This class is all about matching a light to a move, where you start out with the set as an empty box that you fill with your creativity and imagination. As the dancers work through different moves Joe shows you how to light them with both studio strobes and speedlights to achieve a variety of looks, all the while sharing the tips, techniques, and tricks he’s learned over his impressive 30 year career.
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Join Joe on location as he introduces the class, discusses goals with the talent, and jumps right into things using a strong overhead dramatic light and builds out from there.
Another light adds depth, volume, and dimension to the photograph.
Move from big flash photography to small flash photography; from Ranger heads to speedlights.
We're playing in a graphic space with dancers in the air.
Changing up the set to go from a white background to black, and putting a diffusion panel in front of the light source transforms into a beauty shoot.
Wrap up the first day with one final shoot. Set up a cross light pattern with two speedlights allows them to do double duty as a main light and a backlight.
A new day, new dancers, and a new lighting set up to create a total white background.
Learning to communicate with your talent is an integral step before the shooting starts.
After creating the space and communicating with the talent, it is time to start shooting to see what works and what needs to be adjusted.
Joe changes up the lighting set up to achieve a shorter flash duration to stop motion more crisply.
Take a once around the studio and take a closer look at what each light is doing.
The lighting, the background, and the floor combine to create a big box of light.
Every time the talent does something, it opens the door to something else. Your job is not to miss it.
Joe wraps up the second day of shooting with an extensive review of the lighting and camera settings used on the shoot.
Joe McNally is an internationally acclaimed photographer whose career has spanned 30 years and included assignments in over 50 countries. He has shot cover stories for TIME, Newsweek, Fortune, New…