How to Shoot Beauty and Glamour Portraits - The Essential Art of Taking Flattering Images | Warren Marshall | Skillshare

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How to Shoot Beauty and Glamour Portraits - The Essential Art of Taking Flattering Images

teacher avatar Warren Marshall, Passionate Photographer

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

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

    • 1.

      Introduction to Beauty and Glamour Portraits


    • 2.

      Great tips for Flattering Portraits


    • 3.

      Lighting is the key


    • 4.

      More Lighting Tips


    • 5.

      Studio shoot with Paige


    • 6.

      More of Paige's Shoot


    • 7.

      Paige with Natural Light and a Breeze


    • 8.

      Your Project


    • 9.

      Wrap up


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About This Class

Being a professional photographer my goal is to make clients look great.

95% of my clients are ladies who are looking for a flattering image of themselves.

There are a few factors involved in achieving a flattering photograph.

The most critical factor in beauty and glamour photography is lighting.

You don’t need specialised lighting equipment. It does help, but you can achieve similar results on a very limited budget using available light or just one speedlight flash.

You just need to understand a few things about lighting the face.

Whether you shoot on a phone, SLR, mirrorless, or video camera, lighting is the key.

In this class I will be teaching you the easy way to light a beauty photograph  as well as:








And much more.

You’ll see many of my beauty and glamour photographs and you will learn by example and hopefully enjoy the experience.

Before we get into lighting there are a few other tips that I would like to give you concerning Beauty and Glamour Photography.

These are my preferred techniques, others may differ. After 40 years of doing this I have become quite proficient at using light to achieve my desired results.

Find out what the client wants. Ask her to send you some examples from online sites. Don’t copy them just use them to give you a feel of the styles of images she is after.

When we are shooting head and shoulder shots, camera should be slightly above eye level.

This tends to narrow the face. By slightly I mean 10 degrees to 30 degrees above her eye level. This means her eyes will naturally appear larger.

My favorite lens to use for head and shoulder shots is a short telephoto lens (zoom or prime).

On a crop sensor camera = 50mm -100mm

On full frame = 85mm -150mm

This allows you to stand far enough back to shoot without wide angle distortion and still be  close enough to converse comfortably. I rarely shoot from closer than 2 meters from my subject.

Framing your image is a personal preference but I mostly leave a very small amount of space above her head and the bottom of the frame is about the bottom of her ribs.

Posing is the responsibility of the photographer. You are the only one who can see from the camera’s viewpoint. She needs to trust that you will pose her in a way that looks attractive. Learning to pose takes practice and time.

Research poses online. Use your phone to save examples to work around.


It is also the photographer’s responsibility to evoke the expressions that suit the styles.

Suggest thoughts, give feedback, and encouragement.

Her eyes are the most important part of the pose so she needs to feel confident, comfortable and excited.

Focus on her eyes. The closest eye to the camera needs to be sharp.

Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.


I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.



In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

Level: All Levels

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1. Introduction to Beauty and Glamour Portraits: Good, I Muslims Warren Marshall, I'm a professional photographer from Newcastle, Australia. And this class is all about beauty and glamour photography. Now being a professional photographer, most of my clients tend to be Ladies. I should probably 95% ladies. And most of them are looking for a flattering photograph of themselves. So my job mostly entails making people look good. And that's what this video is all about. I'm gonna give you lots of tips and techniques about making people look good. Had a lot them properly. What are the things you need to have in place to make a successful beauty or glamour photograph. Now there are a few things involved in making a flattering photograph of someone. There are things like lighting, makeup, hair styling, clothing, expression, backgrounds, camera exposure, and camera settings. As well as my people skills, which are a huge factor in producing results that are going to be flattering and allow people to look good in the photograph. I'm going to run through all of these with you in this class to teach you the right way to do things. The most important thing in producing flattering photographs is lighting. Understanding how light works and understanding how to light the face properly to produce an image that people are going to lock of themselves. You don't need specialized equipment. You don't need a lot of studio lights. You can do it with available light or it can do it with a simple speed light. I'm going to show you how to do it on a really tight budget. And I'm going to show you the way that I do it in the studio as well. You'll see a few videos of a shoot that I did in the studio with a model. And I'll show you a variety of different techniques to produce flattering photographs. You'll see me do it. You'll see the results. And you'll be able to learn by watching. It, doesn't matter what you shoot on. You can shoot on a phone, you could shoot on a, an SLR camera, or you can shoot video. The lighting principles are all assign and a lot of the other techniques are the same as well. I'll be teaching you things such as the correct camera angles to use, what focal length of lens is best, how close you get to your subject to produce the results that you're after. Of course, the lodging. We're going to explain lighting in a big way. We're gonna talk about how to converse with your subject, how to pose them properly. All of those things are gonna go together to make a great photograph. You'll see lots of my beauty and glamour photographs that I've taken over the past few years. And that will inspire you to get out and do this stuff yourself. It's no good sitting just watching me doing this stuff. You gotta get out and practice it and try it yourself. You can't become an expert overnight. But the more you practice, the better you'll get and you'll be amazed at the results that you can get. So join me in this class. I'm sure you're going to enjoy the experience and you'll see lots of ways to make people look good in photographs. 2. Great tips for Flattering Portraits: Welcome to this class. Before we get started, there are a few tips I would like to give you about how to take photographs that people will be impressed by. Photographs that make people look good. Now we're not talking about artistic images here, but talking about images that make people look good, flattering photographs, we can do quite radical lighting on people to make the shots look different, to have a bit more impact in the image. But what we're aiming at today is what I've said, well, that's just going to make people look good. And that's what we're all about. So there are a few things we need to think about before we get started. The first thing is what result are we looking for? Try to get an idea from your client or your model? What's sort of photographs they're looking for. Because the more you can understand about the final result you're expected to get, the better the results are going to be because you can work out how to get there. If you're flying blind and you're not sure about what sort of shots they are looking for. It makes it very difficult for you to nail it and to get those images. So find out as much as you can ask them to send you some photographs of the style of things that they're looking for. Think about looking through some magazines, try to picture in your head about how you're going to do the lighting. You're going to arrange the short. How are you going to oppose the shot? There are lots of different ways that you can pre visualize the result that you're looking for. And that's the key to getting the result that people want. Now a few tips about shooting these sort of photographs. The first thing that we need to think about is your camera angle. Generally speaking, when we're shooting beauty shots of a female face, we will shoot slightly down on the face, so the camera has to be a little bit above eye level. The reason for that is that it's a flattering angle to shoot someone. Shooting slightly down on the face helps to thin the face. Dan a little bit, elongates the face slightly, just so that you don't really notice, but it does make a difference. Most people will benefit by having a slightly slimmer face. So you're off to a good start with that camera angle being a little bit high. The other reason that we put our camera angle up a little bit higher is because it tends to open people's eyes a little bit more. We don't want them to sit in front of the camera with their eyes like this. But we just want them looking up at the camera, which means that their eyes are open. If we have the camera below their eye level, then they tend to be looking down on us. So their eyes tend to be squinted. Their eyes are reduced in size. So it doesn't look nearly as, as flattering or as friendly as somebody who's looking up at the camera. I'll often ask ladies to drop their chin down a little bit because the natural thing for most people to do when they're being photographed is to point their nose in the a because they're worried about their double chins and how the neck loops. But just dropping that chin down a little bit allows him to look up at the camera. And I saw it looks so much better. If you do have someone who's got a problem with the double chin or little bit of thickness around the chin area. Just ask them to lean forward a little bit. And then I can naturally looking up at the camera, the stretching this area react so it's not so much of a problem. Now when I say the camera angle needs to be above eye level, I'm not talking about a huge amount. I'm talking maybe five or ten degrees. You only need that slight angle similar to the angle that you can see on my face here. My camera and lenses about five to ten degrees above my eye level. The height of your camera in relation to your subject's face has a big bearing on how people view that photograph. I'm going to go into that a little bit more deeply in a future class. But you can do a lot to enhance the viewers perception of your subject by changing your camera angle. Now, my favorite lens to use for these types of head shots is a medium telephoto lens. So if you're shooting on a full frame sensor may be random at the 70 millimeter Mach. If you're shooting on a half frame sensor, maybe random bad the 50 millimeter mark. But a medium telephoto is going to give you the perspective that's going to look attractive on that face. What we want is a lens that's going to allow us a reasonable distance from our subject. I never get closer than probably two meters from my subject because the closer I get to her, the wider my angle has to be, and the more distorted that image will be, I'll find that her face will start to look round. Nose will look larger than hurry is. So I need to get further back the further Becker get and zoom in, the more flattering that perspective is going to be. So it makes your face look more normal to us because generally speaking, when we are talking to people, we don't talk to them up here. We talked to them at a reasonable distance. So that's what looks normal to us and that's what we're comfortable with. Now, framing your image is a personal preference. I prefer to leave just a small amount above her head pixel. I don't waste too much space up there. And the bottom of my frame is around about the bottom of her ribs. So I'm generally shooting in a vertical format. So the frame goes from just above her head to the bottom of her ribs. That allows me to get a nice shape in the frame. I don't want an image where her eyes are in the middle of the picture. Which is a common mistake with people who are starting out because they're concentrating on focusing on those eyes. Because the eyes are the most important part of the picture. They leave too much space above the head and it tends to look boring. It tends to look very uninteresting. So if you can be careful, and once you've focused on those iss tilde, that frame there and a little bit so you haven't got too much room above the head, is going to give you a much more pleasing result. Now there's a theory that says the higher the eyes are in the frame, the more impact they have. And it seems to work with images that I've done. Because often all chopped the tops of people's heads, not for every shot. But occasionally I'll do that in a session. And you can see from these two photographs how much impact that gives those eyes. You'll notice a lot of beauty shots in magazines, particularly for makeup or four and for facial products, will have that head chopped off and the eye is high in the frame because they immediately grab your attention. The lower the odds are in the frame, the less attention I grab, and the less impact your shock tends to have. Now clothing has an impact on our images as well. We don't particularly want clothing that's going to take attention away from our clients face. We weren't playing colors if we can, things that look interesting around the neck line and around the shoulders, but we don't want anything that's going to be two eye-catching and pull attention away from her face. The best idea is to suggest that she brings in a range of clothes in plain colors, if you can, and you can just pick and choose which ones tend to work the best for the shots that you're doing. Now with posing, My opinion is, my strong opinion is that it's the photographer's responsibility to pose the person in front of the camera. Whether it's a model or it's a client, you need to be in charge of how she's sitting, how she's looking in that image, because you're the only person that can see her through that viewfinder. She can practice poses in front of the mirror as much as she likes and coming here and try and replicate it. But you're the only one that can see what it looks like through the viewfinder. So it is your responsibility to tell her hair to sit, to tell her which way to face to say which way to turn her her face, which way to tilt your head one way or the other. You'll see when I do the shots of page later on in the videos in the studio shoot, you'll see how I pose page and the clues that I give her. I like to use my hand to show her exactly what I want. It's much easier for me to say tilt your head that way than to say tilt your head to the left because she doesn't know if it's her left or my left. She might not even know if left from her right because she's nervous. So it's a good idea to show her exactly, even to the point of mirroring that image. I might turn my face this wine, just say turn your face this way like that, but keep your eyes on the camera so that she can see exactly what I'm doing. Even with full link shots. I've lost all embarrassment about posing in public. So all stand there and do the posts that are one client to do or my model to do. And it makes it so much easier if she can just mirror me and do the same sort of pose that I do. It's easier than trying to describe it. Posing is the thing that probably takes you the longest to learn. But persist, keep pushing yourself out of that comfort zone and trying to tell the model or encouraged the model into the poses that you want. And the more you do that, the better you're gonna get at it, and the better results you're going to get. If you just rely on the model or the client to pose themselves, you're just gonna get a whole lot of mundane photographs or the same photograph that every other photographers got who pose that particular person. So it's your responsibility to do the posing. Learn it, practice it. Look at magazines, look at videos, watch some of our videos in their classes, and that will give you some good tips about how to do it. Now I mentioned before that the client's eyes or the subjects eyes are the most important part of the shot. So they need to be relaxed, they need to be comfortable. They need to be excited about being photographed. But you don't want the stress or that worry to come through in those eyes. You'll tend to find at the beginning of a shoot, people are a little bit nervous, a little bit more nervous than they are towards the end. Because after a while they realized that it's not all that difficult to do, particularly with a bit of encouragement from the photographer. But those eyes are important so you need to focus on those arts horizon need to be sharp. So make sure those eyes are sharp in every shot that you do. No matter what sort of focus technique you've got, make sure there's always a shop. If there's one closer to the camera than the front, i needs to be the sharpen. It's no good having this one a bit soft and the background sharp. So make sure this front i is the most important one, and that's one that's focused. 3. Lighting is the key: Now we're going to talk about lighting. Lighting is a critical thing in any sort of photography. But more sewing, glamour and beauty photography, because ultimately we're trying to make people look as good as possible. Now, a little bit of light theory to start with, there are four main characteristics of light that we need to be conscious of. We need to know the quality of the light, the direction of the light, the intensity of the light, and the color of the light. Now the first two are the main ones that we're going to talk about here today. We've got other videos and videos that we're going to produce. It explains more about this light theory and you'll understand It's so much better when you watch those. But the quality and the direction of the two things we're going to be concentrating on with his beauty lighting. Now the quality of light means the hardness or the softness of the light. Now, hard light is light that comes from a small light source. An example of a small lot source would be the sun. The sun is very small in relation to us here on earth. So it's a hard light source. It tends to throw very distinct shadows. If you're on the beach on a bright sunny day, you can see your shadow is, it shows up very sharply on the ground because that small light sources casting that very hard shadow. Another example of a small light source will be your flesh, your on-camera flash, or a studio flesh as well, because it's a small light source. Now, a small light source such as this will give us a hard light because it throws distinct hard shadows as subject and onto our background. The opposite of a hard light is a soft light. A soft light comes from a large light source. Now, a large light source in nature would be an overcast day because that cloud cover is diffusing the light from the sun and spreading it over a large area. So on the same beach with that soft Lloyd, you wouldn't be able to see your shadow. It's still there, but it's been softened and it's being graduated by that larger light source. It's a softer light. So the shadows tend to be not as hard and not as distinct. Okay, so when we're shooting people in the studio, we use soft boxes and we use umbrellas, and we use various other light modifiers to soften a hard light source and make it larger into a softer light. So in the back of the soft boxes behind me there is a small light source, a flash. This sort of flash or a studio type flash. It's the same size overall, so it's a very hard light until we put that light modifier on it, then it creates it into a soft light source. Now soft light sources, much more flattering on faces. You'll see that in the videos that we did with the shoot with page, a soft light source tends to wrap-around MFIs. It tends not to throw those hard shadows. It tends to not show up texture in faces as much. So skin looks a lot smoother. If we used a hard light source to light somebody, it would tend to show that texture in there skin, particularly if the light's glancing off the side of their face, it would show hard no shadows. If we didn't have it in directly in the right spot, it would cause hotspots, it would cause specular highlights on the face. Those little highlights you get on the forehead and on the nose and on the chin from oil in asking that tends to shine a little bit more, soft law, it tends to negate those a little bit as well. So using soft light are large light source is getting us off to a good start in creating. A nice flattering light. The other thing that we need to consider is the direction of the light. Now, light can come from any direction. We can change the position of their light in the studio. When you're outdoors, you can change the position of your subject in relation to where that light is coming from. So having light from different directions will give us a different effect on our persons face. Now you'll see in the videos, short video that I'm just about to show you. I explain these directions of light on pages face. I'm using a hard light because it's more easily seen with those distinct shadow. She can see those different styles of lighting much more precisely. But the same principle applies with a large soft box. It's just less noticeable. So have a look at this video of page, and you'll see that lighting someone from the front, from directly in front tends to be the most flattering light to use. So if we use a large light source and we have it coming directly onto the face from the front. That's when we start getting that beautiful, flattering beauty and glamour lot. Today. We're in the studio today doing a beauty shoot to show you some beauty lighting, various different setups that we can do to make our clients or our models look as good as possible. We've got page our model here in the studio. We're going to use her to show you all of these different techniques. First up, I want to show you a little bit of bad lot direction so that you understand the reason why we put lights in the positions that we do. We have another class that explains a lot more about locking various different styles of loading in all the important things that you need to know. So keep a look out for that. But we'll just do a little bit now just to explain a few things so that you'll understand this lot that we're going to use in this class. Now when we're talking about lighting direction, there are lots of different ways that we can lighthouse subject. There are conventions that I'll go through with you now. Just said that you know what, these different writing styles or cold. But basically we're looking to lot as subject and is flattering away as we possibly can with this beauty shoot. So I'm using a torch here just so that you can see the effects on pages face. It's a small light source, so it's going to be a fairly hard lot that will give us distinct shadows, which will show you exactly the sort of light that we're talking about. The same principles apply when we're using soft light, which will be a soft box or an umbrella. But this is just going to be a little bit more obvious for you to see these different effects. So when we're talking about horizontal positioning of air light, we can position our light directly from the side of page so that we're launching one side of her face and not loading the other site. This is what we would call split lighting. Split loading has one side, her face lit. If we didn't have any other lot here in the studio, her the other side of her face would be black. Okay. As we move further around her face, we get a little triangle of light appears on her left cheek. You can see that triangle there. This is what we would call Rembrandt lighting. Rembrandt loading is shown by that little triangle of light that's on pages cheek. What Rembrandt loading does, it helps to lot that shadow I by bus just bouncing a little bit of lot offer cheek up into her eye. We get pages right-hand i which is airlift, fully lit. And we get a little bit of light on the other side through that Rembrandt light. As we move further around the front of her face, we get that no shadow breaking away from her cheek. You can see that little loop of light on her cheek. This is what we call loop plotting. Loop flooding gives us to record into both of her eyes. And it does give that little loop of shadow from her nose on her cheek, which can be a little bit distracting. As we move further and the front of her face, we have frontal lighting, old Paramount lighting, frontline or butterfly allotting. Some people call it, this is the most flattering sort of light that we can use if we're trying to make your client or a model look as good as possible. Generally, we liked her from the front because front-loading tends to fill in any creases or max in her skin to make her skin look much smoother. And it's a very flattering lot to use. Now, also, when we're talking about logging directions, we can talk about vertical directions up and down. You'll notice that I've got this torch just above pages I line. Sometimes when photographers allotting the style, they tend to have the lights up very high. The problem with that is that we've immediately taken little light from pages, all eyes, pages got these beautiful long eyelashes, which shade her eye because her eye is recessed into her face. We get that eyebrow shading her eyes wealth. So if we have this slide up too high, we don't get that bright light into her eyes, so we drop it down. Maybe 2015 degrees above vertical is ideal. We want the slide to come slightly down on pages face because that's what looks natural to us. When we're out in the real world, a brain expects light to come down from above, because in the real world, sunlight is the main light that we look at. The Sun is very rarely below as subjects, so lot is coming down on somebody's face. Looks more natural to us. If we drop this light down below pages face, that starts to make her brain think this looks really unusual. This looks a bit spooky. Mike's page look really evil. So we tend not to like people from underneath and lets us for a specific reason. So loading just above horizontal, it's gonna give you good light into her eyes and it's going to give you nice pleasing light directly from the front. Okay, now, the other thing that I want to talk about, I just want to clear up a few misconceptions is that the catch lights that we see in our models, I reflect the sort of light and the position and the size of LOT that we use to light her. You notice in this shot, if page looks straight towards a camera, you can see that catch light in pages I from my, my light source. As I move further in the front that catch light moves. And if it's damned too low, we can see it in the bottom of her away. If we move it up too high, we lose it because there's eyelashes and his eyebrows or shading the eye. So capsule whites are a good indicator of the lighting that you're using. But we should never liked somebody simply to get the catch lights in the right spot. Catch lights are a consequence of good lighting. There not the reason to position lights in a particular way. 4. More Lighting Tips: So as you can see, frontal lighting tends to be the most flattering. The reason why it's most flattering is because it wraps around the face. It comes from a lot of different directions. So it tends to fill in any creases or Marx or blemishes in the skin. So much more than hard light would. It also brightens those eyes? We get some nice catch lights in those eyes so that it gives us our eyes a little bit of sparkle. Now, you can see the light that I'm using for this video. Now, the light that's on me is coming from directly in front of my face, straight around the camera. So it's the most flattering light that I can put on my face, which makes me feel really good. I want to look good the same as everybody else does. So this slide is very flattering to me, even though I'm an old man, I've got a few creases in my face. It's the most flattering LIDAR can use on my face because it fills in any of those wrinkles, those creases. I still don't look like a 20-year-old, but at least I look like a bit of version of myself because that light is coming directly onto the front of my face. Now in the studio, as I said, we can use these large light sources in front of our subject to get us nice flattering light. You may not have this equipment. So we've given you some options to use for your own purposes. You can use natural daylight if you just think about using it the right way against soft light coming frontally onto the face. You'll see in the video of page that we do amazing shots just with some window light or sunlight coming through a doorway. You could also use a simple cheap speed light flash by simply bouncing it off a white card. For instance, you can bounce this flash off this card. The card becomes a soft light source and it reflects back onto your subject. You'll see that in some of the videos that we've shot. You can also use an umbrella. And a white umbrella is going to catch the light from this flesh, soften it, and reflect it back onto your subject. Or being able to shoot through that white umbrella, as you'll see in the video too. So that's softens the light. It turns a headlight into a soft light that allows that light to be much more flattering. Now in these videos, you'll see most of the setups are done with studio lighting. We used large soft boxes or small soft boxes. As I mentioned before, large light sources are soft light. The softness of the light is directly proportional to the size of the light source. You'll see behind me, I've got to soft boxes here. This one here is 60 centimeter square. This one here is a 120 centimeters round. The larger the light source, the softer the light. This soft box is going to be softer. Then this one. If we have a soft box that's larger than that, we can get larger ones. It's going to be softer again. It's a law of physics. We can't change it. That's the way it is. You can't say that a light source that's this big is going to be a soft light source. Well, it is, it's only softer than a light source this big. But one that's this big is going to be four or five or ten times softer than this one. So now you know, the larger the light source, the softer the light is going to be. There's no way around it, that's just the way it is. Now in the studio. We can manipulate these various different light sources to give us different effects, even though we're shooting with that light directly onto the front of the face, we can use a very large light source straight onto the face, the way that your seeing me now, we can use to smaller soft boxes directly in front, facing straight onto the subject and shoots through the middle of them so that, that light's coming right around the axis of the camera. So it's a very soft frontal light. We can use reflectors. We can put reflectors down in front of our subject here to balance a bit more like backup into the shadow areas. So that's going to soften that light as well. Now, an important thing that you need to know, and as you saw in the video previously, we need to make sure that our light is coming down on your subject. Even though we're trying to make it as frontal and soft as possible, that light source still needs to be slightly above her eye level. So we want that light to come down onto her face because in nature, we're used to seeing light coming down because in nature, the sun is the only light source that we have. So that sunlight pretty much always is coming down onto our subjects. Whether it's high in the sky or whether it's close to the horizon, it very rarely gets below our subject. So we need to have that soft box up a little bit higher. If we're using natural light, we need to make sure that it's coming in from slightly above our subject. So that's going to give us light that our brains like when we look at that image is going to look natural to us. Now, I've seen a lot of photographers doing this by putting their light up way too high. If we put that light up too high, we're going to start shading these eyes and making these i's to dark. Particularly if Ladies have long eyelashes or false eyelashes because they're going to shade those eyes. Our eyebrows are there already to share their eyes, to protect their eyes in case of accidents. So our eyes are sunken back into SCO just so that it protects the surface of your eye. So if we have that light up too high, simply those eyebrows are going to shade those eyes. So we need to make sure that there's plenty of light in his eyes. So when we're talking about 45 degrees up as mice photographers do, to me, that's way too high. We need to have lights probably 20 degrees as a maximum. I often have maybe five to ten degrees, maybe 15 degrees above horizontal for my light source so that I can get beautiful light into those eyes. I can get that catch light in their eye. That's going to make a difference to the sparkle in that I. So have a look at the series of videos or the shoot that we did with page in the studio, all the different lighting setups that we used there, all flattering. They're all different. But the ultimate result is we're making our photographs look as flattering as possible for our subject. 5. Studio shoot with Paige: Now the first set we're going to do is simply a small soft box directly in front of page just up a little bit higher than her. We're going to use this very simple sort of lightning is going to give us that frontal lot just above her eye level. That's gonna make your shots look as good as we possibly can. We go into very disliked a little bit just to show you the slight different effects that we can get. Okay. Page just looking straight at me. Right? Just tenet faces a little bit. Yeah. Okay. Terrific. And I can see how that light looks. It's no IS frontal lobe fills in any blemishes that might be on pages face which she hasn't got any. If we're shooting a client that wasn't as perfect as page, then this slide is going to be very flattering. Okay, we've changed his setup now to a simple setup that anybody can do. We've got a single speed light flash there. I mean back towards the camera. And I'm going to use this reflect a board to bounce that light back onto page. So we've got this reflector in about the same position that we had our soft box before. But this is 80 light that you can do to give you a very similar effect. So I'm gonna take a couple of shots like this and you'll see what it looks like. Okay. Page and we go straight to the front for me. Yeah. Great. Okay. That's good. Now, you can see what that looks like. A very similar sort of light at a much lower budget. So all you need is a white card and a flash. And that's going to give you that same sort of frontal lighting. Alright, so for our third set, where simply using an umbrella to soften this slide, we got it directly in front of page. Once again, we've got a speed light in the back of it were shooting through the umbrella. So again, it's a low budget option that you can use to get this beautiful beauty light would take a couple of shots and you'll see what that looks like. Okay. Lovely page is looking steady me. Yeah. That's great. Yeah. Maybe turn and face. That went a little bit. Yeah. Ok. Terrific. Okay. The next one. Alright, we've gotta set up here where we've got our small soft box back again directly in front of page I have a head, but we've also got a reflector, Dan underneath her, her face. It's going to be bouncing a bit of LED light back up into her face. It's going to soften the shadows and a little bit, it's kind of like the light effectively larger, which will soften it down a little bit more. And we'll see in pages catch lights in her eyes that little reflected on the bottom. We'll show you that when we've done a few shots here. So I'm going to use a white reflector first. And then I'm going to flip it over and use the silver side, which is just going to give us a little bit more brighter light up onto her face. We do need to be careful that we don't overwrite that from that bottom position because they will have that applied on her face. We need to have that light coming down on her face predominating. So that that light coming upwards is just filling in those shadows. Okay. Lovely page. Straight to me. Yeah. Great. Beautiful. Just yeah. A little bit of small. Yeah. Perfect. Okay. Wonderful. Now we'll flip that reflect forever. And we used that silver side. And you'll see there's a slight difference in the effect that we get here. Okay, great. Yeah. Maybe pull a bit here forward on both sides. That's great. Yeah. Yeah. Okay. Terrific. Okay. You can see the difference between the shot with the white reflector and the shot with the silver reflector. Now, this is based on a principle called clamshell lighting. Clamshell loading is light that is shaped like a clam shell. We've got light coming from above and we've got a bit of light coming from underneath. We can do it with a soft box and a reflector, or we can do it with a soft box and another soft box underneath, which is what we're going to do now that allows us to control that applied a little bit more carefully. Okay, so we've got two soft boxes here, two small ones, one above and one below. We can vary the power ratio between the two of them to vary the way that the light looks on page. I've got the top one a little bit brighter than the bottom one at the moment, which is normal. I'm gonna take a couple of shots like that, then I'm going to boost up the bottom ones so that they both pretty much the same power. Lovely. Yes. Beautiful. That's great. Yep. Okay. Now I'm going to turn the bottom on up to the same power as the top one. Okay. Here we go. Just yeah. Just drop that generate punch. Yeah. Right. Yeah. Nobly semi-synthetic. Yeah. Terrific. Now you can see the difference that makes just varying the power with the top one and the bottom one. 6. More of Paige's Shoot: Alright, now we've gone back to our original setup of just having one small soft box above and in front of pages face. But what we're going to do now is we're going to move to black reflectors in close to the solids of pages face. What that's going to do is going to darken the sides of her face to bring out for structure of her face and a cheekbones at little bit more. But I'm going to show you that without first and then I'll show you the shots with the black Reflector. Okay. So just looking straight at me page yeah. It's in 2D. You say straight to camera. Yeah, great. Okay. That's great. Now I'm going to set up these. Okay, that's good. Okay. Anyway, yeah, hippo Speaker screw. So you can see you don't need anything special for the black reflectors, simply some black card is enough. I've just got them attached voice and type. Chisholm light stands. The most important thing is that they are black. They're not going to reflect any light on the pages face, but they just go into dark and day and those ages of her face. I came just looking straight at me page. Yeah. Okay. Lovely. Chin down just a little. Yeah. That's great. Yeah. Terrific. Yep. Good. Camera. Yeah. Great. Maybe push all your head, back and shoulders. Yeah. Good. Two hands up just beside you face. Yeah. Right? Yeah. Yeah. Right. Okay. Now, Paulson here forward. Yeah. Great. Can you turn your hand away from him? Look ME back over your shoulder. So thank you. Yeah. Right here forward over the next idea. That's great. Yeah. Good. Terrific. Moby Dick again. Do this little thing. That's good. We can use that as the avatar on the, yeah, and the thing. Okay, erotica. Now we've switched to another type of clamshell setup, but it's a horizontal one. We've got one light on camera, right, one lot on camera left, just the small soft boxes again, so that it gives us that frontal line under Pages face. I'm shooting through the middle of them. So it gives me a very soft light because it's as if the light is coming from around the camera. So this is probably the softest light that we've done so far. You'll see me do a couple of shots here and I'll show you the results. That's right. Yep. It's just going to zoom in a little bit. Like beautiful shiny face that were a little bit yeah. Right. And other small. Yep. Okay. Alright. That's terrific. Say see the difference that, that makes just having those two lots a the side of the camera, very soft light. So we're going to change it up again. Now. We're going to use a much larger soft box to light page. Alright, now we're going to use a different technique again here we're gonna use a very large soft box to light page directly from the front. The problem is that if I put that large soft box directly in front of her, I've got nowhere to stand to take the shot. So I'm going to frame up and focus my image here on the tripod. And then I'm gonna move my big lighting close to the back of the camera. So the camera's gonna be looking directly in front of that large soft box. So again, it's going to be very soft frontal light, that's very flattering. Okay, page we just focus first. Oops, that's it. Alright, just frame up this shot. Okay, that's great. Now we'll move our soft box in the middle. Not yeah. Okay, that's great. Alright. Here we go, page just looking straight into the camera. Terrific. Yep, that's it. Good. Okay. Maybe turn your face this way a little bit more here. Give their chin down just a little here. And a bit of a smile. Yep. Can you turn around and look at me back over shoulder again, please? Okay. Great. Let me turn. You waste a little bit more here. Good. Here. And we're going to do a similar set-up here. We're going to shoot page against this white background, which as you will have noticed in the past, has been fairly gray because it's a little bit further away than page. Then I'm going to light the background to make it a bit brighter. So we're going to shoot a short first, and then I'm going to use that background light to brighten up the background so that you can see the difference. Alright. To go yeah. Okay. Page she would go, yeah. That's good. Yeah. Maybe push them here, back of the shoulder. Chin down a little bit. Yeah. Okay. That's good. Yep. I'm going to turn this flesh on just so that we can light that background a little bit. Ok. Here we get page here. Gregg. Yeah. It's good to go right here. Okay. Yep. Here. 11 back. Yeah. Okay. So Appalachian damping more? Yeah. Right. And straight to the camera? Yeah. Okay. Terrific. 7. Paige with Natural Light and a Breeze: We switched to a black background now, which is going to help page stand out a little bit from the background because she's got the blonde hair. It's going to stand out a little bit now, the background that we're shooting, because it's black, it's going to be fairly dark obviously. And it's further away from the light source then page. So we're gonna take a couple of shots with a darker background and then I'm gonna put a throw a little bit of light onto it just from a spade lot angled from above. And you'll see the difference that makes OK page. Lovely. Yep. That's good. Yeah. Right. Okay. Now you can see that background's fairly Doc. I'm just going to turn a little speed light on there. I've got my speed light zoomed in to a 105 millimeters, which means that the light is going to be coming out in a narrow cone. So it's going to throw a smaller pool of light on that background that will make it a bit more graduated from highlight to shadow. Ok. Now it's important that that backlog doesn't lot page at all. We don't want her hair or her face being lit by that backlog because it's going to look a bit messy. So we've got it far enough back, so it's not going to launch her at all. Yeah. Yeah. Really good. Yep. Still into the front shoulders and infant. Yeah. Okay. Alright. So you can see the difference with that background. We could put a colored Jill ever to change the color of the background. But now we're going to move that background lot around so that it works as a hair light. We're gonna aim it down onto page's head just so that it helps to highlight her hair against that dark background and help to separate it a little bit. You know, page can you look at this lot and tell me if it's aimed at, you'll hit. Okay? Alright, that's good. Okay. Now once you showed us, turn this way, turn your body around that line a little bit. Yeah. Okay. That's it. Shoulders. A little bit more? Yeah. Okay. Yeah. Now we've changed this around a little bit more. We've got a speed LOT flash in behind page's head. We're going to use that. It's aimed at the backend page's head. I'm towards the camera. We're gonna use that to highlight around her hair, to throw highlights sort of effect around her hair. Now because it's reasonably close to page's head. We've got about half a meter or so behind her. We need to try and spread that latte out as wide as we can so that it gets to the edges of her hair. I've changed the zoom on the flash to 24 mill, which widen so they add, What is he up the cone or the spread of the light. But I've also. Put my little spread out in front of the flesh. That will allow me to have that law. It's spread out a little bit further than that. This little device here simply spreads the light out to a wider area, wider cone. It doesn't do anything to soften the light because we all know the larger the light source, the softer the light. And this isn't increasing the size of the light source at all. So the light will still be just as hard. It just means that it spreads out that light a little bit more. Ok, page. Here we go. We'll just S0 straight on this. Lovely has it? That way. Yeah. Right. Yeah. Okay. Very good. Now you can see the effect that that has on pages here. It just throws those highlights in the back of her hair. Now, because pages got relatively light colored here, we don't want to overblow that too much. We don't want our flesh to be too powerful so that it blows her hair, all of her hair out to a pure white. We're going to get a few blown add highlights in there that just goes with the way we're doing it. But if we had a model with very dark hair or very thick here, we would need to turn up that backslid a little bit more just to ensure that that light was coming through that here. Right? We're gonna change this around a little bit more. We're gonna put a fan on pages here and blow up her hair to allow that backlight to show a little bit more. Now I've got the fan in place. We're just about to do these shots. I've switched my camera format to horizontal because I know Pages here's going to be blowing up a little bit to the side so that horizontal format is going to suit the shot a little bit better. So the right page here we go. Just look instead of the camera. Yeah. Terrific. Yep. That's Indiana little. Yeah. I got terrific. That's great. Yeah. Good. To sort of break up your hair a little bit larger and a little, yeah. It's it's like, oh yeah, great. Alright. Terrific that we scrape. Now what we're going to do is single thing that we're going to turn URI onto the side. Yes. Sorry about that. That's it. Yep. Yep. Put forward again on the front cycles. That'll probably just blowback him. Ok, now we do need to be a bit careful of our model's eyes when we're using a fan so close to it because the horizon will dry out a little bit and it could be a little bit irritating for us. So we try and do this shot as quickly as we can just so it doesn't irritate her eyes too much. Okay. Yeah. That's good. Yeah. Yeah. Yeah. Okay. Alright. Let's pull it here out from under utopia. Yep. Yeah. Okay. Oculus or more abstract. Now we've moved to a different spot altogether. We're using available light now. We're not using flesh to light page. We're using the light coming through this doorway directly onto her face. Now she's placed just inside the doorway. The lot is nice and soft. We haven't got any direct sunlight coming in here because the light the sunlight is on the other side of the house. So we've got nice soft skylight coming through here, which is a really flattering light to use because it's coming directly onto pages face from the front. Exactly the same as the shoots we did inside. We're just using natural available light instead of flesh. So anybody can do this. You could use a window, you could use a doorway. Any way that you can get that nice soft light coming directly onto your model's face is going to work well. So it will do a couple of shots you and you'll see the results. Okay. Page lovely. Straight to me. Yeah. That's it. Yep. Just one hand up at either side of your face. Just nice gentle hands? Yeah. Droplet, Chindia and little bit let me yeah. Great. Yep. Okay. Hence down this time? Yep. Do it straight in their face up a little. Yeah. Okay. Can you pull your hair a little bit further forward? Closer to your face? Yeah. Still wanna see your eyes? That's it. Yeah. And a couple of smaller ones. Yeah. You're silly one for me. Okay. We're all done for today. You can see how controlling that lot direction is a major factor in making your model look as good as possible. Also, the size of the light source. The larger the light source, the softer that light's going to be, and the more flattering it's going to be, we'll be doing more lighting tutorials in the future. So keep looking out for those. I'll see you in the next class. 8. Your Project: Your project for this class is to produce a nice flattering photograph of somebody. It could be anybody doesn't have to be a lady, it can be a friend. Whoever you want to shoot, concentrate on making that light lookers fluttering as possible. Light coming from the front are large light source, whether you use Flash or constant light or natural light, makes sure that lots coming directly onto that face from the front. It's going to make a nice flattering light and please place it Dan in the project section. And I can give you some feedback on it. And other people can see the results that you've done as well. The more projects we getting that project section, the more everybody will get out of this class. And that's what I'm mostly interested in. Also, if you have any questions, obviously put it down in the discussion section. I'm glad to answer any questions that you might have. And again, you can learn from that situation the more questions you ask, the more you learn. So please participate and get the most out of this class. 9. Wrap up: Now two types of light sources that are haven't discussed as yet in this class. Beauty dishes and ring lights. Now a beauty dish that just the name gives you an idea of what it's used for. It's generally used for making people look good. I don't know who made up the name or where it comes from. But to me, I'm not a big fan of the beauty dish. Bd dishes like this are a soft light source. Your flash goes in the back here and it comes out through the front. There's this little deflector panel in here that allows that lie to spread around this beauty dish. Now, it's a reasonably large light sources, about the same light source size as this soft box behind me on my left. It, it doesn't produce a softer light than that. Because ultimately the physics says that the same-size light source will give you the same softness of light. What the BDD SHE does do is it gives you a harder edge to the light. So the light falls off more quickly. So you've got a litte area and then you've got a fairly dark area around it, whereas the soft box graduates a little bit more across that edge. The reason why I'm not a big fan of the beauty dish is that limits me a fair bit. The BD dish can't be fitted easily because if you move it to the side, it's going to give you direct light from that flesh onto the face. The quality of light that it gives me is not particularly different to the small soft box that I have. I've done the experiments, I've experimented extensively with all these different light sources. And the beauty dish just doesn't come up much different to my small soft box. I can greet my small soft box and that will allow that light to fall off a little bit tighter. When we put a sock over the front of RBD dish, it simply turns it into a normal soft box of the same size. You lose the quality of that quick fall off on the edges, which is the only reason that I would use a soft boxes if I wanted that quick fall off. And so the sock over the front just doesn't do any. It takes away all of the quality of the beauty dish. But other photographers loved them and other photographers used them and that's great. It's just that it's not my favorite modifier. Now another type of modifier is a ring light, which is a circular light source that the photographer's shoots through the middle of. Now in the old days, we could put them on your lens. We could fit them onto our lens nowadays, we can buy them so that they're free standing. It's a very controllable light source. You will notice when people have used a ring light because the catch light in the eye is a donut shape, because the lenses shooting right through the middle, it's a very flattering light. The light's coming very frontal onto the face. It's a fairly contrasty light, so it works well in that respect as well. I don't use them a lot, but maybe in the future I might start using them a little bit more because it is a very interesting light source. You do need something with a lot of power. A lot of the ones you get nowadays are for doing makeup, which is done very close to the mirror or close to the ring light. They're not particularly grateful photography, the ones that we use for photography are fairly expensive because they need to be much brighter. So don't go out and buy one expecting that it's going to be bright enough to shoot with, because often it's an LED and it's not particularly bright. But they can be used to good effect. And I'm hopefully going to use that a little bit more in the future. I've used in quite a lot in the past. I've just gone they've just gone a bit out of favor with me because I like other sorts of light sources and I can manipulate them a little bit more. Shooting with a ring lights tends to look a bit Samy all the time. Your shots look very much similar to the previous shot that you did. So learning about lighting is a huge benefit to us as photographers. It's the most critical thing in a photograph. If somebody asked me, what's the major thing you would teach someone without learning photography, light would be the first thing. Because understanding light makes everything else so much more easy. It allows you to be more creative. It allows you to do things that other people can't do it at leisure to tell stories with your image so much more. And it's limitless the possibilities when we use lights, when we use two light sources, when we use three light sources, when we use flash with sunlight outdoors, when we use it at night, there's so many options available to us when we understand light. And it's physics, it's basic physics. The rules that I've given you today are just basic physics. Soft light comes from a large light source. Hard light comes from a small light source. It's not photographic principle is a principle of physics. So all you need to do is understand these basic options and you can do amazing things with your photographs. So give it a go. Learn as much as you can about light. Thanks for watching your class. I hope you got a lot out of it. I'm sure you did. And I'll see you in the next one.