Glamour, Light of the old Masters | Frank Doorhof | Skillshare

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Glamour, Light of the old Masters

teacher avatar Frank Doorhof, Learning with Frank

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (1h 26m)
    • 1. Light of the Old Masters trailer

    • 2. 1 Introduction

    • 3. 2A Flags Introduction

    • 4. 2B Flags Live Shoot

    • 5. 2C Flags And Mounting

    • 6. 3 Old Lenses

    • 7. 4 Blinds

    • 8. 5A Special Effect Lenses

    • 9. 5B Lensbaby Omni

    • 10. 6A Smoke Without A Machine

    • 11. 6B Strobe In Flash

    • 12. 6C How To Make A Soft Glow

    • 13. 7 Final Chapter

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About This Class

Mastering the Model Shoot 5; Glamour, Light of the old Masters.


Do you love the light in the paintings from the old masters like Rembrandt or Vermeer, Frans Hals or Jan Steen?  What about the B/W photographers in the previous century, like Harcourt, George Hurrell, Henri Cartier-Bresson and Ansel Adams?  Their stunning photos are still admired by a lot of people and photographers. Their work is still regularly shown in museums and exhibitions. 

 Frank's workshop about Classical lighting is always sold out. He gets a lot of questions about this lighting from students who cannot attend the workshops. Which inspired him to make an instructional video about these successful lighting setups. He breaks it down so that It's really not that hard.  

In this video, Frank shows you how to shoot like the masters using modern techniques and gear. Including, how to meter the light and which light and modifiers to use. He will explain camera settings and of course shows you the results and more examples of photos he already took in this genre. Sometimes with a lot of lights, but mostly with one or two. Additionally, he takes you outside, just using the sun and some cool lenses. 

In the end, there is a whole extended chapter where he also reveals a few of his secrets for special effects on a budget!

Topics covered are: 

  • How to work with Flags
  • Special effect lenses 
  • How to photograph with blinds 
  • Classic and vintage lenses 
  • Storytelling with light setting the mood 
  • Combining strobes with continuous light
  • Tips and tricks from the studio floor  


Runtime over 90 minutes

Link to order:


Glamour : Light of the old masters
The newest addition in our highly successful Mastering the Model Shoot series, is one that you guys have been asking for ever since we started our vlog episodes during this workshop, and I'm very proud to say... "it's available now"

In light of the old masters we take a look at that wonderful and almost magical old fashioned portrait/glamour/fashion shots. How do you create a stunning film noir, detective, film scene look, or an amazing high contrast portrait with total control over lens flare and background. Plus a lot of tips on creating mood and atmosphere with special lenses and techniques that won't break the bank.

Topics include : lens flare, working with flags, total light control, shadow transfers, light falloff, combining strobes with continuous light, metering a scene, creating a soft glow without Photoshop, adding smoke effects without a smoke machine, playing with crystals and prisms, using a tilt lens for awesome effects, using vintage lenses on modern cameras, using only sun light, plus a load of tips and tricks in between.

This is THE video if you also want to control your lighting to make it do what you want!
Level from beginner to advanced (there's something there for everyone)

Runtime app. 90 minutes

Meet Your Teacher

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Frank Doorhof

Learning with Frank


Frank was born on May 6th 1971 in Amsterdam.


His parents and grandparents were very active with photography and film, so Frank was already in contact with photography and film at a very young age. Especially his grandfather had a deep impact on him and inspired him from the start to pick up photography. At a young age the whole family moved to the NoordOostPolder, now part of Flevoland. A wonderful area of the Netherlands with great nature and lots of photo opportunities.


At the start nature and sports were the primary interests and especially animals in motion were a subject that was photographed with passion, this passion for movement became later a prime subject in the model photography. After many years of shooting analogue ... See full profile

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1. Light of the Old Masters trailer: And I'm not done. The light of the old masters. Isn't that a great title? But what is it? Well, in the old days, we all know those pixels, right? Hardcore, George morale, film noir. It's that awesome Luke, where you have total light control. Well, this video is all about total light control and mimicking the look of those old masses. But we're going to do way more because we are not in the old times anymore, of course we are in modern times. So we're going to talk about using flex in a modern studio. Of course, combining continuous lighting with strokes for a film noir Luke, how to create those really nice harsh shadows on your model, for example, from blinds. And of course how to get mood in your pictures. I'm going to share a lot of different tips to get a nice glow in your images without breaking the bank. We're going to talk about speciality lenses like the LENSBABY system. We're going to talk about a lot of stuff that really adds that magic of the old masters to your images, the videos available now, and I am 100% sure you're gonna love it. It's very technical. But I'm very sure that even if you're a beginner, you get a lot of information out of it. But this is the video about total light control, glamour, the light of the old masters available now. 2. 1 Introduction : And I don't want that. Hey guys and welcome to this brand new material. One of the things that a lot of people love is playing with light, right? But most of the time you see big soft boxes lighting the model totally flat. And of course that's easy and it always works. But how about those old monsters, hardcore, George who rail dose? We're really photographers that played with light and literally made the light do what they wanted to do. They were able to make like a Mosque of sorrow, but then inverse so that only the ice pops out and everything else was a little bit darker. How did they do that with limited supplies? Because let's be honest, at that time, most of the times they didn't have that big soft boxes that we have now, the literally controlled their lighting by, for example, flags or proper placement. In this tutorial, we're going to talk all about proper placement of lighting, flagging lights, but also about creative use of lenses. It's going to be an awesome tutorial and really looking forward to it. Let's start with part one. 3. 2A Flags Introduction : Thank you. In this chapter it's about one of my favorite modifiers in the world. No, it's not. It's not as triplet modifier and it's not that big. So folks over there, it's actually right in front of me. Now. If you want proper lighting control. But still he don't seem in a lot of studios. So why? Well, in all honesty, using a flag for the first time can be really terrifying because, well, you play something in between your model and your light source, and wherever you place it, it changes the light quality. It's scary at first. But trust me, this is one of the most amazing performance you can get professional foods, but you can also use, for example, a piece of cardboard to what's called transfer. The difference between the transfer, transfer between the shadow part. In model photography, we don't really want it. What we want is a nice, smooth graduates from light to dark. It sounds amazing, right? So we want it to be smooth. So how do you get it smooth? Well, you can control that with the distance between your model and a light source which you flags. But we can talk about it. Let's just show you on the wall how you can manipulate your lighting with a flag. Okay, let's see how this works. Now, there's no modifier in front of my light in this case, so we still have that nice overview over there. Now, you can already see with my hand what's happening when I move my hand closer to the light source, it almost disappears while my fingers are still in front of the light. When I've moved my hands further this way, you can see that it gets sharper and sharper and now you can even see my fingers. Awesome. So now let's do that with our flag. So this is, well, the whole light source. And now you can see that we've really nice soft edge trends for moving closer towards my light and now move towards the wall. And as you can see, it gets sharper and sharper. So let's say that the bullish on model, this is a very, very harsh shadow transfer. And the more I move with here, the software it gets. And you can also see now that actually the bottom part is lit and everything underneath is still lit, but it's really dark and soft. And when I move this away, you can see that we have a lot of options with this. So how do you practice those really nice, tight lighting set-ups? I would advise you guys to practice without a mom. Daegu. For example. It doesn't matter as long as you have a tighter beam of light. So don't use Dropbox. And practice, practice, practice. So let's make, for example, a line like an inverted shore of Mosque, which you can use on a model, for example, to only light the eyes or gift the eyes just a little bit more light. For example, you can imagine that you have one very bright light source with only a beam of light on the ice. And then, for example, use a big soft box, three stops on the domain light to open up the model. We're going to do that later, don't worry. So let's create that line of light. Let's start at the bottom. There we go. And then taken a second flag and place it behind and just raise it up. Now, let's do part a little bit. Sharp. The light. From one year to the model. A lot of controlling, most of which hopefully members away from the light of the experiment. 4. 2B Flags Live Shoot : Okay guys, without any doubt, this is one of my favorite setups. It's also a pretty tricky one. Now, some people will call this the glimmer portrait lighting. Some people will say, hey, it looks very much like the very famous studio hardcore. In adolescence. This is one of the classical lighting setups. And most of all this style is recognized by using flex on the face of the model. Now normally when you light the face of a model, you will try to light it as flat as possible, or you try of Rembrandt lighting, right? But most of the time will you use your soul flight or your Reflector? And he will just use that light source. And this setup, we're actually doing something else. We're actually using flex to create a sort of like a little bit of a slight of light over our model. So that means that the phase will be lit by, of course, dead light, but everything else will fade into darkness. That's also why we use a several lighting setups in this setup to create actually a wrap-around effect on our model. But still it will be very, very dark. So let's just run you through this light setup. And again, this is one of my favorites, but it is a little bit tricky to pull off. So when you do this, make sure that your model is on a chair because this is often, if she just moves a little bit, that lighting will just look terrible. And when he moves the right way, that's when it looks right way. So let's just run you through what we do and what each light source actually does in the setup. Now my main light setup is actually distribute. So we have one of our snooze and it's actually aimed straight at our model. But in this case, we're using to flex literally limited light to a little slice of light. Now, the distance of dose to flex is really important. The closer you place them to your model, the harsher that's etched transfer will be. So you go from light to dark really fast. The closer you move that flux towards your light source, the softer that light trends for will be. Now in this case, because we just want a slice of light, I actually place them in the same distance. But you feel free to experiment with a distance if you want a softer edge transfer, moved deflect towards your light. If you want a more straight at strands for so very, very harsh, move that Fleck towards your model. You do have to be careful, of course at 1, the flag will actually be in the frame, so don't move it too close. But make sure that you experiment with distance. For me, this distance works the best for this kind of setup. You don't see a real slice of light, but you can still see that we're literally just aiming at our model's face. Okay, so that's the snowed. Let's see what else we're using. Now these two light sources are the policymakers. These two literally determined the look of the shot. Now the first one is actually aimed at our backdrop. It creates a little bit of a Around the fact on the backdrop, you can use whatever you want. And when you like those shadows, you could actually place a plant in front of your light or a chair. It will create some beautiful light effects which your shadow, of course, on the backdrop. In this case, we kept it a little bit more simple, but be free, so be creative and whatever you want, you can do it on your backdrop. So this one creates a little light effect on the BEC. Now, that one, that's actually a very special light source in this case, I'm using it veteran away from our model. Now what is feathering? Every light source has a center of the light that's very bright, but also very harsh. The more you go to the sites, the softer the light will get, but also the output will get lower. Now in this case, we have a beautiful model. She has nice hair. We don't want that hair to just jump out by using harsh light. And that's a problem. You see a lot when you light light from the, sorry, when you light years from the back and use harsh light qualities, that hair will look a little bit artificial, almost like she's wearing a week. Now when you use a big soft box, the light looks way, way nicer and that also reflects, of course, on the hairs. Now, of course, in this case we don't want to use big soft boxes. We only use smaller light sources to mimic also a little bit what they had in that era of time. So how did you get that small light source to be solved? Fetter the light away, the name already says it fetter. Now another main at fonts or surface is that actually the way it's set up now, it creates a beautiful, almost like a rim light on our model. But as soon as I turned the volume up on that stroke, now it gets a beautiful lens flare. So you can give your customer actually two totally different looks with the same setup. The only thing you have to do is change the output of the stroke in the back. We're going to show you that in a minute. So our excellent light, EM lens flare light, depending on the output and our background light. But there's one more light. Our final light in this setup is actually our strip lie. Now, I know I said that we are only using small light sources, but hey, I can also do the same thing with two small light sources, but why make it hard when it can be easy, right? So strip light, but very important for the slide setup. We want total control over our lighting. So in this case, we use a light tools grid. Now, the cool thing about those grids is actually that they narrow your light beam even more. Then for example, if you use a strip light with only a hood, the hood will steer it just a little bit, but a grid in a strip lights will literally give you a nice slice of light, and in this case works perfectly. So what does the strip light actually do? Well, it just gives a little bit of accent and it opens up the shadows that are actually created by these flags. But you know what, I can talk about this for hours and hours and hours and probably hours and hours and hours and even more hours. But it's much better if I just show you guys. So let's turn off all the lighting and I'll show you light by light with every light actually does so. And we can't turn off the lighting in the studio. And let's make some images light source by light source. Ok, now of course, one of the most important things is to meter your lights. So hold your light meter in front of the area you want correctly lit. Fire the strokes and you will get your setting for your camera 5.6 in this case. Ok, so now we only have the Snoop. And as you can see in the result, you see that line of light just over our model. Okay, so this is what happens when we turn on the backlighting. And what you can see is normally you sorted slice of light on the backdrop and now you actually on that site, you also see that backlighting working. So they actually complement each other in this setup. Okay, now we also turned on the backlighting. So at this point it's on a lower setting, so it just creates a nice rim effect or excellent lighting, but you already see a little bit of that lens flare appearing. Okay, and finally, our strip lights. And as you can see, that really compliments the image and just opens up the shadows just that little bit more to give you a nice exons. And of course, what happens when we turn up that backlight? Yes, we get a lot more lens flare, as you can see here. This is really a much more moody atmosphere in your shot. 5. 2C Flags And Mounting: And I'm not done. Now we will go online. You will find out that these flags aren't really cheap. It's not like a piece of cardboard. So previously I stated you can use a piece of cardboard or you can use a reflector. So why should you spend a lot of money on professional flags? Well, first practice with a piece of cardboard gets really, really, really frustrated. Think about, hey, flex is not for me. And then you realize that you're not frustrated because you can't control the Flex, but it's because you can't control the position of the flags. Now, let's be honest, if you only want to take away a little bit of light, reflected will do fine. Just mounted on a boom stand or whatever. You just throw it out somewhere. You use this stuff really precise. You need to be able to pinpoint exactly the angle and the position of that flag. And this is why they are pretty expensive. It's all about this part. This part is ok, but this part is expensive. Now, why is that? Well, you have to buy one that is without any clicks. So what are cliques? Well, we all know it right? Sometimes you have a modifier or something else, and it works with clicks. So, and the weird thing is that clique is always somewhere in between. I have an iPad stands, for example, it's a great iPad stands, but it's always a little bit too much that way or a little bit too much up. I want something in the middle and I can't get it because not one of the clicks. And that's one of the cool things about this one. If I open this up a little bit, I can literally put it in any position I want. I tighten it and it will stay like that. It won't fall down a little bit like the cheaper ones. You will often see this, okay, got it in the right position. Let's tighten it and it will move down just a little bit, or you let it go and it will do this. I don't want it. So tighten it. Let go. And as you can see, it doesn't move a millimeter or an angel or a quarter or whatever, it doesn't move at all. If I open it up, I can literally just move it around very, very carefully. Much better, right? And duties, tighten it, let go and it won't move. And this is incredibly important, especially when you want to, for example, create something around the eyes of the model. You don't want to set it up correctly, then let go and it moves around. So that's why those are a little bit more expensive. Make sure you get one that doesn't have those clicks. So it's without any clicks. So you can just move it around like this. And you can even change the angle of course of your flag by doing this. Cool, right? So make sure you invest in proper connection kids. 6. 3 Old Lenses : Now of course nowadays lenses are perfect, but sometimes you want a little bit more, right? And you can do that in Photoshop or you can do it in Instagram. Now actually one of the reasons I think that Instagram got such a huge following is because you can change the look of your images. You can make it more fintechs, you know, did they find it right? Everybody loves that. But you can also do a lot with lenses. Now this is a modern lens. It's a great lens. It's Sony lens. It spin sharp, which colour accurate, scraped lens. But it doesn't really do something for the image. If you look at character or looks, or maybe those thing getting points, he, you know, where the sites are a little bit dark or maybe a little bit out of focus. Those are the looks that a lot of people love. And let's be honest, you can do it in Photoshop or in Euro converter, but why not do it own camera? And it doesn't have to be expensive. We all probably know these kind of lenses, right? M 42 lenses like, are like em, FIFA tar or Yana by, by xyz or these kind of lenses. Now, most of those lenses you can buy on flea markets for about five or €10, sometimes a little bit more expensive, but most of the time they're pretty cheap. And you can use a winner converter on your modern camera. You can do it on Canon, Nikon or Sony. Now, one of the things that helps you enormously nowadays is because we have an electronic few finer in the old days, you had to change over your focus plane for the very simple reason. Well, you can manual focus a lens for the very simple recent digital cameras were designed for that. So in the old days, I remember that I still did it on my Kennan. You have to take out the focus glass and put in a new one for manual focus. The disadvantage Russia to correct a little bit for your exposure compensation when you shall digital name, it wasn't perfect. Nowadays we have electronic few finders and those electronic few finance often have an auction called Peking. And Peking literally shows you in the few finer if a part is in focus or not. And it makes many will focusable lenses incredibly easy to operate. And again, on free markets you buy lenses like this. Well, this is a like are they heard a little bit more expensive, but great. N32 lenses you can buy for very, very cheap. But Frank, I don't wanna do manual focus. I love out-of-focus. Well, we've solution for their two. This is my Sony A7 R4, and it's mounted with, let's see, what is this? This is an auto Tacoma lens. Without any doubt, if you see the CBR us in m 42 by m, because most of those lenses are really, really nice. And what you can also see all my cameras that I have an extra adapter in this case, it's a photo deoxy, which also from, from other brands. And this does something really cool. So as soon as I power of my camera you see Lin's going up and down. Yes, you got it. This is auto-focus. So this is a manual Bill folks for lens. On an adapter that actually makes it autofocus. Is it fast? Now? It's not really fast, but it's fast enough for portraiture and even for some street and travel photography, it really depends on the camera where you place it on. So why is this in an instructional video on creative use, an old monsters? Well, all those lenses have a certain look. All those lenses have imperfections. Thinks that, well, he didn't want in an image unless you wanted in an image. Let me give you an example. When you take a portrait of somebody outside, a dude with a modern lens, a lens like this. Most of the time you manufacturer takes care that all the sites are nicely lit, that you have as little chromatic aberration as possible, that it's sharp from center to the edges, although it's not really sharp on the edges, but you know what I mean, right? So they take out all the imperfections in the lens lens flare and no, thank you. We don't want that in a modern lens. However, although things are sometimes the things that you put in, in Euro comfort, for example, a little bit of fingering on the side, maybe a little bit of sight unfocused to make it a little bit more vintage, a little bit lens flare. Well, why not editing Photoshop? Well, why not buy a 10-year old lens and do it all yourself? So let's keep it really simple. Let's go outside with our model and let's shoot some images with these classic lenses and you will see why I love them so much. So let's go outside with our model. Let's do some shots. Okay, we are outside and at the moment I'm using the auto Tacoma now this is one of those lenses that you really have to hunt down there, incredibly cheap. And they are razor, razor sharp. So in this case, it's an ischaemia of Ai Xi, How to cope. But in essence it's an auto Tucker more, it's a 55 meal, 1.8. And you can recognize them from the zebras. So if you see a lens with those kinds of zebras, it's often a really good land. The other one I have with me, uneasy my pocket. This is a very famous one. It's a helium. This one has a really nasty bouquet, which a lot of people love. It's like a swirly bouquet. I'm still in doubt. Do I like it or don't I like it? Let me put it this way. It's special Also this lens, although now it's getting a little bit of a reputation. So this lens is getting more expensive. But I bought it for, I believe €10. Nowadays they go for about 50 or 60. But those out to take a MOOC, you can still find them more flea markets for next to nothing. Now again, the adapter I'm using in this case is the photo dogs. It creates a sort of autofocus for your amenable focus. Berlin's, in other words, if I press this, it will just move it further and closer away from the center and that way focuses it. The cool thing about this is if you want to use it as a macro lens, you can actually do it because normally you have a minimum distance or focusing. But by pre focusing, you can actually create some sort of a macro effect. So really liked this adapter. It really gives you a lot of options. So let's bring out our model and we just kinda shoot some images wide-open in different locations just to show you what these lenses still can do on a modern camera. Now when there is a lot of sun, Of course you can just shoot your model, but then all those nasty shadows and whatnot more. So the best solution in bright sun, of course, use a diffusion panel. But if you don't want to sunglasses or a cap, because at that point it makes sense that although shadows are nasty, so somehow some glasses always works in situations like this. So let's sulla model, Melissa. Yeah. Now there's one thing you have to be careful for with these older lenses. Some lenses have a so-called looks system for your aperture. That means that you can set it, for example, don't go lowered and F 16 or don't go lower than F8, it feels a little bit against your feeling because this lens, when I turn towards a 2.8, it actually closes down the aperture. When I turned towards F6, it actually opens up the aperture, but that's because this is a so-called locking aperture lens. So you have to be a little bit careful with it. The best thing is just look at your exposure and just turn this. And then you will literally see if the aperture goes open or it closes down. And if you look into the lens, you can actually also see the aperture opening and closing. So make sure that if you have a lens that has two aperture settings, that it can work a little bit against your feeling. So, but a lot of those lenses just work as normal with an aperture dial. This one a little bit space. Now the cool thing about these old lenses is one of course they're really cheap, but too. And I think that's the most important thing, is they give you a unique look in your images. And that's also why I love those Lensbaby so much because they give you that really creative look in your images. Now of course, this was just a short shoot. Let me just show you some images that we already shut with these old classic lenses. So. 7. 4 Blinds: Think about the detective. It's raining, it's outside, it's a little bit of light. You see the dark shadows. Anyway. You get what I mean, film WAR. What is one of the most famous scenes in the film war? It's of course, the tensile stress or the beautiful lady that wants to hire the private I, well, one of the scenes that you see in all those movies is literally what you see behind me. Beautiful girl walking out of the Venetian blinds. So how do you create something like that in the studio? Because of course, we want those very, very well, almost harsh lights on our model from the venetian blinds. But we try this out. A lot of people e-mail me like, Hey Frank, I tried venetian blinds but somehow I can't get those lines over my model's face or body. What do I do? How do you do that in Photoshop? Photoshop in film War, there was no. Okay. Anyway now there's Photoshop, but remember that in those times there was no photoshop and especially when you do it in film, how do you get those lines? Distance. Remember the flags, remember everything we explained about distance and edge transfer. This is where we're actually going to use it in real life. This setup, if you master this, you can do whatever you want with your lighting. So what is the trick? First of all, we have venetian blinds on a background system. So you don't need a large venetian blinds because when you move closer to your model or further away, you can zoom in and narrow your field of view. So you can also do it with rather short venetian blinds. Because we shooting black and white, the color doesn't really matter in this case, we have read, if you want to shoot in color, those rates really pop. So that's why we actually choose Reds. The backdrop is a really simple backdrop. We used wallpaper on it and it's a movable wall we have in our studio. Now there's one little accent that I actually added to the scene. And that is our continuous lighting source. Now this is where we get a lot of questions. How do you combine strokes with ambient light? Well, there's a little trick for that. So what kind of light source the use will in this case, we just went to a thrift store and we got something like this, but you can get it from every secondhand store. Asks your grandma or your parents go into your headache. Everything works. However, makes sure that you have enough light output. So this is pretty bright with a dimmer between it that actually is on full power. And that's important. You need a lot of light because remember you have to compete with you strokes. So how does it work? Well, there are two settings on your camera that are really important, that shutter speed and ISO. Now in the studio, of course, we often shoot on lower ISOs and our shutter speed is actually limited to 125th of a second due to the zinc. Of course, you can also try 160th of a second. And some cameras even do one-to-one hundreds of a second. But most of the time it's limited to 125th of a second. So ISO is lowest possible shutter speed. We can't go above 125th of a second. But in this case, we don't want to go higher. We actually wanna go lower. And now two other numbers become really important. And that's aperture. And again, shutter speed. Now the aperture is for the stroke because the strobe only emits light once, very, very fast, 15 thousands of a second. That's the strobe. Everything else is a ambient light. So when we look at how a strobe is rendered, it's one very, very harsh pulse. It's rendered in 1-5 thousands of a second, and that's it. But how does it work with continuous sliding, continues lighting is there all the time and it just accumulates over time. So the longer you leave your shutter open, the more the ambient light will get into your shot. And that's what we're gonna do now. So we using one stroke on our model and that stroke is on the lowest possible setting if it's still emits too much light, users shirt in front of it, or use an ND filter, whatever you have to do, but get that light down in intensity. That light at the moment is 2.8 ISO 100. Perfect. What I now do is I just lower the shutter speed to anywhere where I feel comfortable with me. That's about 1 tenth of a second, 130th of a second. That's perfectly doable with that kind of camera. It is embodied image stabilization. So I can go to a really, really low shutter speed. The cool thing is the lower the shutter speed, the brighter deadlines will get. But the stroke will keep exactly the same exposure. And it gives you a lot of creativity because we can literally take ten shots and then turn the light on or dim it only by using the shutter speed. And when I tell you the story about a detective and about film moire is, then, is that something that triggers in your mind an image that's perfectly exposed or is that an image that's a little bit darker, a little bit more moody. So that's why with setups like this, I already know that I need my strobe to emit as little light as possible. So that means that that strobe will have to be on the lowest setting that that stroke can possibly be. And it also limits my way of adjusting my lighting. So unless that strobe emits light in 1, in which I have to adjust it to 2.8 or four. Often that stroke would be way too bright, especially with reflectors like that. We know that that stroke on the lowest setting is probably the one that we have to work with. And then of course our ambient light is there. So I also have to balance that shutter speed. So that makes metering the light a little bit more tricky and a set-up like this. And that's why we'd setups like this also from experience. I know I often shoot between 2.84 perfect exposure, but I often shoot on F4. So I also close a stop to make it a little bit more moody. And then when you do the black and white conversion, those images really, really popped and get that mood. So in this case, a light meter. If you want to get into the bass, use a light meter. But then. It's like cooking at a little bit more spice at a little bit more salt or pepper and just create a lighted you like. And this is also why I love shooting tethered because they, you see on the monitor exactly how it looks. And you can even make a preset in black and white, for example, that every image that comes in is already black and white. So again, it's your creativity, but a light meter always very important. But in a setup like this with venetian blinds and an ambient light, you can meter it. If you shoot film, you have to meter it. But with digital, I don't want to throw away the light meter. But for this setup, I'm just going to drop the light meter a little bit. I'm just gonna do it by eye. So let's set up everything and let's call it lowers for our film noir detective shot, it's gonna be awesome. A lot of these setups are also atmosphere and mood. Now a light meter will give you the perfect exposure. So if I want a perfect exposure on my model, there's one problem with this setup and that's actually the Venetian blinds will literally just block off part of my light meters. So when I want to make sure that I meet her it right, I have to push it a little bit true and then just take the light reading or, and that's much easier, of course, just hold it in front of the Venetian blinds. However, because I want to create a certain mood, it actually means that I'm going to change my lighting during the photo shoot. So sometimes when the light meter says 5.6, that's the perfect exposure. However, it can often be not that perfect for the shot, meaning that for the shot you like it a little bit underexposed. Okay, so before we shoot to create those harsh lines, it's all about distance. Look how close our model lowers its to the Venetian blinds, and look how far the lighting is. Now to give you scale, It's about, I think two meters, 2.5 meters away. So it's a huge distance. So when you set something like this up, makes sure you created distance in your studio. If I move this light too close to the venetian blinds, the whole effect will be gone and you will get those, well, it's almost non-viable lines and we really want those harsh lines and that's distance. So move this light as far away as possible. Use a grid. Now, do you know why to use a grittiness setup? Yes. Okay. You use the grid to mimic, of course, a narrow beam of light when it takes the grid off because the light is far away from our model, the whole set will be lit. We don't want that. We want a nice controlled spot on our model. So that's why I actually use a grid that's very, very tight because I moved the light far away and I still want a narrow beam of light. So by using a very narrow grid, I literally go from this narrow grid, very narrow grid, this grid. So really pinpoint the light on our model. I didn't want to use a snooze because it gives a little bit of a different light quality. This works like a charm, but distance is very important to keep that in mind. Okay, we turned off our studio lighting, of course, because now we also have to work with our shutter speed to lead in the ambient light. Ok, let's start. And I changed the light set up just slightly. I'm now shooting F4, ISO one hundred, one hundred and twenty fifth of a second. So this is our first shot. And as you can see, the light in the bag isn't that bright. So let's go to 12015. Let's change that 160th of a second. And now you can already see that that light gets a little bit brighter. Okay, let's go to 160th And let's change that to, let's go all the way down 120th of a second. Now, think about breeding techniques. So breeding, hold and press the shutter and then you get that nice stable image. There we go. I really liked this effect. I don't want the light to be even brighter. I can show you what happens. So let's just change it to a ridiculous setting of, let's just overdo it. Lets do 1 fourth of a second. As you can see now, the light is just way too bright, so I think 120th and that's actually where I like to be. So lowest. Okay, you look to the light and just look a little bit down. There we go. Awesome. Okay. I like it when you really touched the Venetian blinds with almost with your hairs. Because the closer I move it towards those venetian blinds, the brighter those stripes will be on a failed Look at this. This is awesome. I also want to see the other hand. I also wanna see two hands. There we go. Nice. Love it. What's out for those no shadows and can shoot something like this. K tilde, you knows a little bit towards the light. There we go. Nice. Genome just a little bit. You gotta love it. And now of course I'm shooting from one position and often with setups like this, one position works best. But you can also walk around your model. So for example, I can shoot from the side. But do what's out for a no shadow. We don't want it too dark. Nice lowers, love it. And if you are a little bit more creative, maybe incorporate that light source. It a little bit more like a glamor. Look, love it. Nice. Tilt your head just a little bit towards me. Nice Lovett. That's the one. And I don't mind seeing my light source in the frame. And if you don't want it, just crop it just out a little bit. We go. Lovely, beautiful. And of course you can also walk that way, but I can already predict that will be very, very flat. So that's not really my style, but maybe you like it. So let's try. It. Just makes sure that both eyes are visible. Love it. Nice. And keep telling your model's he's doing fine. Even if there's an image that isn't that great. Always tell you model awesome, Love it. Chin down just a little bit. There you go. Make sure that I see both eyes. Can you hold your hands like this, so yes. Chin down just a little bit. There we go. Are some Love it. Thank you. So very much lower. 8. 5A Special Effect Lenses : Now in this chapter we're going to talk about one of the lenses that I really like. Now. It's no secret. I love creativity with lighting, but I also love creativity with lenses, right? We also have a chapter on vintage lenses, classic lenses. But this time it's about a lens that I highly recommend you guys. Now, when you shoot a landscapes or when you shoot architecture or wayne shoot models, There's always something called depth of field, but there's also something called the focus plane. Now normally when shoot with a normal lens, it's a little bit like this. So this is your, your sensor or your film, and this is your lens and it pretty much Shannon angle with each other. So the light travels through the lands and hits the sensor, and that's it. So that means that if you shoot, for example, a wall and shoot it straight on and you shoot it on, let's say F1 0. If you have one of those lenses, you can pretty much say that the whole wall will be sharp, right? Because you are shooting it under a straight angle. Now what happens when you shoot at wall under a slight angle? Well, even on F 22, which gives you normally a lot of depth of field, you will find out that there are still parts of that wall that, that aren't in focus. So what's going on? Well, very simple. If the wall is like this, a shoot it like this. Everything false. Bernadette sane falls within that same focus plane, so everything is sharp. Now when you shoot the wall like this, only this part will be sharp and everything else will be blurry or unsharp. Now when you look at those old camera lenses or those old cameras, you see a lot of those older photographers with a cloth over their heads and a change everything on the camera. You know what I'm talking about, right? The technical cameras. Now you fast forward to modern times. You see actually something like that in modern cameras, especially very popular with architectural photographers. Because we issued a building. You don't want all your angles to go like this, right? You want that building to be straight. But how do you shoot a building straight? Well, that's when you use a so-called tilt and shift lens. What a tilt shift lens does is actually pretty simple. This is your sensor or your film. This is normally your lens. But what if we can change the lens like this? We can move it. Now you can actually suit, shoot something that's under an angle. And by angling your lens, you can make everything look straight. But that's for architectural photography, right? And we're not talking about that stuff. We're talking about model photography, classical masters. So where am I going? Well, when you look at those old pictures, glass negatives or six by four or whatever, those, those beautiful big sensor sizes, film sizes at that point, of course, you will see that there's a lot of play with depth of field. Now do realize that at that point, people shot on way smaller apertures than we do now because. The film planes were much bigger. So, well, how did they do that? Well, they tilted those lenses to because in the old days, that was the way that it works. That's how a camera works. So today, we have something very, very small, relatively cheap, that can give you some awesome effects which mimic dose, tilt and shift lenses. And that's the LENSBABY Composer. So I have it on the camera here, and now it's pretty much straight on. And this is the, let me see, this is the 85. And it's a great portrait lens. It's many mobile folks will. So it's not out-of-focus. It's very, very sharp. But now comes the cool part. Look at this. Don't try this with a normal lens. You see this, but you can also move it around like this. You can literally do whatever you want with this lens. And if you like it, you just tighten this ring and it's okay if you wanna play with it very loose. You can just loosen up that ring and you can move it around. Now, the cool thing about this system is that now you can play with your focus plane and it gives you huge US advantages over normal lenses. Now of course, you can fix it in Photoshop and create your depth of field there. But it always looks fake because if something is closer to the camera or something is further away, in Photoshop, it's all two-dimensional, but in real life, it's of course three-dimensional. So a lens like this will give you proper depth of field, how it's supposed to be. And if you do it in Photoshop, it's always a little bit fake. So these lenses are awesome and there's another big advantage of this lens. Now. It also doubles as a macro lens. So that means that you can focus really close up. And the only thing you have to do is just pull this out and now it's a macro lens or push it in and out. So normal ends again, but it doesn't stop there. Now, this is the composer part, and it's on a converter by the way. So normally you don't see this, but I'm still using an amount and this is an E mount cameras. So this part, just think of the way, this is the composer part. Now, the cool thing is when you go on a vacation, you don't want to bring a lot of lenses, but only in 85. Now, you also want to bring a 35, right, or another special effect lens. So very simple. You just hold this, you twist. And a, if the lens element, and now you can change the lens elements from an 85 to a 35 or whatever you want. So this is the only part you have to bring and now your suitcase, you can bring a lot of lenses on location. You just click it in and twist and you can start using it. So let's see how the images look from a lens like this. And then we're gonna go into studio and create some art with this LENSBABY Composer. I always call it a little bit. Tilt lens. Wow, wow, wow, wow, wow, wow. Now when you shoot something like this, of course, you think about depth of field. And of course you can do stuff in Photoshop with your lens Blur Gallery or lens blur or whatever plugin you want to use. But trust me, when you want to do it, right, you have to do it on the moment that you shoot because they're different planes of focus in an image. And when you do it later in Photoshop, the only thing that Photoshop sees is a two-dimensional plane. And when you do it life with a lens like this, you can literally manipulate your focus. Now, don't overdo it. You see a lot of people shooting these kind of lenses wide-open and then just tilting the heck out of it. That just looks totally fake. Subtlety, that really works. So when you aim, dislike this lens like this, it is a razor sharp portrait lens. But just give it a little bit of a twist up and you get this beautiful focus fall off. It's amazing. It's, it's really, it's like magic. Okay, so how do you check that your image is in focus? Well, this is where actually the modern technology comes in. Most new cameras, especially the songs of course, have something called an EVF electronic. Few finer. That means if I look through the viewfinder, I don't see a normal image anymore. I actually see a readout from my sensor. And this has a lot of benefits because we use a normal camera. And you wanna do something with a lens that you have to manually focus, it's very tricky to nail that focus exactly for the very simple reason. You're looking truth. As few finder, you have to get everything in focus and there's no aid inside your camera. And when you go back to the older cameras, there actually was a special glass inside the cameras that made manual focusing really easy. You can call it like a split screen or prism, whatever you wanna call it. But many will focus on an old camera was very easy. With digital cameras, we of course have an autofocus system. So that means that they don't use those special glasses inside anymore because those classes often also take away a little bit of light. And let's be honest, when you use out-of-focus, it just looks annoying. So how do you do it with cameras like this? And how do you nail that very, very slight thing of focus. That's actually where you have a setting inside your camera called Peking. You can adjust peaking to set it very high, low or medium inside of this camera, I normally have it set on medium and read. And what does that mean? It actually means that where the camera thinks that an image is in focus, you will see red dots appearing. And that makes focusing manually really, really easy. And another thing is it has a little bit of a trick that I do on my Sony. You can assign all the buttons customarily inside your menu. Now my case button see number two. I actually programmed as zoom in. So that means that I look through my viewfinder. I press the C2 button, and now I can move a square. And let's put it on the eyes of our camera girl. Press. And now it actually zooms into 5.9 times. And if I wanted to check it really nicely, I press again. And that's 11.9 times zoom. Now you can literally nail the focus, press the button, and you have a pin sharp image. Now what if you don't have peeking inside your view finder? For example, if you have still an old camera, which has an optical viewfinder or medium format camera? Well, often you can do the same trick on your life, you on the back. So that means that you just flip up your screen and you check it on the back of your screen, or you can do it in capture one. With focus overlay. There are many options, or just wing it, but then you have to take a few more shots probably. Ok, let's take some images of our model. And then we're going to show you the results. And we're going to experiment a little bit between having that backlight on a higher setting and on a lower setting. And you will see that when we have it on a higher setting, it also opens up a little bit more of the shadows and that's of course the light reflecting back from me on our model opening up a little bit of a shadow. So if you want to open up that even more and replace a small reflector, it's your creativity that makes the shot. Let's take some images over Model. Beautiful, nice chin down just a little bit. There we go. Awesome. Great. As you can see, I'm constantly adjusting the focus in the til. I guess lock these lenses. And again, these are Lensbaby lenses. This is composer. He could set several different lens objects on composer. You get different results, but I love this one. Lovett lowest. Really nice. Awesome gives a more expression inside the camera. There we go. Yes, Assam. Thank you so very much. 9. 5B Lensbaby Omni : Okay, for this next part, this is a really cool these cities part on my lens. You didn't see that one before right now because it just put it on. This is a new Lensbaby system where we're recording this in 2020. And at that point this was just released. And this is really interesting. Now, when you look at this, you can actually see that we have a ring on my lens. And this, I can move around. So why? Well, this is also vital part. You click it on and now comes the interesting part. Let's say you want a really funky lens flare or a rainbow effect. You take something like this, you click it on. You can move it around your image or move it away or closer. If you don't like this one, take it out. Take this one a little bit different. If you want to have a color. No problem. Take something like this. If you want another color, no problem. They have a lot of the stuff. I'm not going to show you everything. It's not in their commercial video, but they've filled as full-color. They have diffusion and color filters, a little bit more translucent filters. They have a lot of this stuff. And this, it looks like a chandelier that they demolished and put on these sticks. Now, the cool thing about this is light always travels true subjects, right? So when we look at, for example, a model, a model isn't lit. A model reflects light and that's what you capture with your camera. You don't capture direct lighting, you capture reflections. And those reflections, of course, are also light transfers. So for example, if you shoot something like this, the light will go through it in a certain way. And especially when you have booklet situations, these creates something beautiful. There is however, one thing that you have to be really careful for. A lot of people tried this out in their studio for the first time they shoot on f 11 and a very disappointed, it doesn't look right. You see stuff in front of the lens. Of course, that you have who went to the zoo. And you wanted to take a picture of the tiger. And the tiger is a little bit further away. If that fence in front of you think there's a fence, right? And you still want that Tiger. Now, sometimes you see people doing this and you don't see defence. And every time you try it, you see the fricking friends in front of your lens. What's going on? Well, the trick is to go as close as possible to defense and shoot on the widest aperture possible and zoom in as much as possible. What happens is that now defense will literally like magic disappear. It doesn't disappear, but it's so much out of focus that you don't see it anymore. And that's the same stuff with this. Light transfusion, true these crystals or prisoners or whatever is really nice. But if you shoot it on F 11 or if eight or even 5.6, you will see this little crystal and you don't want it. So this is the part where we go into the studio with our model and we not going to shoot with strobes. We still gonna shoot with strobes. But we're only going to use the modelling lights of the strokes because when he showed this on, this will give you a tremendous amount of nice. Well, let's just go to the studio. Let, let you guys decide for yourself. But I really love this product. So I already, yeah, let's go. Okay, in this setup we're actually not using any strokes. We using the modelling lights from the strokes because we want to shoot on a wide open aperture and which strobes to 0.8 ISO 100 disclose? No. So we're going to use the modelling light. Now, let's take a look at the tools that we use for our photography. The first tool, of course, is our camera. And now we have a certain distinction between the tools. The camera of course, is our base. Now we have creative tools and creative tools can be your lens. In the case of the LENSBABY, For example, the Composer Pro, or the only system. You can use lenses in many different ways. The other creative tool is of course, your lighting, because you can do whatever you want with your lighting. You can use gels, you can use angles. It can be very creative. But there are also some tools that might seem that they are not creative tools, but there actually are creative tools or they make your workflow much faster. The Firstly, you see me using a lot is of course the light meter, a ambient light and strokes. You can meter it with a light meter. And the main advantage is that you always have the same exposure base. So that means that if you go with a model outside or inside, it doesn't matter. In the end, you don't have to change anything in your role convertor so that speeds up your workflow a lot. And your client is happy because every image has the same look and exposure. But there's also another tool that I really like and I use a lot and that's actually the X right? Color checker passport. Now you might wonder, hey Frank, This is a video where you mostly shoot black and white image is why good color checker passport. Well, first of all, we still shooting in color. Now, what happens if I see an image coming in that's awesome in color? Or what if my client sees that image and says, Frank, I really want that image in color. I love it. When you shoot an image with a color checker passport, you could always go back to that perfect base. So what does it do? How does it work? In essence, it's very simple. Every color has three coordinates. You saturation and luminance. You also see those often is x-y and a big Y where the big y is actually luminance. So every color has three coordinates. Those coordinates are known by the computer and of course determine also the color space in which you work. The color checker passport has several squares with those colors. Now when you take a picture of this and you run the software, you actually end up with a profile. And this profile you can use in Lightroom, but nowadays also it creates ICC profiles. So you can also use it in capture one or any other raw converter. But anyway, it creates a profile where every single square has the perfect look, right? It correct it. But you also see some gray squares over here. Or when you want to do it even bigger, you can open it up from this side and this is your white balance part. So why is white balance so important? Even if you shoot black and white? When you shoot black and white, we often use conversion presets. You build those and capture one or D, xo or luminaire. It doesn't really matter where you build and, but it's a conversion profile in which you set everything up for the black and white that you like. It do remember that we're still shooting in color, so we have red, green, and blue. Now when you change the color balance, you're actually changing the balance between red, green, and blue to make it neutral right? Now you know where I'm going, right? Even if you shoot black and white, you should still do that color balance trick. For the very simple reason, every preset you run, will we run from the same base? So when I do something today and something tomorrow and do something with tungsten light or with fluorescent lights or it doesn't matter if that base is correct. My preset for that black and white conversion will look the same on all those images. So although it sounds really weird, even with black and white photography, use that color checker passport. Okay. I think we're ready for lowers and we bring in lawyers for the shoot. Yes, let's have some fun with some really cool crystals. Light leaks, lens flares. It's all about old cameras and old techniques. But nowadays most lenses are built to prevent lens flares, prevents light leaks and what not more all our cameras are actually almost perfect. But what if you don't want that perfect look? Well, Frank, you can do it in Photoshop. Yeah. We heard at all the time. Let's do it in Photoshop, but let's do it real because then you also get that point of satisfaction from, wow, now I got it. Lensbaby has a really cool system and it's actually built on these little crystals. Now you already probably figuring out what I'm gonna do with this. Now in all honesty, the LENSBABY system is awesome for this. But you can also do it yourself. Just find a chandelier, just take of those crystals and hold it in front of your lens. The only problem is when you do it like debt, it's of course free or very cheap, but you have to literally just move it around. With that only system from Lensbaby, you can actually click it in and then position it away you want, leave it, and then start shooting. But there's one thing that you really have to realize with a system like this. If you're going to use strokes and you're going to shoot it on F8 who you will be immensely disappointed. It just doesn't look right. Now. Think about this, the little trick at the zoo. And this is actually what we're going to use for this, that, this technique. So what is the crystal gonna do? The crystal is literally going to break the light and by opening up a lot on your lens. So in my case, 2.8, I literally get a really nice effect from the crystal as soon as I close down the crystal become sharp and then the whole effect just falls down like a house of cards. So shoot it wide open and you will be surprised. Try it on f 11 and it will probably think that this whole trick doesn't work. So open up. Ok, so how do I open up and have to strobe setup? And that slope is actually on a high setting, right? I'm not going to use any triggers. I'm gonna use the strokes as continuous light sources. Remember, a stroke has a modelling light, right? Just don't fire the stroke. And then you have two great modelling lights. You can also use less light or whatever you want. But in our case, we're just going to use our hands or strokes without triggering them. Well, Let's take a meter reading and then let's take the shots. But that meter reading, how should we do that? Well, in this case, because we're shooting with continuous lighting, I have to change my light meter, of course, from Strobe two time because I know that on about 160th, 130th of a second, I can really keep it steady. So I'm gonna change it to time. 130th of a second. I know that on ISO 800 I still get great results. So now setup my light meter. Only thing I have to do is meter the light hitting my model. Okay, so we have f four on ISO 800 with a shutter speed of a 30th. I don't want to shoot on F4, I want to shoot on 2.8. So I have two options. One, I can leave the 30th of a second and lower my ISO so I have less noise. Or I can say, well a 30th of a second, sometimes I miss a shot. Let's just keep that 800 ISO, but raised the shutter speed to a 60th of a second. In all honesty, I feel a lot more confident at a 60th of a second. So let's raise our shutter speed to a 60th and keep that 800 air, because then I also have to 0.8. I already Lois. Let's rock. Okay, So we have our model on the set. We have our lighting setup. I have my crystal in front, and I do wanna give a little bit of attention about the positioning of those crystals. Now and any other accessory that you placed in front of your lens. With this system, you can actually just move it around like this, or you can move it around like this. My experience is when my light that actually comes from the BEQ is on the left side. I also wanted crystal to be on the same side of that light somehow that just gives me a beautiful, beautiful combination. Also, the angles are very important, especially when you use, for example, the prison. So this one, it's very important that you make sure that you experiment with angles. This is one of the main advantages of looking through a few finder that actually is an EVF, but you, you even see it on a normal viewfinder. Just watch out for the reflections. Because especially with a prism and also with this crystal, you sometimes see a reflection of your strobe and you don't want that in your model. You really wanted for an atmospheric effect. So soon as you see your stroke reflected like 20 thousand times. And it's not something that's very appealing. Sometimes it can be cool, but it's not really what we want for. We want that old-fashioned look and maybe a little bit over the top for a little bit like Instagram the heck out of a shelf. So let's try something with our model and let's see what we can come up with. 10. 6A Smoke Without A Machine : Now of course we are talking about smoke. Well, sometimes it's not allowed or not possible to use a smoke machine, for example, you don't have any power or it's simply not allowed in that area. Well, sometimes you still want that atmospheric effect. And although the next technique doesn't come, well, it doesn't mimic smoke 100%. It actually comes pretty close and it's incredibly simple and a lot of fun. Now I'm alone in studio at the moment, so I can't demonstrate how we do it normally, but even if you're alone, you can do it it's called the breathe on the lens technique yeah really the only thing you have to do is make sure that you hold your lens in front of your mouth and just breathed over it like this. But if you use a little bit of rim lighting, accent lighting and a little bit of lens for I don't overdo dish, but just a little bit you will see that you create a beautiful atmospheric glow in your images. Looks really awesome but of course I can tell you about it let's take some, let's take a look at some images. One thing do you do have to realize is that if you do this too much, right? You can't use out-of-focus anymore because everything is literally covered in your well water water droplets, whatever, but everything is covered on your lens. So out-of-focus won't work anymore so the best thing is to do this with two persons. First, you focus you hold your focus, you ask your colleague to breed on the lens, CRE he, on the lens you wait until the fog clears up just a little bit so you see what you want to capture and then you press the strokes will go off. And probably the first time he will literally C that you used way too much backlighting because everything will be white and that's why you have to wait. Just wait. Yeah, maybe now. And then you press the shutter and you get some really nice effects. Now the cool thing about this technique is you don't have to breed right on the lens. You can do it from the side. You can do it from the top and the bottom. Just be creative with it but it's a really cool, very powerful technique. So let's take a look at some images where we breed on the lens and created nice smoke effect. Yeah. 11. 6B Strobe In Flash : Okay guys, now, one of the things that's really cool is of course to play with lends a special effect lenses. And when you watch this video, you will see one breadth mentioned a lot and it's Lensbaby. Now, this is not a commercial for Lensbaby without any doubt, it's not. But I have to be honest. It's a lens system that really helps you creativity. So that's why you see it a little bit more in this video. Also because of the till, the effect of course, of the composer. And of course, well, the little crystals, which you also see one of the video. So it, sometimes you see a little bit, a lot of the LENSBABY, but trust me, it's just because I loved the product. I included it in this video for the very simple reason, it's very cheap. But let's look at some other creative stuff that you can do with your lens without using anything else in what you already have or something very cheap. Let me start out by something that I really, really love and that's creating lens flares. Now, normally, lens flare is created by light hitting your sensors straight on or in other words, straight into your lens creates lens flare. Already explained in the old lenses part is that a lot of the new lenses are pretty prompt lens flare, meaning they don't give you a lot of lens flare, even if he hid them straight on, they will literally reduce a lens flare to something like, hey, there's lens flare. We take an older lens. Well, those lenses are awesome, but we already discussed it. Now, what happens if you don't have an older lens, but you still want that nice effect. Let's say you want a nice colored rim light, but you don't have any room to place your extra stroke. For example, in an elevator or in another very tight space. And you still want that lens flare and it read you in your image, but whatever you do, you can place that stroke anywhere. Do remember that, well, everything that hits the lens will render. So one of the tricks that I use a lot on location and especially with speed lights, it's actually used a gel inside your lens trick. Now, what does that watch this. You just take your camera. Now the first thing of course, you do, steak off your son hoots because that blocks all the incoming light. And of course your lens cap. That goes without saying right. Now normally when you take a picture, you have all your lights set up next to your model, right? You take the picture, all the strokes go off. Or if you use continuous lighting, you just take the picture but that's it. Did you ever think about taking one of you speed lights, mount a gel on it, in this case a red one. And just hold it under your lens. Aim it a little bit inside your lens and just move around. Find the spot where you really like it. So the only thing I did is use a gel on a speed light and then just move that speed light around my lens. So in other words, I literally give my lends a lot of that power from the speed light. Now in this case you see a speed light, but you can also do it with a normal stroke. The more heavy strokes are, well, the better you train those muscles, right? But you can do it with anything as long as it hits the lens straight on. So let me just show you some images that we did with this technique, which I think are pretty cool. And by the way, do you see those bubbles inside the picture? See some that's actually dust on your lens. That's another tip I can throw in for this one. Well, I'm normally very, very nice with my gear, but cleaning my lenses is one of the things that I never do because that dust on the lens, as soon as light hits it, it will literally just show up as nice, almost like a round effect bubbles. I always call it bubbles. You can enemy Photoshop, but it's way cooler if they're on your lens. Let's just take a look at some images we did with this technique. 12. 6C How To Make A Soft Glow : Now we'll look at the old days. A lot of the glamour photographers of course wanted that nice, soft looked in their models, right? Right. We wanted to make it better than real life. So how do you create it nowadays in Photoshop? Well, very simple. You just blurred a skin. You add a little bit of atmospheric effects in Photoshop you create. It's a lot of work, right? But what you in essence want is you want razor sharp eyes, but everything else, you want a nice glow about. Now when you do something like this digitally, often the ice will also get a little bit softer. He don't want it. So how do you create something where the ISO sharp and everything else is a nice, foggy, nice atmospherical look. You see? I'm trying to explain it. It's a little bit hard to explain because it's a really nice, unique look. And that Luke was very popular, for example, in the seventies and eighties when you look at, well, the dilemma photography Playboy or any other photography that showed a little bit more skin. And one of those models to be a little bit more nicer than real life. So how did you do it? Well, there are filters for its soft focus filters, but then you have to spend money, right? And maybe you don't like the effect and you want more or less, or you want different effects, or maybe you want something completely different then that effect. So you want to be more creative, right? So how can you be creative with something that normally is one filter or you can do in Photoshop. Well, what's this? This is see-through material. As you can see, you can see through it. Now, the cool thing about this stuff is you can, of course put it in front of your lens like this. If this is not enough, you can double its like this. Usual mailmen, elastic, elastic benton, Hey, you can literally just mounted on your camera. This is just one color. You can always use pantyhose, for example, black or skin color or maybe white. You can use pantyhose like this with a little bit of glitters in it. It creates a lot of cool looks. Now often the effect is pretty subtle, but you will see the difference right away where you see portraits. So let's just show you two portraits that we shot with this technique and actually this material. And experiment at home with different materials. Try some black, try some skin tones. Try whatever color you want, red or well, maybe read will also colored the image a little bit, but hey, maybe that's creative, maybe you liked it. So let's take a look at those two points. Now closing off the chapter on being creative with lenses, you saw different techniques. We talked about the lens babies. We talked about see-through material in front of your lens. We talked about breeding on your lens and of course, aiming light straight into your lens. For example, we the gel. But that's just the tip of the iceberg. Those are the techniques that I use, but there are so many different techniques out there. The cool thing about photography and art is that there are rules, but you can break those rules. You can use stuff for no, for example, lighting situations that it was not designed for. For example, this material was never designed to use in front of the lens, but we do it and it looks awesome. So try to open up your mind a little bit more and do remember that nowadays we have internet. We have a lot of information in the time where photography dilemma photography had his heyday. Those were the time that we still shot on film. Those were the times that there wasn't any Photoshop. Well, it's it was called the darkroom. Don't confuse that with the app called dark room. It was really a dark room where they developed everything and use dots and burned to create highlights and shadow detail. So it's a totally different era. But somehow, that was also the era where a lot of photographers became creative and started doing stuff with gear that it was not designed for, but it was absolutely awesome. So I don't see any limits. Use whatever you want. And the cool thing about digital, if you do something wrong, he just do it again. You delete the image, and the only thing you lose is time. 13. 7 Final Chapter : Okay guys, so you went to all the chapters on being creative with lighting, which your lenses with tools, and of course, using materials in things that it was not designed for, but it looks pretty cool. And I hope that didn't this video, you really got the message that one, be creative. He used stuff in wastage, UC fit. If you think that something can be done creatively, do it. Don't feel bothered by our it's not designed for it, do it. The other thing is, do realize that when you steer your light with grids and flags, you have way more control over your lighting than you can ever do in Photoshop, because photoshop sees everything two-dimensional when you shoot it, everything is three-dimensional. So that means that you worked with different planes of focus and it gives you way better images if you do it in camera. And trust me, if you know the techniques you will very quickly find out at doing stuff in or on-camera is way easier than doing it in Photoshop. I hope you enjoyed this video. If you've any questions, just hit us up on social media or just drop us an email. And well, we'll see you in the next video or on social media. Thank you so very much for getting this video and I hope you've really got a lot of information about it. See you next time. Bye guys, and keep shooting.