Studio Lighting Photography | James Schmelzer | Skillshare

Studio Lighting Photography

James Schmelzer

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6 Lessons (42m)
    • 1. Introduction

      1:14
    • 2. The Principles of Lighting

      12:31
    • 3. The Position of Light

      14:25
    • 4. Feathering Light and Background Light

      7:11
    • 5. Camera Settings

      3:18
    • 6. Wrap-Up

      3:26
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About This Class

This class will teach you the pricipals of Studio Lighting for photography. We will go over such things as: Light placement and distance, the seven patterns of light, lighting to correct facial features, and much more. You will end my class by creating a sequence of images (light by light) that helps you to learn exactly what each light is doing and where it should go.

Transcripts

1. Introduction: Hi. My name is James Smells, a master craftsman photographer from Detroit, Michigan. And what we're going to do in this sessions on explain studio lighting studio lighting could be very easy as long as you learn just some of the principles of lighting. So we have our beautiful subject here. This is Laura, and I'm gonna take you through a sequence of how I take her portrait. So the first thing we need to know is about the light that I'm gonna be using these air constant lights, they do not flash. You could use any kind of light bulb light source that you want is long as you modify it. And that's what we're gonna talk about in this class is how to modify your light on how to get it to produce the type of light that you're looking for without understanding how to do it. 2. The Principles of Lighting: so we have our light in the first question. I often ask students, and this is a test that you could do in your lesson in your class is try to figure out what is the correct distance of your light from your subject. I've been teaching lighting for over 30 years and all the trade shows and conventions around the world in the number. One question that I often ask photographers is what is the correct distance? And if you ask any of them, not too many actually understand why you would change the distance of your light from your subject. Now I can pick out myself, because this is how I was in the beginning. When I started lighting, I determined the distance of how far away that light is from my subject to the brightness. Now, does brightness have anything to do with the quality, or is it gonna change the quality of your lighting? What is quality quality? Is it soft? Is it harsh? Is it wrapping around? Is it going to produce really hard shadows or really soft shadows? And how much area is your light going to cover? That's called light depth of field So if you take your light and you bring it really close , Yeah, your lights going to get brighter. But the size of the light is gonna change. I have two hands. I can't change the size of my hands. But if I bring one hand closer to you, it's getting bigger and bigger and bigger, Bigger compared to you. I can't change the size of this umbrella, but I can make it bigger to her by bringing it closer. It's going appear bigger to her if I move it away, is gonna be smaller. Okay, now, the first test that I would like you to do is find out for yourself if brightness has anything to do with quality alighting. So let's say we turn this light all the way down your first test. Turn your light all the way down. So let's say your first exposure is 2.8 at 1/60. If you take a meter reading and it says 2.8 as 60th take the first pitcher at that, we're not gonna move the like. I'm gonna turn the power up a little bit more. If it says 1 25 at 2.8. Take the next picture of 1 25 2.8 Turn your light up some more. If it's as 2 50 he at 1 25 Take another one. Now, if you look at those three photographs, there is absolutely no difference. The depth of field didn't change because you're still a 2.8. The only thing that you changed was the shutter speed. So if if nothing's changing by turning up the power up and down or the brightness, then what changes lighting? See, I go to all these photography conventions. I talked to thousands and thousands of photographers, photographers. Some of them think that it's the light. Oh, I'll buy this very expensive light and my photographs are going to be great. You know, I'll go buy a new umbrella. Maybe a square war, maybe around one. Maybe a box x a guy? One. No. The difference in lighting as faras soft and harshness is only controlled by the size of the light source. So too, change the lighting. You need to change the size of your umbrella in your soft box. That type of modification is what makes lighting soft, so let's learning through that together. I'm gonna take this umbrella offer here, and we're gonna aim the light direct. So we take this off and we take the light. We aim it directly at large, and we're going to make a shadow. And the reason that you make a shadow is so that the photograph is not what we call flatly lift. If your light is placed here and there are no shadows, it's a flat photograph. If you are an artist and you were doing a drawing, you have to put some shadows in there for it to be three dimensional. Photographs are not three dimensional unless you light a three dimensional. So we're gonna move the light off access. Now you see the shadow. But if you look up close at that shadow, the shadows black with no details. So in order for lighting to be soft, this has to in its relative size, the light has to be bigger. And what will happen is that shadow will get lighter. It will actually turn gray will be a light gray won't be black. So the size of the light source controls how dark your shadows air going to be. All right, So let's put the umbrella back on there. This time, I'm actually gonna take the black backing off the umbrella and we're gonna shoot through the umbrella, and this will show you basically what diffusion could do. So you don't need anything expensive? Any type of umbrella would dio I just got this little umbrella. And now watch your face as we add some diffusion and soften up the light. And now look at the shadows. You barely even see a shadow there. And the lights in the exact same position. Nothing's changed. All we did was put some diffusion material on in front of the light. Now that we've got the umbrella on their the distance off the light from your umbrella produces your speculum highlights. So I'm gonna take this light. I'm gonna bring it all the way up against the diffusion. Now you'll start to see the shadow come back again. Now, as I move the light away from the diffusion material, you'll see that shadow kind of get really, really light. Barely a shadow. So the distance of your like from your diffuser will control how darker How like that shadow is tilt your head just a little bit Look, all pretty the lighting could be and how simple this is. And all I really have here is one light. So now, once you have that light again, the biggest decision you're ever going to make in lighting is how far away you put that light. The closer, the lightest to your subject, the softer it's gonna be. So the reason why you're gonna want to shoot through the umbrella is so that you can get the light. It's close to your subject as you can without the shaft of the umbrella being in your frame . So if I turned this around, which I can show you and you try to get it as close to your subject as you can, the shaft is in the way. So that's why we as photographers shoot through the umbrella instead of bouncing off of it , because you can get it a lot closer. Without that showing up in your friend, you go. You want softer. So you're controlling your speculum. Highlights by moving the light of different distances inside, the umbrella would be the exact same thing as if you were outside on a cloudy day. Then you'd have this what we call fully diffused. See how there's no hot spot. If the sun comes through the cloud, you're going to get a hot spot up in the front that gets more brilliance out of your light . So if you're softening up your if you want a softer portrait, then back it all the way up. Now you just figure it out. Brightness has nothing to do, moving the brightness up and down that's just controls what I s so what f stop your at. And then we learned that the size of the light is what makes lighting produce black shadows or gray shadows. And now we're also learning what's the correct distance of your life. So if you bring the light in really close, that's is soft. Is this umbrella this size umbrella will ever because I can't get in any closer? That's it. Now, light in close falls off fast. It doesn't travel very far. So if you have a light really close to her and you want to take a picture of both of us, she's brighter than I am. So what's the mistake here when the mistake is, most photographers don't know the correct distance of that light. And what do you base that on? You're gonna want to base it on the spread of the light. So if she's brighter than I am because she's closer to the light than me, what do you do with that light? Even us out. Well, if you took the light and you backed it up now the lights had a chance to spread from itself. So now that that same area, this much area is all the same brightness. But as you bring that lighting closer, she's a lot brighter than I am. So the principles of lighter size and distance, size and distance If you have any problems with your lighting, I could tell you you either have the wrong size or you have it at the wrong distance. Okay, so let's back up here for a minute and start from the very fresh, more stand up for me. We have our subject and we want to take her portrait. So the first thing is, how far away do you put the subject from the background? So, Lord, come back here. Let's say I put your stool right there and we go to take your portrait you consider. And then my lights here and what's gonna happen is, well, let's take this off here so you can understand a little better. There's my light. What's going on is that the light is creating a shadow on the background. So the 1st 101 and taking a portrait of anybody on location in the studio where you might be is you're gonna want to move them forward to you, get rid of the shadow. So stay back up again. Sit there. Excuse me. There's still a shadow in the background. So what am I still doing wrong? I still haven't figured out what's the correct distance from the background. Bring your subject from the background, so stand up again. Now sit down. So I don't necessarily really need a high ceiling. I just need enough space to get the subject away from the background so that my shadow doesn't fall in the background. If you put your light here where you're really not supposed to, you're going to do the exact same fee again. Your flat lighting, your subject. There's no dimension. There's no shadows, so you want to put the light into a position that gets the background off shadow off the background. You've got your subject final forward 3. The Position of Light: Now there are principles off light on top of the distance and the size and the brightness, and that is the position of the light. So let's talk about that, all of it. So, Lord, don't tilt your head so much this time. Yep. Okay. Here's the number. One mistake in lighting is photographers have their light down too low. So if you look at the point, the edge of that shadow, the point rate there it's going horizontal. So in other words, if the sun was coming up in the morning, it's down so low. It's at nine o'clock on the clock. So if you look at the hands on the clock, there are positions of where the light should be 10 o'clock. As far as how high, How high does the light go? It should be a 10 o'clock 11 12 1 or two. Right now it's down at nine o'clock. So make sure that your light is up high, so I'm gonna bring the light up until that shadow goes down. Now see it aiming towards the edge of her lip. When you see the shadow just about rate at the edge of the lip, you're starting to get it at the correct height. So now there are positions of the light. They're split like broad light, short light, Rembrandt, light, broad, Rembrandt and butterflies. So let's take you through those. So you know the exact positions of the light. Then we can modify. We could put the Amber line there. But if you learn these rudiments, you'll be set free to be able to do this in every appointment that you're gonna have for the rest of your life, based on their face, the structure of their face and how you would like to light it to bring out their features . Okay, so let's start with number one butterfly life. So you take the light. It's positioned exactly straight with their nose. Now you don't want to do this, so it's in front of your camera so you could put it on a boom. Or you could just turn their face a little bit towards me. Now you got the light stand out of your way and butterfly light you can dio with their faces in profile 3/4 or straight to the camera, you still do the same positions. Okay, so let's look at the shadow here. So if you look under her nose, there's a shadow in the shape of a butterfly. That's why we call it Butterfly Light. But what's so great about Butterfly lays? It really enhances the cheekbones. It raises the cheekbone up and and it shows the features off the cheekbone. Now here's a mistake. So I'm gonna show you the good, the bad problems that you can come across here, the lights up too high. And when the lights up too high, the shadow hits goes right into the lip and he races the lip shadows. The race highlights project. Now it's down to low. There is no shadow. See, Butterfly light is very strict and the exact height of the light to produce that beautiful shadow straight under the nose. That's but if I like now, if you take the light and you modify it off center a little bit, we call that modify butterfly light. If you read in some books, it's called loop lighting because the shadows called a loop on the side of the nose right there, and it should be headed to the edge of the lip. The finish line is the edge of the lips. So let's finish it, Raise it up, key it in there. And that's what we call Rembrandt light right there. Now, here's another mistake that you could come across and that is your light. You got to make sure that you're not putting any shadows into the eyeball. So watch I could take this light and just move it a little bit. Back to fire in the shadow went rate into to her eyeball. So now the shadow from her nose. So you gotta bring it forward, get the shadow out of there and still close up the shadow by your lives. That's Rembrandt. Now turn your body that way. I'm too lazy to move the lights. I just moved the subject. Okay, so now we're going to do what we call broad Rembrandt so broad Rembrandt is exposing the light on the broad side of the face. Broad just means the closest part of her face to your camera is where the light's hitting were still making the Rembrandt shadow. Over here, Rembrandt was the famous painter and he had a trapdoor in its ceiling. So the light was up higher than most of the other painters. that were used in window light. So now you can see the Rembrandt lighting. If you have $100 bill in your pocket, look on the $100 bill and you'll see Rembrandt lighting on the president. Okay, so now let's get into they just fix your hair a little bit. This is called Broad Whiting. Okay, So I'm gonna bring the light forward like just this side of her face without touching letting the light hit the other side of her face. That's broad light. Now, if you got an extreme close up in here, you got to make sure it's nice and clean in there without any shadows. So if I back this light up Ah, here, her eyeballs making a black socket in there because the position of the light has to be in the exact spot as far as you can without it hitting the other side of it hits the other side of face back. That's broad. Now turn your face straight at the camera. Keep going that split like and again, you can see my lights down lower for split light because not going to show up on the other side. You're making sure that this socket in there is really good. So if I backed it up a little bit your black eye in there again to fire your like the other side of the face. Now turn your body towards me and I turn the light again. Your face should be kind of right here. Lord, just look this way. And that's what we call short lighting. Short lighting means that the shortest part that you're seeing over face is being lit at short lighting. So short split broad are all the same thing. Just viewed in different positions. Because if you look here, that split Okay, so we'll get into why, what, Where? After that. So here we go again. Look straight at the camera. We're gonna take this light, and I'm gonna move the light around, and I want you to see how her face is gonna change. There's Butterfly. There's Rembrandt. Okay, so there's broad. Rembrandt, they're split. Turn your face towards May. They're short. So if you can, when you're viewing that you'll see all the different positions off the light that it could make on their face based on the character, other place. When you go to take a portrait of somebody. How do you know where you should put the light? Like, what side would you put the light on their face? So let's say she had bangs and her hair's out here. She's got bangs. You're gonna put a shadow across their face by putting the light over here. If you move the light to this side and she's got bangs, you're never going to make a shadow because you're putting light underneath there. So the first question you often asking yourself when you go to take a portrait is what side of the face do you put the light based on the part of their hair, the character of their face? Or how you would like to pull out the features of them? Okay, so now we've got our light. Let's talk about working with a reflector a little bit before we keep going and start taking all these pictures. So I'm gonna get a reflector. And for demonstration purposes, I'm gonna have her put her hair behind her ear on this side. Put away back. Good. This is to help you understand what you do with the reflector. First thing you don't do is do this. You don't want the reflector straight up underneath. Um, and you don't want to be lighting their ear. This is not the frontal planes of the face. The highlights of the light go on the forehead, nose, both cheeks and the chin. So I'm gonna take the reflector. Bring it forward. See how you I'm not letting the ear. Once you've got that the distance of your reflector from the subject, you can't control how bright you want the shadow to be. But if you don't take the reflector and tilt it up, it won't like the shadows. So the trick to using a reflector is you have to tilt the bottom. You're reflector will never be vertical for the rest of your life because your lights coming down on an angle. And if it hit the reflector down here, it's just hitting the floor. So the reflector has to tilt up. And if you're having problems with your reflector like you bought a super shiny reflector and it's not doing anything, just tilt it up. And in that case, just a little soft reflector would be able to do the job. So I invented a technique years ago, where I twist this up like a potato chip, and what it does is it does what I call wraparound fill. It fills in all the shadows that the camera was seeing. So sometimes you'll see photographers. They have one light here at 100 watts. Have another late over here at 50 watts. And one light over here is making a shadow going that way, and this is making a shadow going that way. Your fill light fills what the camera sees. That's why the fill light has to be there and not over to the side. So never put a fill light over here. The problem with reflectors is you're trying to fill what the camera seeing, and you don't want the reflector in the way your camera. So that's why I invented the twist, because it would do a little light under but on the sides. And again, I don't like the year. Okay, so you can put your hair back. This is an arm that holds a reflector. So if you get one, I mean, if you're trying to watch what you're spending money on, and you just went and use the foam core board, it will work. But the form core board, like I said, would have to be talked it up at the bottom. So you want this? This is a good angle. So I'm just gonna mount this sign here, Kind of hold that for me now that we've got our light. And I didn't put any soft boxes or umbrellas or anything on there because I wanted you to learn about lighting with the raw light. So if you're gonna learn about lighting, get a light bulb, anything that small, and learn those positions that I told you and practice those Okay, so maybe let's just talk about a couple mistakes. Laura is kind of pretty. So she doesn't need a really, really professional doctor type photographer to take her picture because she doesn't have any ailment. She's pretty everywhere, But let's just say her nose had a big bump on it. So, Laura, your right hand put it on your nose up here. Higher. Ryker. Okay, Now the only way that we know she's got a bump on her nose is from the shadow that that light being in the wrong position for a bump on the nose and Now it's enhancing the bump because it's showing up in the shadows. So if I just moved the light over here into butterfly position, there is no her nose would be perfect. You wouldn't know she had a bump. So the rial skill off being a photographer is Can you make somebody look good? They're photographers that photograph movie stars and all these good looking people, and it's pretty easy. But give those photographer somebody has an ailment, and they wouldn't know how to correct it. Number One thing people don't like about their faces is their nose. So let's just say Laura's nose is not that great again. Maybe it's wider. So your left hand put your finger on the side like you got a big, wide nostril lowered a little bit. That's where your natural. Okay, so my light is hitting that I want to put I could put a big nose honor over it, but this is just quicker to show you. So the secret now is to get the light off of that. So we're going to go to split light. Split light is the secret toe. White noses of making wide noses look skinnier, so if you could put your finger down now if her nose was really, really wide, you would never know because we put it in shadow. So these air the corruptions that we use you don't like just light. You gotta look at their face and go What's the best side of their face? What kind of like what are you? Split Broad, short butterfly. Remember all those different types of light So I'm giving you just a little input on how lighting could also be for correction. 4. Feathering Light and Background Light: that's all. The stuff is me doing this stuff for 30 years. I can tell you every mistake I've ever made my entire life. One time I did a job, I didn't know the correct distance of a light from the umbrella, and I left that line in the background. Do you see the light spilling out? I did a whole job. I was probably 17 16 or 17. I shot this whole job and the light was spilling out of the umbrella across the background like that cause I didn't pay attention because I didn't really know. But now that I made that mistake, I've never done it again. So when you put your light on your umbrella, move it in toe, that line is gone. It's disappeared. No matter where you in this light, there's no white spilling out of it that you're correct distance when there's no spill. Now, if I just took this light and I ended at her, it's gonna like the background and everything in the room. So there's a technique in lighting of what we call feathering the light Feathering. The light is kind of when you don't name the light rate at your subject Jamot past center, because if not, then it's kind of kind of be just going about this all the way. She's gonna be brighter here than there or Alexe. Just say that you had this light aiming like this and you've got a big white shot. She's closer to the light than I am. So when you aim the light, you never aimed the light at the center. You name it past center. This is because your lights and a 45 degree angle from your subject. So if you name it past center what we call feathering, it'll even the light even honest. And if it's not even yet, then you got to do what? Back to light up more so it spreads more. But what else I want to tell you it's also good, because if you ever want to put a color gel on the background like maybe we want to make this background blue. So why don't I just do that right now and show you? So I'm gonna grab a color gel and I'm gonna put it on this light back here. Pop it in this little holder and the magnets will hold it in there. And I'm gonna aim this at the background because let's just say I want a blue background. So I backed it up so would spread more. Bring it closer. If I only want a little bit like a spot you're producing, how much area you want to be blue based on your distance from the background. Now, if I want that background to be bluer, then all I do is don't let this light wash out the background. So again, that's another reason for trying to bring your subject as far away from the background as you can. Now, if you want to break up the pattern that you have back there, you could do a thing of what we call Cookie or kuka. Lloris. So all this is I'll bring it up here for you to see. This is a professional one, but all you have to do is get yourself for four by four. Maybe cardboard. Cut some different shapes in there. You could just look up the patterns online, cut your own shapes, put that between the light source and your background, and then that will break it up a little bit so that It's not just one type of look on there . Okay, so now we've got we've let our subject we've let our background and again you can change the different colors based on whatever they're off it is. But avoid your main light lighting the background so again you can see how important it is to aim that light. This way, it's still hitting her, but it's not gonna contaminate the background. Now if you have another light, that was a scenario of one light in a reflector than we added the background light. Then we added the cougar Lloris. But now we're gonna light her hair. So if you have a hair light which we have here, this is a strip strip soft box in the narrow longer and you can see that again. I don't have it on a boom. It's not gonna be on a boom overhead. I'm just gonna keep the frame over here. You can see how I have it tilted. And in here I have a 40 degree egg crate grid and that will keep the light from spilling onto my background. You got to be really, really, really careful that no lights are touching that background. So let's turn this on. Raise it up and you can see how it's producing this nice glow of late along here. This lights lighting over here. This is lighting opposite. And so you never want to put the hair light over on the same side, your main Like you're not gonna have any separation over here from here in the back of give you a little tip here while I'm right here and I'm watching all the details. The most important thing you can have is any kind of hair spray you want. I go with a lighter, misty one so that it's not really to thickening on her hair. But if you see any stray hairs, all you gotta do is spray your hand and go over the little flyaways. So the difference between amateur and pro is basically, does the pro know how to do here? I don't know how to do here, but I don't want to sit there and photo shop all day long, fixing straight hairs. So the best thing I can tell you it's just you don't want to touch there. You don't want to flatten out their hair, but you've got to catch those flyaways or you're going to be spending some time and Photoshopped once you get the perimeter, all I do is just spend the inside a little bit. Keep those hairs off her face. If it's anything close to her face, I'll just tell her to go. She's not gonna want your sticky fingers with hairspray touching her skin. So, Lord, just pull a couple straight hairs back from here on your forehead, You got a couple. So those are all the details here, Sprague and so light barely does anything that we come back in with our reflector and look how beautiful lighting it. Now I want the lighting to be a little bit more crisper on her face and there's nobody next door. So I'm gonna bring the light closer and look how beautiful that could be. Now, if the reflectors doing too much you want a little more shadow, you can control the distance of your reflector to control that. That's how simple this could be. Now we're ready to take some photos 5. Camera Settings: Okay, I'm gonna take my camera off a manual focus, and I'm gonna put my camera on aperture priority. The most important thing you want to do with your cameras. First of all, get a long lens. You don't want anything less than 70 millimeter for a portrait. The longer the lens, the better they're gonna look. The wider the lens, the wider they're gonna look. If you only have a wide angle lens and just still back off, just let him be little in your frame and crop it in later. But if you get up close with whiting a lens, you're going to ruin your subject To make him look worse than what they want. People are looking for good photographs and to compress them and making slender and good long lengths. So my normals of 72 200 that I always have in the studio. Okay, This thing here, I recommend cause it's the easiest way to do this. It's called an expo disk, and what it does is it sets your color, your white bounce and it sets your exposure. So what I'm gonna dio is figure out first thing. What aperture do I want to shoot at. So I'm gonna put my camera on aperture priority, and I'm gonna put it at 2.8. Whatever your lenses is wide, is it open as it could be, because then again, you'll blow your background. This will turn your camera into an incident light meter. So right now I'm on aperture priority. I don't know what the crux shutter speed is. So if I had an incident meter, I would put it right here and meter the light that's falling on her face. If I want my camera two meter that. Then I put my camera behind it, and it turns my camera into a light meter. So I'm gonna take a photograph straight back of where the camera will be in a minute of the light that's falling on her face. Now I have my info up on here, and there's a hist a gram. If the hints to Graham is in the middle, then you have the correct exposure because this is just neutral. Gray cameras thinks everything's great. If I just put the camera on automatic and it saw her shirt in there, it would make her shirt great. So you need a great reference point in order to get a correct exposure. So right now it's saying, Put my camera at 2 50 at 2.8 I'm manual on Take it off aperture priority on my info. When I pushed hissed a gram, it tells me what the camera took it at on automatic. So now I'm gonna go to 50 2.8 and then I'm gonna get put it. I put on manual said to that, and I'm gonna push play. There's my grey image and I'm gonna white bounce from that. So now on a canon camera, you go menu white custom, white balance. You find it in here custom white bounds. Do you want to use this image to white bounds from Yes. And now my color will be perfect. And now I'm ready to take photographs. If it's that easy 6. Wrap-Up: Okay, Well, I hope you've enjoyed this lesson, and I could probably just take you through some of it to get to break this down to let you know of some of the things that I would like to make sure that you're practicing. So in the first part of this segment, I kind of went over with you on how you should practice the brightness and again turn the light up a different degrees. Try different correct exposures on them and see if you see any difference is you're not. The biggest difference you're going to see is the next test. Take 10 pictures. Start with light is close to your subject. As you can. Take a meter reading correctly exposed, back it up a little bit, Take another meter reading correctly, expose it and do this in increments all the way to 15 feet. And you will see the biggest dramatic differences in lighting is not the umbrella, the shape of the umbrella of the box or whatever you might have. It's just how fire way you put the light that would change the contrast of the light. The other thing that changes is the spread of the light. How much area do you want? A light. Any time you're going to do a group photograph, you're gonna back it up. If you're doing big large groups and you don't want dark shadows falling on, people use the biggest umbrella you confined. Then we kind of went into making sure that your subjects away from the background when you set him up How high to put your light? How far forward to put your light, Get the shadow out of the eyes. Then I told you about split Broad Shore Butterfly, Rembrandt by Rembrandt. There are seven different patterns of light. You need to practice small and what I would really like to see you doing the classes don't photograph anybody. Absolutely gorgeous. Find somebody has got a crooked nose. I want to see if you can angle the nose toe where the Kirk witnessed doesn't show. So show me somebody with really big ears. Turn them sideways, hide the ears, fixed somebody with a double chin, shoot up high, stretching forward. Bring their chin up. Big nose is crooked noses, bumps, everything that you could think of. You would use your light in different positions to correct that stuff. I would really love to see that, because it really doesn't impress me to see students taking photographs of beautiful people when they don't need any correction. Anybody could do that. Now you got automatic camera. Auto focus. Most people do their lighting in photo shop. They don't even do the lights anymore. So I hear a lot of people say I'm a natural life photographer. You don't have to be a natural like photographer anymore. I just gave you the whole course of what it took me 30 years to figure out. If you would just keep playing it back, playing it back and practicing and playing it back and practicing and submit in the photographs in there, show me what you can dio. I told you about feathering the light. Don't let the umbrella like the background. You're never going to be able to do color gels if you're letting the light spill onto the background, Father that off the background, build the kucha Laura's Show me what you've built. Cut something out, put the light through their do some patterns on the wall. It just breaks it up. So again, let's look at some of the photographs I did today and I want to see you guys. Do you think