Using Rotolights To Create Stunning Portraits Both In The Studio And On Location | Paul Wilkinson | Skillshare

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Using Rotolights To Create Stunning Portraits Both In The Studio And On Location

teacher avatar Paul Wilkinson, Portrait Photographer

Watch this class and thousands more

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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

12 Lessons (37m)
    • 1. What we'll cover in this class

      1:44
    • 2. Kit intro | Find out more about the Rotolight AEOS & NEO 2

      10:26
    • 3. Creating a low key studio portrait (one light)

      3:33
    • 4. Creating a high key studio portrait (two lights)

      2:49
    • 5. Creating a low key studio portrait with both siblings (two lights)

      3:25
    • 6. Using artificial light in a sunny garden (one light)

      2:51
    • 7. Using artificial lights in dappled shade (two lights)

      1:54
    • 8. Creating a compressed perspective sibling portrait (two lights)

      2:23
    • 9. Creating a gently lit sibling portrait with soft boxes (two lights)

      2:15
    • 10. Creating a beautiful portrait with soft boxes (two lights)

      1:07
    • 11. Your Skillshare project

      0:36
    • 12. Over to you (and outtakes!)

      3:28
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About This Class

Ready to get started with flash lights but don't know where to begin? Looking for inspiration for new lighting set-ups you can try, in the studio and outdoors? Or just bought some new strobes and want to have a play? This class is for you, no matter what lighting equipment you have or are thinking of getting.

The good folk at Rotolight lent us two pieces of kit for this demo: the Rotolight AEOS and the NEO 2. These lights were originally designed for video work, but Rotolight have added a strobe feature that means they can be used like studio flash lights. They are extremely lightweight, very portable and the battery goes on as long as you can. We had a lot of fun putting them through their paces.

But don't worry if you are using something different.

The ideas and concepts in this video apply to any artificial light source. So whether you've got traditional strobes, LED lights or any other means of electronic illumination, you find new ideas here. And if you're deciding what to invest in, the kit introduction chapter in this class gives you a great overview of the pros and cons of the Rotolight hardware.

Our models for this class are two sisters, so you'll also pick up some posing ideas for pictures of women on their own and together.

This class is ideal for beginner and intermediate photographers with an interest in flashlit portraits, location lighting portraiture and sibling posing. Try one of our other videos for more detail on setting your camera exposure, although you will see my exposure settings and straight-out-of-the-camera images for each portrait, as well as the final edit.

We'll finish off with some words of encouragement before it's over to you to put your new skills into practice!

Enjoy - and don't miss the outtakes at the very end! :-)

Paul and the masteringportraitphotography.com team

Meet Your Teacher

Teacher Profile Image

Paul Wilkinson

Portrait Photographer

Teacher

Paul is one of the UK's most sought-after portrait and wedding photographers - not just for his eye for an image but for the manner in which they are created (mostly laughing, always relaxed!)

His images have adorned numerous publications from the BBC to the Times and have won countless awards as well as giving him the accolade of Fellowship of the Master Photographers Association.

He and his team are based near Oxford in the UK though often you'll find him clutching his passport and his cameras as he creates images for people across the globe!

This class is brought to you by the Mastering Portrait Photography team!

See full profile

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Transcripts

1. What we'll cover in this class: one of the great great joys of running mastering portrait photography dot com is that we get to try all sorts of things we get to try, kit. We get to try techniques. We get to create the most beautiful pictures and we get to hear from you our viewers. In this video, we have begged, borrowed, stolen, some rotor like it We have got a rotor light a E o s. We have got a rotor like Ennio to these are hybrid lights. The manufacturers say their continuous lighting with the ability to run high speed sink. So we've got hold of them so that we can try some stuff out. We can create some really beautiful pictures in the next half hour. We're gonna put these lights through their paces, will create some gorgeous images. We're gonna tell you how we did it, and importantly, we're going to tell you why we did it. And when we finished, hopefully you'll be inspired to take some similar pictures on upload them. The links are down below. We'd love to see your image is the bit that you probably don't get is that we don't get you to upload them simply so that we can give you feedback. We get a blow them because we are hugely passionate about portrait photography. I'm Paul. I'm an award winning portrait photographer, and this is mastering portrait photography. 2. Kit intro | Find out more about the Rotolight AEOS & NEO 2: So what are we talking about in this video? Well, essentially two of the same thing. We have a baby. One the any 02 Now, I don't know whether this is called a neo or in any Oh, or in any zero, I have no idea that haven't give me a clue from road to Light, So I'm gonna call it from now on in the n e o It's aversion to So I'm gonna call it the N E o to its big big brother. The E Os could be in else. No idea. Again, I call this the a E Os. Forgive me, wrote a light or anyone who's listening heroes these things and knows how they're properly pronounced, but they are one and the same. They're clearly from the same heritage there clearly of the same ilk. But one is a fully grown professional, A TV and film set piece of kit. This little baby is really for on camera use or for those little special effects that you might find useful. I want a glance over the fact that they will both do cool things like create lightning effects, fire side effects, TV effects, strobing effects, because with this video, that's not interesting. I'm a portrait photographer, so I'm going to go through everything about these that makes him fascinating and useful. Has someone for someone who creates portray its for a living. So let's deal with the big one first, the U. S is a big beast of our light. Okay, in this mode, I'm showing it here with its modeling light on. But in fact, this is a strobing light, the manufacturer claims wrote like claim that these will do high speed sink. So today we're gonna put that to the test. It's a big unit as a big battery. Even now, having spent all afternoon filming, this is still only half used. It's It's a good looking unit. It's a really nice toe. Hold unit is really beautiful on the bit. I think I love the most is the pattern of the light the led the lights on the front. The pattern is a mix of blue led ease on Dwight LTD's and if I show you the difference, that makes if I tune the lighting up, you see that goes pretty blue and then I can change it all the way through to pretty orange . We're using it somewhere in the middle, where both sets of ladies are the same. I also have a Redd's Alive also provided this little baby, which is a re badged Ellen Crumb controller. So if I fire this, you can see it's firing both of these strokes. That's really useful means I don't have to use cables. However, one thing you do have to get your head round is, although this is a very sophisticated piece of kit. These in terms of the flash capability or not, so both of them have full power. Modeling likes is normal, continuous lighting a pretty bright as soon as you put them into flash mode to get is the many. Put the flash mode same on this one. You'll see that both the lights have now din down on. When I fire this, they give a very high violet, high voltage pulse of light. But it's not anywhere near as strong as that which you get from a stroke, because essentially what they're doing is they've dim the lights down a little bit because they're assuming if you're using these for strobing for flashing, then there's a damn good chance you're gonna have faces in there. You're gonna be photographing people. In which case they've taken the modeling lights down because of the modern lights at full power. Close in there. Pretty aggressive. Make your subject very squinty. I love the build. Certainly of the A O s. It's abuse. We're looking Kit. These were looking piece of kit. I like the barn doors attachments on it. They've also supplied us with some soft boxes, which we were used later on. But do beware. If you buy the soft boxes for these things, you will already have to own the barn doors because the soft boxes themselves don't have a frame in which toe hold it out. They use the barn doors, you slide the soft box over the front, and then you open up the barn doors. That said, with such a large surface area, of course, is you don't You're not so reliant on the soft box as you are with a tiny Zen and tubas you have in a typical flash unit. So you do get away with an awful lot, and we'll do. The first couple of shots were going to use. In fact, we use without the soft boxes for most of the next session, we'll just use the soft boxes at the very end. I really I really like these units. They to feel nice, but they have taken me all day to really get my head round them. So if I show you the back of this unit here and they're both the same the back, you have to read dials. Now all of us who are used to these modern displays are used to a having a huge amount of detail on the small screen here we have almost no detail on a large screen on I'm assuming That's linked to the fact that these air, primarily used on TV sets on film sets on. This is the kind of display that typically someone, ah, lighting engineer who's used to looking at the back of the current lighting technology. I'm assuming that's what they used to see for May is a high end photographer that is a little bit simplistic. Nontheless, we could do certain things on the back of here, so I have set these two stroke motor flash mode. What that means is, when I hit the button on my camera. It's gonna turn. These led is on full power for as long as it can. The maximum is 1/50 of a second. That's how long it can ignite all of the ladies in the array. All of the power it can muster all of that light. That's the most it can do. But if the fastest it will do it is in this particular unit is 1 2005 100th of a second this particular unit one thousands of a second. What does that mean? Well, this is no what you'd understand as high speed sink photography. Remember, high speed sink pulse. Is this strobe as the shutter? The open bid of the shutter passes over the sensor. These don't do that. These can't do that. All they can do is pulse the light for the time that you set on here at the power that you set on here as well, there's no T tl. There's no through the lens. There's no meeting at all. You are simply going to turn the light to this value here, Max. I've gotten set to Max for that time There. I said it. Toe 1 2005 hundreds of a second. What does that mean in practice? Well, it means that any speed, any duration here, below the flash sync speed of your camera and you can use any shutter speed you like any show to speed you like. So as long as this is going no faster for my Nickens, let's say it's very sensitive as long as I said that to 1 250th of a second. Because that's what my D five sinks that Then I can shoot at 13 thousands of a second. Because what's happening is as the gap between the two shutter curtains flips its way over the sensor, the light is still on. It doesn't make any difference to the camera or to the light at all. It's not like high speed strobing where the light goes that that that that that that that that that as you pass over the sensor, this just stays on, and as long as it stays on for no shorter than 1 250th of a second, which on my neck 25 is the precise time it takes for the shot is to start in close, even If there's just a thin gap 1000 the second going over the over the sensor, then I'm fine. Now, why would I have these ultra fast, ultrafast 2500? The second is an ultra fast pulse of light. Why would I have that if I can't use it in every situation? Well, what I can do is I can set my camera to 1 250th of a second old school shutter sync speed. But then I could just pulse the light, same as I would do my normal speed lights for 12 thousands for second and everything flips back. So although it feels like you're working a high speed here, you're no best advice and it's actually advice they give you in. The manual is when you're getting used to these, you're trying to set them up, set your timing toe 1/50 of a second, and then it will cover all bases because as long as your shutter is open, this is on. It doesn't matter how fast it is. This is on. Now that does have its downsides There it means that there's a limit to how much power they can get into the ladies. It also means as you make your shutter speed faster and faster, you're getting less and less light in. And of course, that's counterintuitive. For those of us that used to using a strobe, this light is just a light, and it's on for 1/50 of a second. If you open the shutter for 50 to a second, you're going to get every Jewell every photo on every bit of energy out of this little beast, of course. So, as you go to 1/100 of a second on your camera, 200 of a second on the camera, 250th of a second on your camera, thousands of a second on your camera, you're getting less and less like from this unit. It's not like a flash gun that pulses so quickly that you could get away with it. You don't, so you just have to bear in mind. It's a torch. It's just like continuous lighting. Once this is set, you can pretty much ignore it. But boy, does it deliver some power. So I put it back into you can see just how bright that is. It's a big old unit There's a lot of light there, which means you can go and play really as much as you want. Great big ticket. So that's all I've done in this video. We're gonna step through using it to the lights were going to use them to create beautiful pictures. I'm gonna try and explain. What I'm doing is I go. But broadly speaking, I have set each light and I'll reiterate it through the video. Onda said. Eggs like flash duration worn 1/50 of a second, just just safe. I don't need to worry about it. If I run out of battery power, are just sticks and more batteries in. I've set the white balance on each light. Teoh 4260 Kelvin's Okay, that's the recommended level. Maximum power, which means it's the balancing between the blue led ease on the yellow led is on the head there, both firing at an equal amount. So I'm getting the most amount of power. I'll deal with a color calibration later on when I'm using mixed light sources. So that's it. That's all I've done have set those to the modeling light when you were working with the models. I just the power here and that's independent off the flash. Okay, so we can adjust that as much as we like, depending on. All I want to go to do is see what I'm doing. I do not want as I turn the power up in the park. I do not want my model squinting at me. That's not very helpful. So throughout this video you'll see me keeping the power on the modern light pretty low. But I tell you what. There is one thing that's amazing, because this modeling light is one and the same is the strobe light. Unlike the approximation you get for modeling light in a stroke, this is exactly what I'm going to get and as brilliant cause I can see exactly what the lighting is gonna look like. I can see exactly how it's going to render so on that happy note on that happy note, let's crack on and create some beautiful pictures 3. Creating a low key studio portrait (one light): So for this first shot, I'm gonna take a picture of the very beautiful Catherine. Say hello, Katherine. It's got a slightly straight as time's gone on. That helo always got slightly longer. Hello. Hello. I'm using just one like this is the rotor like a e O s. Beautiful bit of kit. Really beautiful bit of kit. And I'm using the following setting. So we're using this in strobe mode. What does that mean? It simply means on a pulse the light. So we're gonna fire with the trigger. I've got the modeling light turned down two at 3%. I just need to go to see what I'm doing because we've got the studio lights set up. I just need an indication that I've got the light in the right place that constantly firing the stroke. We've got the color temperature on here set to 4260 Kelvin, which, according to wrote a light is when the led pattern on the front of here when the blue LTD's on the yellow led is lit to exactly the same power. And that means I can get the most amount of drive out the light. I have got the stroke power set to Max. So I really want that to kick as much like this. I can get out of it for no good reason except because we got the studio lights up. I don't want them to have an effect on the image. That's really, really important. So all of that hangs together. I've got it set to fire at 1/50 of a second. Not unlike a normal strobe, which is a Zen and tubas n and two pulses for thousands of a second. The really good ones. 10 thousands of a second on the camera also has the ability to scopes that to stop it dead in its tracks. With these, you can't do that. This is old school, Really? So when they say this has got high speed sink on it, what they really mean is we can hold the light power on for long enough. No matter what your shutters doing, we can hold the power for a maximum of 50th of a second, and that's exactly what I'm doing. It gives me the freedom to set any shutter speed I like because every time I hit the button this bad boy is gonna go for 1/50 of a second at full power. White balance one that white balance 4260. Kelvin as a port. A photographer. I spend probably 90% of my time. If I'm using lights, they've got a soft box on them. Soft boxes tend to have a rim around them and that tends toe given a very directional throw . And if I really wanted it really tight, I put a grid on the front. This were using the light bear for most of these shots. So I got the bond all set, really? Simply so that when I turn it to where I want it, I'm just minimising minimizing the amount of kickback or glad I'm going to get from the light straight to the lens, because I just saw from the shot and it might actually flare up a bit. So that's why we got the barn doors on. They're not really changing much of the light here. They really to protect me and also to change what's hit in the background standard stuff. You've seen me do this 1000 times before. If you haven't lazing determine their plenty videos covering this. I'm moving the light around again. The reason I've got the modeling light on is I can see where the cats lights. The reflections in Katherine's beautiful eyes are relative to me and the camera, so I'm just positioning the lights so that they look like they're in exactly the right place. That just above the people, they're just coming in under the eyelash and just looking features. Caffeine is wonderful features on their face, really strong jawline when she laughs dimples so all of this could be brought out with the lighting. So all I'm doing is just position in the light to make the absolute best of Katherine's face shape on that shine in her eyes, perfect. 4. Creating a high key studio portrait (two lights): Okay, So for this second shot, we've switched Teoh. Vicky say hello, Vicky. She said it much more convincingly. Honestly, we're gonna have to work on Catherine. It's amusing. It's the same technology. This is just the baby version of the U. S. This is the any 02 Um, a beautiful little bit of kit is designed Primarily, I think is a video like to sit on top of an SLR I'm using here off camera flash mode because that's the demonstration that we're doing today. I'm using almost exactly the same settings this doesn't have as much power is the bigger A OS, but it's still pretty chunky. It's still got some drive to it. If we use it correctly, I've set it to 1/50 of a second flash duration, so it's gonna pulse for 1/50 of a second. No matter what I set my camera to. This bad boy is going to go for a 52nd. I've set the power to Max, which isn't quite as powerful as the Big Unit, but they're still a little bit of drive in their white balance. Still 4260 Calvin. So it's driving both sets of early days of equal power to get the maximum that I can out of it on then. The only other things I've set the modeling, like down to about 3% for five anywhere around there just so I can see what I'm doing. I've got it boomed. Have a great boon because I want the ability to create something akin to butterfly lighting . Of course, to do that, I've got to get the flash over the top of my subjects face. I get away with doing it with a soft box physical can put a big soft box horizontal, and I can shoot right next to the stem of the light stands here with such a small light source that's a little bit more tricky. So I've stuck it on the boom, which is probably overkill. I mean, it's a massive boom that little dinky like, but is to get it is to give me the ability to get in on underneath on the background. I'm using the A. R. S. I'm using that as a support, like for this one shot on. As you can see, I've created just a pool of light on the back wall. So this shot has exactly the same physical background is the first shot, which is almost completely black. It's not quite like this tone in there and this unknown lighting it not to be completely why I haven't got quite enough power. Unlike coverage to do that, I'm just creating a little bit of shape in there because this is a painted wall as well. I shouldn't get too much bounding across it. If you've got paper and you put a pool of light across like this, you always run the risk of banding. But I'm still shooting in 14 bit. I'll process it in 16 bit to try and reduce that anyhow. And that's still on Max power. I pulled it back a little bit, so all in all, I should get a really beautiful this time. Ah, high key portrait of a very lovely Vicky. Don't say lovely all ovary, I think I said no free will run with lovely. It's a really beautiful 5. Creating a low key studio portrait with both siblings (two lights): So for this our third shot, we Switz now from the high key light stuff to something a little bit more dark and moody. I've gone back to using the A E i O. S is my key, like my main light because it's a nice big light source on for this shop. I'd like the photograph Vicky on Catherine in the same image. So I need a little bit more spread on the light and I'm gonna get a much better job of that out of the bigger light source. Still using both lights set to maximum. I turned the modeling upon here a little bit so I can see what I'm doing. I'm using a gray backgrounds were why? Well, when I tried it with a black background, everything sort of merged. They would have been nice had I had another one of those lights. Another any 02 to put in this corner. But 40 I've only got the one. So to get a little bit of separation to get the guys to come away from that background a bit, I've changed the background up, atone to a mid gray or darker, great. Still feeling a little bit light at it and just position the light so that it lights both the guys really beautifully. It likes their eyes, most importantly, positioning it you are so that we're catching light onto their figure. The bottom half the wearing black anyway. But about half will drop down into the shadows. The background is getting almost no light, but it is getting just enough toe. Have some tone in it, and that's really, really important that any 02 still set up. Max. I haven't changed its setting. That's just quite a little bit of separation lighting on this side of Katherine. Why is it all the way back over there? No. In close. Well, I I want to get a light. As much of her outline as I can, if I bring it in close, are like a pool of light, maybe on her shoulder or in her hair. But as the light gets further and further away from its source, of course, every time I double the distance, it quarters the amount of light. By having that light further back and keeping on Max power. Virtually all of the light that strikes Katherine's along Katherine's side would be the same intensity. And that's what I'm after as much as I can with a tiny light source. So I'm just pushed it back out the way. They're slight. I'm just balancing it off. All in all should be a very beautiful picture onto the posing. I want this to look like sisters really close together. They both got gorgeous features. They both got beautiful hair, that outfits that figures. Everything about this shot should be stunning. I just need to create the connection between them. I've posted this way around simply because it felt right. Nothing else. This is one of those where both the guys really lovely, They both look great. I'm not really worrying about which angle I shoot each them from. I just want the story to the right. So for messaging points of view, I just thought it be nicer if Katherine the youngest sister, was leaning in on her older sister, Vicky. That's all. No other reason friend willing to do is just soften the post. Say it nice and then bring your nose around that way. Just check that lighting. Check up good about right from where you are. So just to finish it up. Everything about right? Soft hands. Vicky, Look at that. That's it, Catherine. In nice and close. It just it. Just put yourself in a little bit tighter. Hold Vicky. Just look down there a little bit more bringing those across asset ice to meet. 6. Using artificial light in a sunny garden (one light): Okay, so for this our fourth shots, we've come outside into a beautiful studio garden. And of course, now everything changes in the confines of our studio. I've got total control over all of the light out here. I have total control over that little bit of like the rest of it. Well, Mother Nature, it will take care of that. So I've got some challenges to overcome. So let's just step through a couple of little bits again about how these lights work. I'm going to use a pulse of light that is 1/50 of a second long. So that's the maximum out of power I could get out of this thing. But that is longer significantly longer than the shutter speed I'm going to use. I don't use a shutter speed around about two thousands of a second, maybe if 5.84 point, rather maybe five or six somewhere around there, because I need to get the levels of the light in the background down but still have plenty of punch on Vicky's face. So to do that, I'm having to just dance a little bit of a dance between all of the power settings remember , I can only set this manually. It's not T TL, so I've set this to maximum. I've set it to White Violence 4260 exactly the same as before. To get as much juice out of this as I can. I know that's not quite the same color as the background. That should be around about 5600. But when I come to do the color correction in post production, are not that worried that the leaves look the correct tone of green? I am. Look, I am worried that Vicky skin looks the correct tone of, well, Vicky skin eso I've moved the lighter as close as I can just to get my shot through. I'm going to use a really fast shutter speed to make the background. The stock is I can't. I'm still using and still balancing against this pulse of light here, remember, Unlike a normal strobe, the shutter speed is really, really, really important. As I'd make that shutter speed faster and faster. I am actually getting less and less light onto the camera, so I'm balancing all of these things out broadly. Speaking of position, the light to give me a great kiss site. A great story. Sectional light on this side of Vicky's face, the sunlight coming raking back in is coming from this white hand side of the frame is you look at it is lighting her hair on. With luck, that should be shape that should be formed. The background will go out of focus, but because it's all backlit by the sun coming through the leaves, they should have those little sparkly bits that you get off a great quality loans like my Nick on 7 to 72 200. All in all, it should be a very effective shot. 7. Using artificial lights in dappled shade (two lights): outdoors. There's always locations, and some of you will know for my videos. We use our street an awful lot for this particular shot. Of course, what we're trying to do is prove the lighting rather than location. But I'm using a location because I thought it be more interesting than always shooting in our garden. Same problems as before, for the shot. We have quite a lot of light, which I've got to overcome because I want the key characteristic to be the lighting from here, as opposed to the lighting from the daylight. So I brought this light in. It's still a full power. I'm still shooting at 1/50 of a second on the back of it. So I've got a fairly good duration, which gives me a bit of flexibility when I set in the shutter speed still set up White violence 4 to 6 always gives me the most amount of power. I've brought in a second, because when I set the shut up earlier, this side of the hair looked a little bit flat and lifeless on. I know that caffeine wouldn't like that, so I brought this light in. Just throw a little bit light in over the top again. I'm using this at Max Power. Even though all I'm doing is light in the head. This unit is not as powerful as the E s o amusing. It's like just a cast cast a little bit of shine into the hair. I've set an aperture. 2.8 have said that showed a speed about 2/50 of a second, I think. And that balances everything out on with a little bit of luck. It should be beautifully lit. It should be beautifully framed on the background will bring out a really lovely creaminess in the image which you go very well with. Catherine Skin her eyes, aunt, her hair. Here's hoping these will show, huh? 8. Creating a compressed perspective sibling portrait (two lights): Okay, So for this shot, I thought I'd do something slightly different. What I've done is I've laid up ashore. Only shoot from that site, pointing into that site. So from the angle you're looking out, you see a very wide shot. But the angle I'm gonna take it and you'll see this in the finished image. I see Vicky behind Catherine. Just lay it up. But to do that because you can see the separation between them. We've now separated the lights toe, like each of them individually. Just is a little bit unusual. A bit different. You could just see poking behind the gate. That is the n e 02 That's the small, tiny little light, tight little acting style little flash from a It's on its tripod just buried in behind the gate. That's the joy of having these little units. I squeeze them into somewhere and still get a magnificent light out of it. The bigger light. I've used it here because I need it slightly further back. So I've got the wits in my frame that's lighting Catherine here at the front. Both lighting units still set a max power that both set up the same white violence. 4 to 60 Kelvin. I've done that for power, but the reason that I've kept them both the same is when it comes to color correction later , I want the light on each of the guys to be exactly the same for one white balance setting. I then balanced up the lighting, using my eye. So using my shutter speed and using aperture, the aperture is set F 19 for me. Yes, remarkably deep, Very, very deep depth of field because I want Katherine to be in focus on. I want Vicky to be in focus. I don't want them to be blood, so I've had to use this almost is almost the maximum. The lens will give me an F 22. So I'm using F 19 on. I'm going as far back as I can against the wall because I go back and I zoom in. Of course, I get compression, so it brings the sizes of each them relatively to be much more similar. They would be for use a wide angle lens got closer into Katherine then, of course, Vicki would be very, very small in the background. So amusing lots and lots of little tricks from the power of the light, the positioning of the like, the position of the camera, the length of the lens, the depth of field. I'm using every trick that I can to create this wonderful image. We're gonna have a go at. It is a lovely show. Good luck. I love my job. 9. Creating a gently lit sibling portrait with soft boxes (two lights): Okay, so we've come back into the studio for one final image, and all I wanted to do was to put the soft boxes onto the two rotor lights simply because that is a portrait photographer is what I would spend most of my day doing when I got to lights. I've got two beautiful sisters trying to invent a short that kind of brings everything together. And this is what I've come up with. We're going to use the bigger light slightly further back, and that is going to like Vicky, who's at the front. We're going to use the smaller lights slightly closer in, and that's gonna light Catherine at the back. The reason I've done it that way around and separated out slightly is this big light here. I've pulled it slightly further back for two reasons. One to help me diminish the power. And I've also got it set down or not, so it's no longer on Max. It's on half power, but effectively to Vicky, this light source isas bigas The little light source is to Catherine because that light sources closer in so to her. It enlarges and also gives me that slight increase in effective lighting. Both still set 1/50 of a second, both still set at 4 to 60 Kelvin, on the white balance, opposed the guys because I want to really kind of want a very characteristic shot character , full shot. You know, this is a shot of two sisters. It is a two shot pursuit. Two sisters had wanted to just have a kind of atmosphere to it. I've used to great background to help me get that darker sort of field to again, as we did right at the very beginning rather than black, I could have used Black, but then I'd have to find ways of creating some separation lighting around the guys. And I don't have that many lights I need for this shot. I need another two lights or need for in total. So I've done the other way around, which is to bring in the gray that would you just lift it? A little will be a little bit of tone in the background against the black of their outfits , which really just means you're I will be led to each of their faces. Each of the guy's eyes, the expressions, their hair the way they connect, and it should be a really, really simple but beautiful image using the rotor light soft boxes, just as I would every day, the week in the studio. It's a beautiful ship, my favorite shot today. 10. Creating a beautiful portrait with soft boxes (two lights): there is always, always just one more shot. This is shot number eight out of seven couldn't resist once we got the soft boxes on and we started playing with the light. Of course, as a portrait photographer, you're just drawn to the image with Katherine's blue eyes and her dark outfit in her dark hair. I just wondered where there was a shot lighting this as I would when I was using my big studio strobes. I've just put the self boxing kept itself boxes on from the previous shot. Move things around a little bit this time. Instead of that second light being used to light a second face, I'm just using it to create very gentle shape of light around her back below the background . Under these studio lights, he's showing quite light gray. Soon as I actually take the image because there's almost low, no light being flooded from the front lights onto it, Then we should get a pretty dark background. And as a shop 11. Your Skillshare project: so we've done our bit. We've hopefully explained how to get the best out of these wonderful lights. Now it's your turn. Why not go out? Create some interesting images? It does not have to be with the rotor like it could be with any continuous lights or, in fact, any strobe system. But create those images. Have a go try stuff on when you finished uploaded into the upload area down below. The links are underneath this video, and then we get to see your images. We get to enjoy your creativity and your craftsmanship. And who knows? It might be next time I'm copying a technique that you've showed may. 12. Over to you (and outtakes!): So in the end, what we've done is we've spent the time creating the most wonderful images. We've had an absolute ball. These lights once you get your head round and once you understand the balancing between the stroke part of it, a high speed sink part of it on the continuous lighting part of it and you get your head round those controls Oh, my goodness. Can they deliver quality of light on to a degree? The quantity of light are just about there, and it means you can take these things almost anywhere on even now. Having spent the past five hours recording this video, this A E O s still has four out of its eight bars of battery power, which means you can keep doing this all day. How exciting is that? And you've seen the images that we can create. If there's anything you'd like us to try it, whether it's lighting kit, camera kit, editing, Kate, whatever it might be. And you like us to put together a video that would help you you personally. Then why not email this email in? You can reach me a Paula Paul Wilkinson photography dot com or just hop across to mastering portrait photography dot com. You can just search mastering portrait photography, and you will find us on there. You can log in. You could see all the videos have already created. And if what you're looking for isn't there just email that says a contact form email may ring me if you want to. It's not a problem, and we will do our best to answer those questions and create those videos until next time they remember. Be kind to yourself. Take care too far Chinese. Maybe my look yes, dungeon. So for the second shot, we have switched. So for this third shot with the Mass was never told. There was no sarcasm in my wrist. How could you have sarcasm in your wrist? Oh three. Just so I know. You know, sometimes you have to finesse. You have to Jewish. You have to just play with it a little bit. By that, I mean the creative process. Obviously, I've got window cleaner in the background to just add complexity to my life. So this is I am I'm not. I ran out of steam. Almost all of Vicky is the same distance from that light, which means almost all of that side of Vicky will be lit the same or even Katherine, because it's not Vicky, right? The names matter. So they today really Damn good. Start and again Job. Oh, yeah. Camera. Is that right? Yeah. Well, camera, I'll take a shot. If I could find my camera, take a shot. I do that every time on this one. Take wonder which is to say people wonder why I can't do it one take une bonne doors on the first of broken