Hi. This is Jay P. Morgan. In today’s Slanted
Lens lesson, we’re out here at the Bonneville Salt Flats. What a gorgeous place to shoot.
We’ve got the white salt that has water flooded on it right now, this time of year. We’ve
got the white background of the sky here in the evening. We’ve got Mary Peterson with
us. We’re going to shoot some great shots of white background with dark clothing. That’s
a great contrast. It’ll look wonderful. We’re also going to show you what raising and lowering
the camera does to shape the body. We’ll show that on a 24mm lens and a 50mm lens. So let’s
go ahead and get started and see what we can do. I have always wanted to shoot out at the Salt
Flats, but didn’t realize that in March the Salt Flats are completely under water. It’s
good that we drove out here and took a look at the location before we came out to shoot.
Even though it was a six-hour round trip, we came out, scouted the location and we realized
we were totally under water. Not to be deterred, we headed out to shoot at the flats using
them as a reflection pool rather than a salt surface. The water’s only about six or eight
inches deep, so it’ll be perfect for that purpose. Shooting on the Salt Flats requires a permit,
which we got from the BLM. It also requires rubber boots for all the crew so we can work
in the water all day long. If you try to shoot here without a permit, it’s very possible
you’ll get a ticket. I wouldn’t advise it. Our lighting today is going to be very simple.
We’re using mostly natural light. We’re going to use one Dynalight strobe head with a Photoflex
Softbox. It’s going to be over the camera left side to emphasize the highlight on her
face we’re getting from the heated sun. Here’s our first shot with just the sun. We
don’t need a lot of light to add to this, but just a little bit of highlight, a little
rim on the camera left side, I think, will help us a lot. Our strobe’s going to highlight
from camera left. So here’s our shot with that strobe light and our natural sun. I’m running around in the water using a new
piece of equipment today called the Spider Holster. I was not sure how it would perform
in this situation, but it was perfect. The camera was right at my side. It wasn’t flapping
around when I was working. I found it a great solution for moving and shooting in a demanding
situation. Before we start shooting our main image, let’s
take a look at how the camera height shapes the body. We’ll shoot with a 50mm lens to
start with, and then we’re going to move to a 24mm and experiment with different camera
heights. Here’s a low-angle shot where the camera is on the deck and looking up at her.
Literally, my hand is in the water keeping the camera just above the level of the water.
This gives her a very statuesque look. This is a great view for full body shots. The shot
has great presence. We’re now at waist level, and her body is
more evenly proportioned. It’s almost too normal. I should have done a shot between
her waist and the deck. That’s kind of my favorite place to shoot. It really gives her
that nice, statuesque look but is not up to the waist where things start to look very
normal and kind of uninteresting. We’re now going to move to eye level. We are emphasizing
her upper body now more and shortening her legs. When you come to this point, you’re
in a better place to shoot head and shoulders rather than full body shots. We are now looking
down on her, and it shortens her body a lot. Her legs are shorter and we’re making her
head seem a bit larger. We’re now looking at a steep angle down at her. It’s a very
high angle. This far shortens her a lot. It’s kind of a comical look. We’re now going to go to a 24mm lens. We’re
going to take a look at how pronounced this change is, going from the deck all the way
to overhead. Here’s a shot from the deck. My hand really is in the water, so the camera
is very low, looking up at a steep angle. Her legs are a bit larger, her head’s a bit
smaller. We’re getting a little more of a forced perspective. This is a big jump. We’ve jumped from that
low angle to that waist-high shot. Again, it’s very normal looking. Things are a little
more normal as we keep the camera almost at her waist. This does not lengthen her legs,
does not change her head size, it just keeps everything very normal, but a little bit boring. We’re at her eye level now, and this is a
really good look for her upper body. If I push in and shoot her waist up from this angle,
there’s really no double-chin. Not that she has a double chin, but it’s just a great position
to shoot. As we get just above the eyes, we can start to push in on her a little closer.
Now we’re above her head. Because of this wide-angle lens, her body is very distorted.
Her head is large and her feet are very small. This is an interesting look. It needs to have
an application for it to work, though. I’ll be shooting most of the shots today at
that low angle – not on the deck, but between the deck and the waist height. It shows off
the environment. It gives us a nice, statuesque look at her. It’s really at this point that
we’re ready to get her in the water. Off with the rubber boots. Mary is such a trooper.
Here’s a montage of the different images. I really love this high-key background with
her dark outfit in the foreground. I really was pleased with how these turned out. We make the decision on camera angle based
on what we want to communicate. If it’s about clothing, we’ll choose a camera angle that
flatters the clothing we’re trying to sell. Low angles are great for full body, and high
angles are better for moving in with head and shoulders. We’ll talk more about this
in the future, so keep those cameras rolling and keep on clicking. Well, I hope you enjoyed our piece today on
how camera height shapes the body. I’d like to give a little shout-out to our new sponsor,
which is Spider Holster. I had no idea how I was going to love this piece of equipment.
I put this on when I went out to work at the Bonneville Salt Flats. I was on set. I had
put it and locked it so the camera wouldn’t fall out. I started working on set, doing
things and after a few minutes I wondered where my camera was. In fact, I was looking
around, I was looking at my tripod; it wasn’t on my tripod. I asked one of the assistants
who was there, “Where’s the camera?” He goes, “It’s on your hip.” It’s so secure.
It was just there. It made it so easy for me to work. It’s got a little switch on the
side to be able to break it loose. I can lock it in place; it can’t come out. Or I can bring
it up or I can lock it so it will let me allow it to bring it in and out very quickly. I
want to just give a little shout-out to Spider Holster and look forward to working with them
in the future. Also, all of you who have not subscribed to
our YouTube channel, please do so. Go to our web page. Get on our Facebook and like us.
Like us on our YouTube channel. We appreciate all your support. We truly do appreciate all
your support. So here’s The Slanted Lens. We’ll see you next time.