark a great photographer and she was one of those photographers guilty of not having a good family portrait and so the shoot concept that I came up with her for her I am quite sure would not be the same concept that I'd come up with you or with you or with you I'm sure our concepts would be very different because when I started having the conversation what do you want for your mantelpiece I would ask her questions what are you passionate about and she loves her artwork and she loves those Renaissance pants it's okay we could do something that looks a little old-fashioned then she described her husband her husband actually he's in the military and he actually has a sword with his family crest on it okay this is cool and I talked to him in their favorite TV show is Game of Thrones and so I said are is that we're doing we're doing Game of Thrones she's again Game of Thrones family portrait so we did the Game of Thrones family portrait but to get that to work I do a lot of planning right like it's not something I could just show up and do and so what we did is we picked out some wardrobes that's rented from costume rentals costume rental there's also speed or rental companies there's companies that specifically rent for Shakespearean plays like that's what the companies exist for and this amazing dresses one of them I've worked with before is Oregon Shakespeare Festival like beat sirs there's all these different kinds of companies that exist just for that reason so we rented these pieces we planned out hair and makeup and then I started doing my research and again I tried to find like castles or mansions in New York that was a no-go so I went to Pennsylvania and so we drove out and we found this place Mercer Museum it's it was like half library half museum but it looked just like a castle so he called up and we planned that out and so this was their family portrait and again not every shoot that I do is just complicated sometimes when they tell me the concept of the shoot a turtleneck one light and a gray background is the right look for their shoot and then other times with this clunky family this is actually the right look for their shoe so this was one side of their holiday card actually and so this isn't composited this is actually what the shot looks like but it's heavily color graded meaning heavily changed the color and so the picture on the left is what it looked like to my eye picture on the right is how I colored it how it's lit is a Profoto b1 a portable studio strobe on the right hand side with this umbrella right here so it's basically my big portable softbox and then on the left hand side I have another light pointed up because I didn't want to lose the archways I wanted to give it a little bit of mood and a little bit of color so again is this the appropriate family portrait for everyone no but it is definitely a work of art and I think she has it as a 36 inch print above her mantel place so it's a work of art for her but a different family I'd shoot an entirely different way you saw at the beginning the way that I shot the mother and daughter another family portrait not the same feel all right so the last part of this equation is they talked about the idea that you want to come up with a concept like what's what's the idea behind the shoot why are you shooting this image we asked that yourself that question the next part is that you got to plan ahead planning ahead might be with wardrobe and guess what wardrobe doesn't need to be expensive I'm going to show you that in a little bit but you'd be amazed at the beautiful dresses you can make out of tulle with a really inexpensive dresses that you can style up and fancy up that you can buy for a few dollars on Amazon it's more about it looking expensive but most people don't know how to dress and style themselves so you guys think about style and I love this quote elegance is the only beauty that never goes out of style so you don't need to do extravagant you don't need to go over the top but timeless elegant in beautiful they'll always love it will always be beautiful and so I often plan that in my shoes so for example it says this is a girl that I photographed recently she looks like a little girl on the left and she looks like a sophisticated young lady on the right and it's not as complicated dress or expensive dress I think it's a dress that she got from Macy's but it's beautiful and it changes the look and there was concept around color and if you take a look this is actually what the setup looks like in case you wanted to know I think the lighting looks elegant but it's not complicated it's one large softbox or one large umbrella with diffusion like you guys here on the right hand side and then a large white reflector on the left to fill in the shadows but the styling makes that picture look much better also related to all this this week finally my fifth book comes out on posing and I actually go through how to get these types of poses and I talked about what I'm looking for to create flattering and more elegant and stylized portraits but particularly focused on the posing so that comes out this week I haven't had my own copy yet but I will soon all right but I've gone through all these things and I have found photographers so many of them make more excuses than anyone I've ever heard ever and it's always excuses that hold people back I've heard every excuse ever where the it's where I live this doesn't fly I was in like upstate New York where population was like 10,000 in the little pouch I was in and I did fashion style portraits or oh well I don't have this expensive gear I can do things with natural light that look stunning okay so that doesn't work but the one that I hear often is when people look at my work they'll say oh well you know it's expensive clothing and you live in New York no it is not about that and so the key that I want you to keep in mind is looking expensive doesn't have to mean being expensive you don't have to break the bank and so let's take a look at just a couple of things here so I bought this top and I have several of these on amazon.com for $14.99 but it looks timeless and it looks out again it's that that's just beautiful off the shoulder line and this is a simple set up to light an umbrella on the right and I'm going to grid just a little bit of pop of light on the background so it's two lights and a $15.00 shirt so you can't use expensive as an excuse oh here's another one I love this fiction it's dramatic and it's it's dreamy and I made most of it so let's take a look first of all this how much it cost it's one light it's another big umbrella $15 a tool and $8 a flower and so to see what I actually did to make this dress that she's wearing or really cheap leotard like nothing fancy and then we took a piece of fabric we tied it around her waist and we took big pieces of tulle cut them and then you just pop it in and all of a sudden it looks like this big full dress so we took the big umbrella white reflector I have a curl up in the ground we cover in flour and then you just throw it somebody when I've shown this before said yeah well holy crap how the heck can you clean up after that mess you know I I did shoot this in my studio but there's no reason this can't be shot outside because if they're if you're just like it's just flour on the ground you could shoot this in your driveway put up a background behind and shoot it out on location you make the skirt super cheap and you buy cheap flowers so again no excuses not to get creative and then here's one more of a shoot that I just put up on my Instagram account I really like it because it's bold its graphic it's modern but timeless like it kind of feels vintage you can't quite place it I like those clean oh those images will last and so I look at this and what I mean obviously what makes this shot is the shadows but man that awesome headpiece it's avant-garde its creative it's unusual and it's made out of twenty-five dollars worth of Ikea placemat so let's take a look these spray painted black and then we took little pieces of wire and bobby pins and built it up on the head so it's all about being creative and when you I find that creativity is a muscle the more that you practice the more that you exercise that muscle the stronger it gets and so I know when I go through my go through a craft store when I go through any of these stores I'm like ooh that make a good head piece and it's a wreath but you're meant to stick like flowers and plants in or I'll see you this and it's like it's just the one thing I use once with detail on the face and it was meant to be felt that you stick on the outside of potted plants to decorate them like you go there and you see these things and out of context you don't know that it's cheap you don't know that it's out of place it just looks creative and it looks expensive so no excuses on that front because you can barter and trade you can make it yourself or go simple if it photographs well that's all that counts so again what we're going to do now is we're going to pop over and I'm going to shoot two images and so you start to finish the gear that I use my lens choice like everything from start to finish if you guys have any questions on that I would be happy to answer them if you want to learn more about some of the retouching that I'm going to do later or you want to see more of tutorials on some of these shoots that I've done I have a website learn with Lindsey and if you just want totally free stuff on my blog I update weekly with behind the scenes of my shoots where I list the gear the behind the scenes images the diagrams everything you need see there's always something fun to see and learn and then again for anyone who missed it this is where you can get today's class notes as well as actions for later on alright guys so let's start with where I told you to start the idea behind this is you need to have a concept now the concepts could be based on what I know about Amani which it could be about a passion or something or it could just be a conceptual image with her as the subject I look at her and she's strong and she's regal and she's beautiful so the concepts behind this shoot is she is a golden Queen and so that when I think of this everything I do should be based off of that concept the clothing I choose the background that I choose the poses I choose the camera angle I shoot all of that should be based around the idea of a golden Queen now in my head when I was thinking about this there are two different directions that I could go I think and it means I listicle you guys could do something else but I thought I could either go kind of timeless like an old painting you know if it's going for Queen I don't need to do a lot of crazy lighting because I've already got a lot going on in her outfit so in fact they could probably keep the background simple and the lighting very simple I don't need to go over the top or I could go super over the top and have a gold background and have gels and have all that stuff I don't think an in-between would work because if it's in between like there's kind of a lot of stuff going on like I think commit to it whoever you're going for simple and elegant simplifies make it elegant crazy over-the-top commit to it but everything needs to work together so I've decided for photographing her that I'm going to go for the timeless look she's got this elegant timeless space and so that's kind of what I want to focus on so let's talk about all of the pieces the first thing if I'm going for warm tones and golden then I've selected a warm tone and golden background into the background that I have here it's a brown background this one hand-painted and it's by gravity backdrops I already know that it's warm but it's not super warm so they wanted to warm it up more I could warm it up more in post-processing or I could throw a gel on it maybe like a little bit of a yellow give it a little bit more warmth to it but we'll see we'll cross that bridge when we get there let's let's build the entire shoot the next thing is the styling so we've selected styling that's gold and beautiful gold and glitter everywhere and then to go with the Queen concept we have her little crown in her head so got all of that golden alright so now let's talk about lighting so the lighting that I use if you go to my studio the lighting that I use for everything is my Profoto d1 err 500 watts there's a few reasons that I use Pro Photo for the longest time you used other brands you can still get beautiful images with other brands but for me it's about what's important and a couple things that are important one of them is my modifiers with so many different modifiers to choose from they're high-quality modifier if there's something I don't have I can always rent Profoto modifier so that you can't rent a lot of other ones the next thing that is super useful to me is actually let's grab this how the modifiers go on and off they go on and off so just brilliant quick release on the side and a lot of other brands that I had in the past what would happen is you'd have to like pinch them fit in the notches rotate it and like that I could never get it especially with a giant softbox and it was just not fun so I know that when I shoot I'm very fast paced I'd like to move a lot I'm bouncing around so I picked modifiers right I helped pick help me to pick Profoto because of that the other reason is I get really fast three cycle times so you saw the shots right had the dancer jumping I need to be able to take a bunch of shots oh I can get it read cycling and catch her several times throughout that we're spending or jumping it's just the way that I shoot I'm very active when I shoot and so you also notice that I won't be on a tripod because when I shoot I'm doing this as soon as up and down and I'm trying different angles I'm going to try to look a little less erratic than that and I try to be a little smoother but I get excited I'll go home this angle look good I want to be able to freely move there if you shoot a tripod that's fine but I want to let you know that people that learns that you have to shoot a tripod that's not necessarily true either I never do when I'm shooting portraits so I shoot the Profoto do and air 500 watts there's two other reasons that I shoot them 500 watt seconds I now I currently have the the luxury of having a big studio now but for a really long time I had a very tiny studio with lots of white walls and when I had a thousand watts are really strong strobes they're so strong in that small space that the light would just go everywhere and I would be shooting at like f-16 f-22 even when I didn't want to which is there was so much light so I like to shoot with the 500 Watts because it gives me a little bit more control it's not so much and if you shoot events we shoot outdoors where you shoot big groups that's why it might be appropriate for you to have a little bit higher wattage the last thing is that I'm a little bit slightly height challenged a little short when people meet me in person they've seen me online though they always say there's two things they always tell me they're much shorter than I thought and it said you're much skinnier than I thought so apparently online I look really tall and not skinny I'm not really sure how to take it um don't worry if you said it to me it's fine I don't hate you yes but the other reason that I shoot with these particular brand is because I use my air remote triggers so if I've got a big hair light or I've got a light off to the side I can actually change all the powers of the life individually from here so I'm not wasting a lot of time going up and tweaking the lights left and right like it's all controlled from my trigger all right so that's to explain the actual strobes let's talk about the modifiers I'm going to start in this setup with the modifier I use probably most often if I'm going for an elegant portrait I use a large umbrella with diffusion and the reason that I do this is one of the rules of lighting is the larger the light sources relative to the subject so a big light source really close means it's relatively really big the larger it is relative to the subject the softer it is so if I want really really soft light I take that light and I move it in really close now another way that I could get big soft light would be a big soft umbrella but these are so much easier to set up like than having to fight with gigantic soft boxes or finding a place to put them so I love it because it's an umbrella that can pop up quickly and in particular why I picked this umbrella is it's a particular one I've got is it's a deep umbrella and so what it's what it's doing is it's forcing a light out in one direction a little bit more light falls off a little bit faster and it's easier for me to feather because right now in a small space I can decide whether the light is also hitting the background if I angle it this way or with the other feathering zeiss feather it across her I'll still light her but it won't hit the background and a lot of those really wide umbrellas the ones that aren't deep it just tosses light everywhere and it's a lot harder to feather and to control where the lights going that's one of the benefits of shooting softbox is it is easier to feather so that would be one of the reasons you might choose one over the other and then this diffusion makes it even softer on her face so if I want that kind of Renaissance look a lot of that was done if you think of Rembrandt I was actually in Rembrandt studio I was in his studio in Amsterdam last year and it's just a big bank of windows so this is my window and I use this as my window all of the time so I'm going to keep it nice and close and soft to her there's two modifiers that you will see on my main light pretty much anytime you come to my studio I've got a few that I switch up but main one is going to be this and the other one I'll use in the next setup so I'll show you the other main modifier that I use okay so we're going to pause on lighting for a second we're going to pop over to gear I'm going to be shooting with a Canon 5d Mark four there are two cameras that I shoot with and I rotate between depending on my needs most often I shoot with the 5d Mark four it is my workhorse camera it shoots quickly it focuses quickly it's got pretty high megapixel beautiful color beautiful range and detail in the images I love it in also does fantastic video so when I'm shooting I can do a moving or a living portrait as well and that's something that I use for my branding so if you go to my website you'll actually be able to see my living photographs so that's why I use this most often the other camera that I use is the Canon 5d s and a Canon 5d s is a 50 point six megapixel camera so if I'm going to do that picture of the family the game of Thrones is they're going to blow up huge I'm going to grab my 50 megapixel if I'm going to shoot in low light I'm going to grab my 5d Mark 4 or if I'm shooting close-up macros this is what I do in fast in photography I can make the eyelashes look thick as tree trunks when I use a macro lens and the 5d s so it's like I'm choosing but most of the time for portraits 5d Mark for is what I go-go is now there's two lenses that I'm going to be using and I'm actually probably just going to use one today it's the one that's the most versatile for the way that I shoot and I'm going to be shooting the cannon 24 to 105 it's just a super versatile lens because I've got from 24 to 105 and the reason I like it I already told you I'm super active when I shoot and I don't really usually need to change lenses very often because I can get a pretty decent tight headshot at 105 finally tighter I switch over to my other lens choice which is the 70 to 200 to 8 go to the two lenses I shoot most often there are exceptions I'll just tell you real quick like many of you I am also a gear nerd and so I do own like everything for example I decided I needed a 16 to 35 I shoot portraits but I wanted I have a little bit of everything so I'll tell you what I shoot why shoot most often so the 24 to 105 when I'm shooting in the studio most of the time I want to be moving and active and keep the flow in connection with my subject so keep on the 24 to 105 because I've got a lot of range and the 24 to 105 is a 4.0 in the studio I'm not usually shooting wider open than that because I have pretty simple backgrounds I'm not actually trying to kick the background out of focus so the 4.0 isn't a problem for me and the versatility is what I'm really going for any time I need to go above that 105 I grab my 7200 again versatility I love the blur that it gives me in the background it's sharp great lens my exceptions are when I go out on location instead of the 24 to 105 a lot of times I do the 24 to 70 because I like to have that 2.8 of the 2470 2.8 because for all of you that are here in New York City you know how when you shoot there's a garbage can a taxicab and like a dude spitting lick in the background like this is your composition and so I would like to cast them out of focus so I tend to shoot with wider aperture lenses which is why I also have an 85 one too and the 51 too but if you ask what most often you see on my camera it would in fact be these two lenses so those are what we're going to use today I'm pretty sure I'm going to lean mostly towards the 24 to 105 because that is like my most versatile go to Len okay next part of this is tethering I'm going to be tethering using the tether tools tether cable if any of you have one of these recent cameras with USB three okay USB three is nothing to do it can not the Nutella tools USB three is just a crappy connection like the way that it holds in if you accept if you know what I'm talking about like it's Wiggly doesn't like something like snap in place so you've got canon if you actually go into your bag into your original box there's a little thing that helps hold the tether in that I didn't know existed until I had two other problems so check out your box for that but for the tether tool tether table consider getting the right angle tether because it's a more stable connection than just the one that goes in to the side of it so what this is going to allow me to do is going to allow me to be shooting directly to my computer so the pictures are going to pop up when I shoot when I do my images as artwork my portraits is art I always shoot tethered I shoot tethered because can help me see details that I wouldn't have seen before it allows me to apply preset so as they're coming in we're getting the mood of it the feel of it if I work with a creative team they can be like oh wait the makeup I need to sex or whatever it may be when I'm shooting with the average person I don't actually face the screen towards them until I got something good and now what I do to help them feel comfortable feel happy I go huh I love this shot and I turn around I show that I'm genuine about it because I am that excited about my photography but I'm trying to show them that we produce something beautiful together you did a good job we're working together but I don't usually turn it towards them if I am doing a fashion shoot I show the model so say can you fix the hand and I'll point to that the only time I'll change it is if somebody's like staring over my shoulder you know not looking at me and they're paying too much attention to the screen the other thing that I've got on this tether table is at the end I've got this little booster what happens is when you've got huge files so with the 5d X for example it's 50.6 I'm shooting Ross these are huge files with this long table what Marines I think the file they just they're going real slow soon your add the booster adds a little bit electricity a little bit of pop to it pulls them in faster so if you've got your tethering with big files and a long cable you're going to want the booster less I'm doing for tethering okay the next part of this equation is I'm going to be shooting tethered into Lightroom I'm going to shooting with Lightroom cc and I will also be editing in Photoshop I always begin in Lightroom and end in Photoshop I do not do my blemish removal in any of that in Lightroom Lightroom for me is your contrast your exposure and your color and then all of the other details I do in Photoshop the next part of this however is if I am managing and editing these files I edit on a bunch of different computers I've got my iMac at home I've got another computer at work I've got my laptop and so if I'm editing and all these different I really need them to be consistent color so I use the i1 display as one of my tools for calibrating I actually have a color monkey as well but anyways what I do is I make sure the color profiles in the color is consistent on all of the different computers I'm editing on because it's one of those things where it sucks if you edit and you spend hours on one computer and slippered the other and you go crap this look right so it keeps me consistent and then also and make sure I've got the correct color for when I print and the printer that you see here is the one I have in my studio it's the Canon image progress Pro 1000 so just SOCAN in pro 1000 that's what I have the reason that I like this one is I do print for my portrait clients but as a fashion photographer I love doing that because what i do is i print out images for a lot of my commercial clients that they actually never get prints with me when a commercial client hires you they're not they're not buying prints but if i print out something really small they're going to stick it in a drawer and never look at it again but if i print out something big they're going to the pool with the heck do i do with this so something that size is really great because it's a showcase of the project we did together and they're going to hang it up and it's a thank you so i just did an eyelash campaign for big brand last week what I'm all done and they pick out the images I'm going to print out my favorite sign it and thank each of the account executives that were there for that brand and that's going to be a thank you to them so they remember me they see the quality and it's going to be next time they need a photographer whose print is on the wall so I do things like that as well and you'd be surprised a lot of portrait clients they actually will thank you for printing not just giving them digital files and one of the reasons is if they've done it before they know that those pictures don't leave the computer and then they know they lose them and they know that they know that they don't get them printed out and people are starting to realize that in the past I've given my digital file that's all I want I want to print them and not you have you do it not have you charge me now because time is passed they're realizing what happened to all those files all those memories all of those photos that never made it off the hard drive so I encourage printing and sell prints to the portrait clients as well all right so I think I've got the range of gear so I'm going to get started with this first lighting setup and let me check my perfect okay so of what I'm actually going to do is I'm going to ask David Beck there would you um dim the lights for me the reason we're doing the lights is because I'm going to be using my modeling lights to actually see what the strobes are doing this is one of the reasons that I'm going to be using studio strobes instead of speed lights or anything like that because I can really see what is going on as I sculpt the light on the face all right so let's take a look at this umbrella on her face first and foremost this is the only light I have on right now I'm going to build in this set so you can see it piece by piece all right ideally thank you that's great that's perfect that's perfect okay so got my 24 to 105 you look beautiful let me take a quick test shot here all right let's see what the light is doing okay so on this first shot taking a look you see that the way the light is sculpting on her face it's really soft and it's giving her kind of loop lighting if she turns her head towards me just a little bit more great turns her head here I can do even more of that kind of Rembrandt lighting look sort of looks more like an old painting because the shadow of the nose creeps over and meets the shadow of the cheek okay so I'm going to analyze if it's all meant to be warm and gold it is looking warm and gold but a couple of things that I know that I'll probably want to change so one of the things I know I want to change is I think she needs a little bit more light to the shadow side of her face it's falling to completely black and if you look at old paintings there's still detail on the shadow side and also for me for a print when a good quality print even the shadows you can see detail they're just darker so instead of bringing out another light I don't need to do that I am going to bring out a white reflector a white reflector is just going to catch some of the light from this main light bounce it back towards your face with Stephen Club real close for me great let's try there perfect okay let's take a shot in my studio I don't usually use the big reflector I actually use white V flats those big pieces of white foam core because I don't need someone to stand there and hold it and I can get full length super one-inch back yeah thank you okay alright so watch the shadows on the side of her face and just opens them up if I don't want them to be so filled in I back Stephen up further or I pull my reflector further away it won't fill them quite as much another reason to why I chose this big soft light all right if you use a hard light what you get is you get specular highlights you get bright highlights and dark shadows if you're photographing someone like me with really really pale skin the highlight against my white skin you'll see it I mean it'll be there but it's not as noticeable when you photograph darker skin tones the highlight is against darker skin so it's more noticeable so harder light makes more specular highlights and if that's not what you intended then it's hard to control softer light is a little less contrasting the highlights aren't as bright the shadows are as dark the transitions are smoother so that is usually I do if I'm photographing a subject with little darker skin that doesn't mean I don't shoot soft boxes on unpeel people like me but all right so it looks good so far I take a look at one more thing as in a small space let's say I didn't have a background light and I wanted to light my background I could feather the umbrella over when I point the umbrella at the background little clintus even great Snowden in this shot I'll have light on my background because I pointed the umbrella that direction however if I feather it across now watch exact same shot or exact same everything the only thing that changed as I feathered my umbrella I pointed it off the background and it's gone so that's part of my feather feathering is important people always think oh I got to take my softbox on my umbrella and point it at the center of their face and that's it's not true it's given me an important tool for changing what my background looks like but actually I want to cut the difference okay Oh a little light but not a lot let's try there and share it one more good thank you by the way as I'm focusing how I shoot is I use back button focus so I'm using the button the AF button on the back of my camera have it set so that I use that to focus okay I'm using that button to focus and I'm using my shutter to actually trigger here to take the picture so I focus if you see we do this I sometimes will focus like this but that's what's going on the next thing is is I'm setting individual focus points so I use single focus point or the really small group and I'm placing it on the eye closest to the camera so I know that that's going to be the sharpest if you look at the settings I'm using here I'm shooting at f11 so I know that even if she's turned away both eyes will be in focus at f11 she's going to be sharp if I wanted to keep the background out of focus shoot wider open I could but I got to be more careful with where I place that focus point all right so let's take one more Stephen come back this way let's figure this out for what I want up a little closer great okay so I like it what I think that she looks kind of queen like and regal and I think she like her hair and her bodies maybe blending into the background a little bit so what we're going to do is we're going to turn on a background light so this setup will be a total of two lights one light on the subject one light on the background and then a reflector up to the front so the light that I've selected for the background is a grid and what grids do is they focus the light and technically if you're real nerd it's increasing the fall-off of light it's the same thing it's focusing the light this is what's happening and so grids covering different sizes the smaller the number the more focused it will be so I think of it like this small number small area lights so that's what that is done okay so this is a 20 degree grid and so 20 degree grid is give me a little bit more spread with my Profoto lines I have five ten and twenty different brands your numbers will vary just know smaller is tighter bigger number is wider so I'm going to place this behind her to give her a little bit of separation from the background and then and it may be like a little bit of glow from behind her it'll look like one of those old-fashioned paintings were she's got like almost a halo behind her so let's let's give this a try again all right looks good we see her this 220 I would like it to be a little tighter I want it to be smaller can you grab me a ten please so what we're going to do and don't move the light at all we're just going to show them the exact same thing so ten is going to focus it behind her just a bit more so look the spread will not be as dramatic right so I've got a little bit more of that halo okay so I think I got my light all set and now it's time to photograph her so I need to ask myself couple of questions and so it would be what was the idea behind my posing in this case if I were going for an old painting I would inspiration opposes an old paintings so where the arms should go where how the hands should be because it might be different than traditional posing so let me start with that and I also think of since she's a queen she's regal I went shoot a lower camera angle than I would usually shoot because I want her to look powerful on her throne so I'm going to shoot a little bit further back a little bit lower angle maybe like a 15 millimeter focal length we'll try something around there so perfect just like that Jenna do fie a little bit more perfect and I'll put your hand up to your chest right there great perfect and Steven that little flap on the reflectors visible thank you okay and bring it back in close great chin up a little perfect great in our hand sauce to the side of your face perfect and then hide respond to your index finger great and wiggle and real soft beautiful great and then chin to the light oh great and I'll give you a real soft eye beautiful notice I mean out now I'm saying this will be weird cuz she's obviously here as we say that notice how my voice changes like perfectly I give them unlike sculpting with my voice when I direct people I'm trying to do that okay turn your chin to your left just a little bit to your last great tilt your head back towards me Oh perfect and so I'm like coaching them and letting them know what I like so that that's how I talk when I'm photographing someone so I like it but it's not super queenly to me yet so let me try a couple more poses can you try their hand on your thigh lay your right hand on your thigh and the other hand on top of it - here yeah I feel like I feel like that looks like a queen pose maybe be holding a sector or something okay let's try that good turn your body a little bit more to your left and then pull your elbow back a little bit more yeah pretty Joseph can you move the state grid to the right a little I want the light a little more centered behind her right now it's a little bit too far left hand side so I want that little bit of glow and pull those oh I'm stuck one more time good a little less a little less perfect and then yeah curl the fingers beautiful great so pretty okay so now what I want to try sewing to try a couple close-ups I think with the close-ups I'm going to come in and show you the higher angle because it'll make her eyes look bigger it'll be a little bit softer so it won't be as strong and cleanly and regal but it'll be more connection to camera okay just like that good I'm going to head into the light here yeah beautiful and turn your shoulders a little bit further bring er your elbow to afford ya right now she's turning her shoulders a little bit broad to me like there see how she got wider so I'm just trying to narrow it just a bit great and I'm looking right here perfect great okay so I'm going to try one more funky thing and I noticed with her outfit she's got this epic tape of I would probably with more time stand her up and try things like that but actually since I'm seeing this I'm seeing it looks like a painting it looks almost kind of religious I'm actually going to turn this into a veil perfect okay and I'm going to have you turn a little bit the Sun great and then come back towards me yeah a little less and then hands on top of the other so let's try a couple of those shot beautiful great yeah so pretty so pretty gorgeous you look great I need a little bit too much veil on this side so I'm just going to shrink it adjust a little bit you look better I think I was pushing your hair hon I just go up a little more they're great I'll try one hand higher in one hand lower perfect great okay now before I am done shooting once I've decided yeah this is my light like this is what the light is going to be I have to get a picture of my color checker okay so my color checker what it's going to be is going to be my reference for color so if this shot is all gold and warm toned and I've got the wrong white balance it's not going to work and one thing to notice if you are shooting auto white balance I'm right now shooting on the flash preset take a look at auto let's see how it does I haven't tested it yet but I'm sure it won't work for oh yeah okay Auto okay that's what Auto gives me here's why autos reading all the red in the scene and also the red and her skin tone it goes always warm we need to cool it down we're going to cool it down and add some blue and then when you had blue to her skin she's good it's going to look gray it's gonna be saturated there's a huge difference so do not shoot do not shoot auto white balance again here's before here daftar for my line particular studio strobes here I know that they work best with a preset a flash white the flash white balance a lot a lot of strokes aren't accurate like that I mean so I absolutely shoot my color checker either way and I can actually just take a picture of the gray card because I'm going to use this in Lightroom as a reference points let me just make sure I get this right so even if you mess up even if you shot auto white balance which is awful I can fix it later great okay so let's yeah okay perfect let me shoot like one more good and chin up to light perfect and put your right arm forward leg all the way this way yeah perfect great okay so I'm going to do is I'm going to retouch your edit one really quickly and then we're going to look at a totally different concept so this is golden goddess warm all of that so if you shoot your color check or your gray card and if you've got your color incorrectly what you would do is in Lightroom you grab your little eyedropper white balance so I'm actually in the developed module and I'm going to grab my eyedropper so white the white balance selector and when I click on this what I'm saying is this is a neutral card this is neutral and so what it does is you see that difference watch here's before here's after she went from pale and washed out and kind of kind of bluish to having a lot warmer tones to her skin so again I can select it and it gives me the correct white balance and it gets rid of color cast so if you do this I do this even if I didn't shoot the wrong white balance because it's not all light is just right on so what I'll do is I'll shoot it in the beginning or the end of the shoot and then I sync it up so I sync it up with every other photograph so they all have the correct white balance and so in Lightroom it's pretty easy to do that I can select that corrected photo and then start with that one and then I select all the way back I hit sync settings and I synchronize you didn't have to make sure the white balance is that correctly so it's going to sync them all right so you can see you're getting kind of the right warmth okay so the next thing that I want to do is I want to start working on my exposure just a little bit and so I'm just going to mess around with a couple settings there is not really an exact process but because I'm shooting on and working with a calibrated monitor I'm actually seeing the file that I'm working with I'm not really guessing so I can say okay I want this brighter if it looks good brighter make it brighter if you want more detail on the shadows add more detail in the shadows it's fine it's a creative process so I'm going to look at it here and I feel like it's a little dark and guess what take a look at my histogram yes this picture is predominantly darker tones but if you look it it's all kind of gathered on the left-hand side and what I'm mounting over now you see where I have the blue what that means is that it's areas of my photo that are so dark that it's not holding detail in a print if you want a good quality print even in the darkest areas you want a little detail just like just a little bit of detail so I'm going to do something to bring that back so let's bring up my shadows Oh hit that fix it right I just I brought up my shadows get a little bit more detail I think the pictures a little dark and brighten that up a little bit that looks good however I was going for gold and goddess a golden queen and so I'm actually going to in this example mess up my white balance on purpose the gray card did a great job of helping me get rid of any color cast as well but I decided I want her to be warmer than reality because we're going for more more more all the way across so I'm going to warm up my color temperature really warm see how golden it all gets it warms up but obviously it's probably a little bit too warm so I'm just messing around with things but I'm going to decrease my vibrance let's maybe pop the clarity a little bit let's bring up the picture tiny bit increase my contra I'm just kind of messing around with things so let's see where I have before-and-after so far so it's pretty similar goal like a little bit warmer maybe something like that okay so I'm going for like a little bit warmer on this side of the frame a tiny bit warmer let's take a look at applying this to some other shots see thinking checking okay it's a nice sharp focus on that let me apply that that effect some other shots again can select the first one click all the way to the last frame sync settings and making sure everything's checked but crops because I don't want it to sink the crop it's going to apply that effect to everything after it so now what I'm going to do is I'm going to quickly call call me go through these and figure out which one I like best I don't have a lot of time here and I want to retouch this briefly so what I usually do is when I go through anything that I would consider this might this is not the right way to do this is just what I do anything that I would consider I give three stars and then I go back I look at the three stars and I either bump it up to yes I'm going to edit this or I bump it down to no this didn't make the final cut yeah I like that one I think that might be the one I edit I don't have too much time to work with here okay yeah let's let's edit that one so in Lightroom what I would be fixing would be color exposure contrast all of that let's just just a little bit so I'm going to crop in I messed around with my exposures it's looking pretty good and let's just make it a little bit tailor for creative purposes all right all right I like it so we're going to go with that this is the kind of stuff that I would do in Lightroom but I would really do all my skin editing in Photoshop so I'm going to open up in Photoshop CC open it anyway and so when you print this out if you look at the skin tone next to her if I if in this particular case it'll be a little bit warmer let's come in I'm going to duplicate my background and I'm going to pop in and I'm at like 175 percent I'm going to just get rid of some blemishes so the tool that I'm going to use is I'm going to use my Spot Healing Brush this isn't a retouching class because obviously in two hours on teaching and drinking start to finish so if you want to know more about my retouching techniques you can go to the learn with Lindsey website business Spot Healing it all I'm doing is I'm basically saying to Photoshop hey whatever I'm mousing over here this is whatever I'm clicking over this is not good this doesn't belong here take a guess and replace it for me I'm basically living it up to Photoshop - guess there are other tools that give you a little bit more control but I'm telling Photoshop it doesn't belong if I were really retouching this I would probably take about 40 in 40 minutes to retouch this image in its entirety just so you have an idea of how much time I really spend so let's pop around okay looks good alright so I don't have too much time some of the real short and then let me just do something that you do not think you'll know what this is I'm anything called frequency separation if you don't know it add it to your to learn list down the line I think one of the most useful things for me watching other photographers work was figuring out what I didn't know I didn't know right like ringer oh I've never heard of that and so basically what it lets me do is I can retouch the skin see how it's all blurry I can retouch the skin to smooth out weird transitions you know like if it's a little bumpy here or the shadow under the eye here I can smooth things out and then I have my texture in the top layer so I always can add it back on so this is what I'm actually doing I'm retouching on color and tone and not messing up my texture let me work on this for a minute alright beautiful um okay they're a little bit more won't spend too much longer on this good and I said I would get rid of kind of all anything that's bumpy that's not important to skin skin texture but actually would be a blemish or distracting texture all right so this is pretty good think the only other thing that I would get rid of would be this little spot next to her mouth and then if you clean up her lips so let's get rid of this okay all right it's good and let me fix her lips just a little bit okay all right so these are my Spot Healing again and I'd go in there more carefully okay so let's take a look let's him out she's looking really beautiful let's take a look at the before after it was not severe okay so here's the before here's the after just just evening out tones cleaning up blemishes I would spend more time others isn't really think there's too much else I would do to this image if I'm retouching I do something called contouring where I paint on highlights and shadows maybe I'll do a quick round of that and then I'm going to send it off to get printed all right so let's just contour just a little bit I'm adding curves layer one lighter one darker and I was selectively paint on highlights again not a retouching class I just wanted to show you kind of actual tools that I'm working with so I'm painting on our highlights of her cheekbones going on the shadows okay all right so just take a look at I just popped out the detail in her face just a little bit and he goes before his answer is popping stuff out and add a little bit of highlight okay so I'm going to go with that and I'm going to pass it off to you usually oh yeah so when you edit I edit in 16-bit RGB tips but I'm going to deliver it to him in this case as a JPEG because we're printing out real fast though all right so I'm going to do one more set totally different mood totally different concepts okay guys so our concept on the last shoot was gold and warm and clean and regal and now this is just real expensive and teal so I'm going to exact off the rich colors she just looks expensive thank you and if anyone saw me do my last livestream here at me and H she was also my model because she's wonderful and lovely and I think she's fantastic okay so what I've done is I've got another gravity backdrop in this case teal and we've got a teal outfit thing and I'm going to make it teal teal teal teal teal but I'm now using the other modifier that I use the modifier that I use most often besides the umbrella and it is called a beauty dish and I'm going to have you pop off the grid for me a beauty dish is fantastic because it's kind of the best of both worlds when it comes to a lighting modifier because you get the beautiful forgiving glowing light that you would get from a softbox but you've got more contrast and more control it just got its got more pop to it so I'm going to be able to change the direction of the light and control it a lot more than I can with a softbox or an umbrella so right now these lights are off the only light that is on is my main light okay so let's let's just take a look at this I do believe I need the house lights dimmed if you would please and thank you so we can actually see what's going on so just the beauty dish is on at the moment so let me take one quick shot just like this okay so I like it so far I see I like it so far see like see that glow the beauty just gives you it gives you like it gives you more pop more contrast the shadows are darker the edge of the shadow on the nose is a little bit more crisp it's not hard but it's a little bit more crisp and it's still blowing on our skin so it's the beauty dish if you notice there is a little bit of light reaching the background but let's say that I want to light the background like the last one well with a beauty dish when you feather it doesn't really work that way you can't feather as much because watch when I feather she's getting the raw edge of the light on her face and so it's hard light it's not the glowing light bouncing off the center panel so I can't really feather to avoid the background light so instead what I'm going to do is we're going to add a grid grids do focus the light but they also and really what it's doing is making a light fall-off faster so what this means is that same light will hit her face but it's not going to reach the background so now this I'm going to the exact same thing I haven't changed my camera settings so the only difference is we added a grid to the beauty dish and there are grids that can go right directly on your lights there are grids it can go on soft boxes or grids that can go on beauty dishes so I'm going to take a shot now that we've added the grid on and I drop my grits I made a little bending okay here we go test okay so nothing changed except for I added a grid like background is gone so if you're ever in a small space and you really are trying to separate the difference of your subject in the background the main light spilling consider adding a grid it gives you a lot more control so that's exactly what I did here the next thing I want to do is I know I want this to be really teal and I kind of wanted to be funky I think what I'm going to do is play up color right it's teal teal I'm going to play up the color and I'm going to add teal to the shadows I want to a gel part of this shot when I light with gels one of the things that I know is that gels show up most in shadow area how I think of it is I think of the shadow like it's a dry spot and when you give it water you give it light soaks it up so in this instance let me take one more shot raise this up just a bit so in this instance can you turn your head just a teeny bit yep perfect let me take one shot okay so and then chin right to me right there perfect okay so take a look at the shadows on the the left-hand side of the face there's a ton of shadows in it okay right by the way I'm shooting in auto white balance which you shouldn't do did you notice how the color shifted this is why you have to control your color so I'm going to go back to my flash white balance preset and once I get my lighting set I'm going to take another picture of the color checker alright so watch those shadows let me take one more so I got the color consistent okay so don't move same thing now I'm going to add a gel and I'm going to add a heel gel there's nothing fancy I just have this gel taped on the front of the zoom reflector we need more tape to us yeah we're good for soup so now what's going to happen is if you watch those shadows that's where the gel shows up that's how gels work so take the exact same shot hand to your chest again for me what's the same thing and watch for you see gels in the shadows but that's exactly where it goes and I already loves that shot like it's getting that feel that I want I like to gel the shadows because it adds mood or it has a concept so my concept in this case is teal so it looks really good if I want more teal on her face I have to create more shadow from the main light so I want less peel on her face I create less shadow from the main light or I can turn her face so watch turn your head to the main light for me great and now turn your head towards the other direction so if you watch in the first shot it's mostly in the jawline not actually on the center of her face but when I turn her face the other direction it's in her eyes a little bit more so just know wherever you create shadows that's where you see gels so I like the idea of where we're going here but I would like to see some light on the background but I don't want to like wash out the whole thing so I'm going to have you add a light with a grid so we're going to do a gray to get what your foot grid you have on okay let's check we're going to try it with ten degree grid I mean I want a little glow to pick up that background get its move on for a second alright okay and turn turn up really high so got a purple gel on here I want to see if I like it playing with color it's interesting I think I need a wider grid basically that means that right now it's hidden behind your body I need a grid that'll light a little bit more so we're going to switch it from a 10 to a 20 20 is going to give me more shred I'm going to take one more shot with a purple but I think I'm going to probably skip it I think I'm just going to skip to teal teal teal but let's let's try the purple I'll try one more beautiful say yeah okay so have you removed the gels for me and then you probably have to turn the power down a little bit but let's let's test it and right now you can see from the main light that's the grid turn on you go the grid it's not a perfect circle behind her it says we're pointing from the side so can you bring it in and point it back more I want it to be a little bit more circular all right yeah and then yeah let's try this okay yeah so that I think that's looking really pretty yeah I like it so I've got teal on her tail on the shadows teal on the background to you all the way across so I think that's the light that I want so what I'm going to do is I'm actually going to grab a picture with my color checker right now that I've got the light right however the color checker is going to do it's going to get rid of color cast well this is a color cast that I want to keep on purpose so I'm actually going to turn this off so that it's not considering that how I need to have her hold the color checker if she needs to hold it in the light in this case and the light that is illuminating her and she needs to hold it this direction up okay and so you'll see it's actually when the faces are the right side up I'm going to take a picture this we're going to use this later because I'm going to use it to get the correct colors right now it's probably not going to be the right vibrancy so we have you hold it out and don't let them touch their fingers to the to the colors here because these colors are actually pigment it will shift the tones of it so I want to make sure that she's holding on to the side nice and close to the light on her face thank you okay great everyone take one more just in case okay great perfect okay so I'm going to go to shoot a little bit let me check my time perfect okay let me shoot a couple frames of her like this can you yeah turn to your right a little bit and look your head back to the light perfect and try something with your hand up great perfect okay great let me see that ring beautiful out good take a look at that so far looking good and this is also again I shoot tethered because I'm going to make sure I like the lines they're like the light there's nothing weird about the hair makeup that I need to change so I like it I might turn down this gel just a bit maybe a little strong but it certainly it's defending the concepts that I'm going for okay good beautiful and I'm focusing using a single focus point or a small group those are the two that I use I've got a small group and I'm focusing on that closer to cameras let's check it again okay let's do the hand up and pop the color one more time yeah beautiful good and chin to the light again but and cross that that front arm way over yeah just like that and bring your elbow and even more perfect trying to make a triangle chin up a little good good notice my recycle time I shoot quickly I'm going to know it's going to be full power and give me the right exposure every time so one more lean way out then chin back up and you can pull that elbow out again if you need get up maybe put your hand in front yeah yeah perfect perfect and one more at me I'll take the pin great so I'm going to select from one of those okay so thank you that's it are you leaving before I say goodbye I guess I love what you do so maybe I'll see you in LA next week okay yeah oh yeah okay so I like that shot for example I'm going to start it because I don't have a ton of time to call but let me just show you so before one of the ways that I was using the colorchecker was just to get kind of a gray card another way that I use it if you see these little whether the people aren't they have multiple colors of grey what I can do is I can actually select a different color gray to pool down a photo or to warm it up but I never understood what all this stuff was for okay I thought so yeah okay for me I've noticed that when I shoot certain colors and in certain slighting situations do I shoot certain things the colors aren't right they're not the same as I'm seeing with my eye and it's not like I'm it's not like in the print it's like like right away it's not right like like bright red in the Sun or for me I see that like Purple's never look quite right and it just has to do with our sensors in our lenses so what this does is each one of these actually each one of these squares has a value each color has a specific value so it's a specific CMYK RGB value so when you take a picture of this I'm going to show you in Lightroom there's a plug-in and so the plug-in and Lightroom know exactly what color blue that is exactly what color yellow is that exactly what color pink that is and so what it will do is it will make it the correct color and it puts your colors back to where they're supposed to be and so for me this is really important I mean again if you're photographing pinks and purples but for me as a fashion photographer the other thing that I noticed is sometimes I'll shoot something supersaturated and it just looks dull like it doesn't have that same pop as I'm like as I'm seeing with my eye so why isn't translating and a lot of times it's this so it means not doing my custom color profile that's what I'm creating I'm creating a color profile not just getting the right white balance you can do both but the custom color profile will help with the color in this instance so let's take a look at that I'm gonna show you how to do that first I'm going to grab this picture for example and what I'm going to do is I'm going to crop in so that I'm just getting those colors on the bottom I'm going to crop in to somewhere around there I mean it have to be close fine see okay they actually give you the little crop lines on the side alright and what you're going to do is you're going to download the plugin and this is what the plugin looks like it is free on ex-rights website so if this is the x-ray passport color checker this is their custom color profile plug-in so go to their website download it to the max and there's a PC one and you would load it into Lightroom this you load it into Lightroom trying to move this out of the way okay under file and then plug-in manager this is where you would install your plug-in I use it so obviously I've already got it installed and running so what you do is for each different lighting situation lens and camera so in this case I'm going to create one what you do is you you export to get a custom color profile so you go to file export with preset color checker passport I'm going to name it I'm going to hit save and it's going to take a second it's going to process it so it's looking at it and saying okay here's the colors you have here the colors that it should be it's going to create a custom profile specifically for this exact situation to get everything right so it takes a minute for it to process and I do actually have to restart Lightroom to bring it back up so I have that option for my color so let me give it a second and I will go grab that perfect so it says the profile has been generated successfully Lightroom must be restarted so that's what I'm going to do I'm going to quit Lightroom restart it and I'll show you where you get this profile so I restart later and it's going to be over in the developed module okay so where you do your develop settings but all the way down at the bottom so weld all the way all the way down at the bottom under camera calibration I do this all the time and many photographers don't know to do this if you go to profile there's all of these different camera profiles do you ever see like a perfect example and in the back your camera when you can set standard or neutral your your picture profile you can set your picture style thank you you set your picture style well when you're shooting a raw it doesn't really matter because it's not like baked in but then sometimes you shot with a specific pictures a picture style then you bring it up in Lightroom and it doesn't look the same as what you shot because it's putting it in with in this case the Adobe standard but there's different ones here so I actually just created one with B&H session - okay watch what happens when I click on this watch the colors did you notice that a lot of them got more saturated so let's go back a lot of them got more saturated so here you go ready this is the picture profile the color profile so the colors got more saturate and some of them shifted because what I was capturing was not accurate to what like those colors actually were so now what I can do is I can go back and sync this or apply this profile to the scene here and so for example when I was trying with the purple I can go down to that setting and I can grab it again you know the Vantage session to watch the Purple's see how they got just a little more saturated so ready here's the floor here's after it shifted the color a little bit got more saturated so for me why shoot super saturated tones a lot of times that I'm looking at it and it's not right I don't want to just pump up the saturation because it does it in all these different weird places so I get my color profile right then it pumps up the color correctly in the right places so that when I send it to print still looks good alright so I'm going to make sure I apply that all the way across to all of these and I'm going to mess around with color a little bit more but not color exposure so let's let's look at the photo that I've chosen I just think that profile of all the way across people often ask me how I get the really pale porcelain looking skin I mean part of its in camera right like it's the way it's lit is the way as the lighting is it's the way the makeup is it's also a pale subject so it's all of those things added together but there is a little bit more than I do in Lightroom so where I messed with the color of the skin tone and pale it out is I do so in the hue saturation luminance panel because I can go into saturation and see this little dot in the top left hand corner that's a targeted adjustment so I can click on the skin and drag down and in desaturate it I can go all the way to gray but I'm not going to I'm going to back it off a little bit and so if you notice the reds and yellows and oranges which in this case it's her resident oranges shifted a little bit deep saturated cuz that's what the skin tone is reds yellows and oranges so that's why I do saturated those and I dragged but then when I decrease the saturation in people's skin a lot of times they look great they look kind of dead so I usually lighten it back up I do the same thing I switch over to luminance luminance means light and I'm going to grab that targeted adjustment and now same target adjustment I'm going to click up and lighten up that skin lighten up the skin just a bit so that should be pretty good let's see if there's anything else they want to do when you pop the clarity a little bit I'm going to lighten up the photo a tiny bit I think that's probably pretty good there let's fill in the shadows okay so now I'm going to pop this over into Photoshop and do my final my final retouch to it and she doesn't really have much to her skin to clean up so photo edit in Photoshop CC by the way again I will put up at the end the link to where you can get this presentation so for all those notes but also it'll have those two presets so the color adjustment I did to Imani the first girl the golden I've got the preset that I created in Lightroom there as well as this preset so it'll be uploaded whenever you check it alright so let's just do a couple more tweaks to her I'm going to zoom in and I mean how lovely working with muscles in this case I chose to work with I selected my subjects with some beautiful skin this time because I knew I had such a short amount of time for retouching but obviously retouching is part of the process and so any subject that I photograph I treat them with the same fashion style the same as a piece of artwork even if they need little more skin cleanup all right cleaning up the skin and then I will send this one off to print as well so you guys will be able to take a look at the end ok I'm finishing this up here and I promise this isn't actually just like me saying a Canon commercial I used to have another printer forever ago and I had to do so much cleaning and I had to do like it's blends things would get clogged and that doesn't exist anymore with the Canon printers like you don't have to do that type of stuff like it it just works like I've had the printer now for a year and a half and I haven't had to do any maintenance I just changed ink when it needs to be changed and then it's done alright so all I did if you want to see is I just cleaned up her skin just a little bit here's before here's after just getting rid of distractions but that's good to go for now and all I did was blemish removal and a little frequency separation so I'm going to save this I'm going to pass it off to him and then I'm going to do a little bit of a wrap-up alright man I like the detail on this look at that super pretty and so again this is the mark 4 and this is zoomed in a almost 200% so got lots of detail alright let me transfer that now again I add it as a 16-bit RGB tiff but in this case and in a file that can print easily right now all right send it over okay guys so a couple things that I want you to take away and that I would like you to have from this oh and let me put up the notes one more time okay here are those notes for the that Lightroom preset as well as as well as the notes to the class all right so first of all first thing I want you to keep in mind is start with an idea start with the concept and then build other things off of it because with the first model if I had her being clean like in regal and I had her doing this you know the strong lines like a fashion model toes or this it doesn't make sense right I should be posing her in a regal way so when we start with the wine what's the purpose and the story that you're telling or who what you're trying to showcase it helps educate all the rest of your decisions the next thing that I wanted you to think of realize as well it's a preparation part you know when I when I plan ahead I give myself good things to work with and I didn't know I was going to use a gel and I didn't know exactly how I'd pose her but I knew the idea was to go with all teal and I wanted to be teal all the way across so I could I could plan ahead and get the background of the clothing or whatever it may be and then the last part is when you plan ahead and when you have a concert when you have a style you're not a commodity anymore and you're not competing on price and you're not necessarily trying to do volume but instead you can create work that you're proud of and then it's worthy of being a piece of artwork on someone's wall and hopefully the two images that you'll see I have will have them out here you can come take a look I think that they would be images that are worthy of being wall art I hope you think the same so thank you to everyone that sponsored me here today cannon and Profoto an x-ray and tether tools those people are the brands that I use and everything I do but they're also really supportive thank you for being H for bringing me and all my lovely people out here I'm going to take questions after so thank you

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Keywords: b and h, b&h, bh, photo, B&H Photo, Video, BH Photo, video, bhvideos, bh photo, how, to, create, portraiture, that, is, work, of, art, with, lindsay, adler, lindsay adler, creative live, fashion photography, photography, lindsay adler photography, fashion, fashion photography tutorial, fashion photography lighting, canon, canon cameras, xrite, profoto, tether, tools, tether tools

Id: nJLIK_t7kx0

Length: 109min 5sec (6545 seconds)

Published: Wed Jul 12 2017