Day 23: Shooting into the Backlight

 

28 Days of Portrait Photography

 

Lesson Info

Day 23: Shooting into the Backlight

hi everyone today's challenge is all about the backlight I need you to master this backlight this is without doubt one of the most requested images in my folio if every single time somebody comes into my studio they always point out these images today I'm going to break it down from one o one putting a kitten up someone's dead in front of it reflecting like back to the face and shooting gorgeous natural like portrait into the backlight enjoy I want you to master this and take gorgeous beautiful beautiful backlight bt images so today we're going to talk about mastering the backlight you know ever since I started shooting on the back light it's probably one of the most requested images that I have in my folio and particularly when I started to photograph other portrait photographers or other photography is I would always say to people what what images do you love the most about my work and all of them would say anything on the back like it's actually quite difficult to do sometimes that ...

back right in a daylight studio I love the flare as well outside but we don't have a clear so we'll try it might try and find some this afternoon but right now I just want to show you how I shoot the backlight and how you could master it in your studio I'm going to give you for or three scenarios one of them is just sitting in front of a window with a curtain on it this is any window you consider in front of any window with light behind it your biggest problem is getting enough light to the face of your client so you want her to look good now I expose for the face in the face is always darker than the light behind and so it always blows out you know the background always blows out because you're exposing for the face that you put the background up a few stops so I'm going to show you some sort of bad good and trialling area you can you can have a look at this what I'm gonna do is I'm gonna just take a photo op or post first let's get chopping how about you put your right foot up and under your name it's it's so nice nap on the box there that's it just write it on your credit card sitting on your left this right there on the fourth down and a gay from here I want this hand to slide albert back around your body line in tak your elbow and good girls had come to the outside of your thigh there now scooch this way everything goes this way so that you can lean that hand there like you were doing that for a little bit more and always point your toes and bring them towards me both of them so this one comes right up onto its toll on the front in this fun point out this way that point him out nice and long nice long point toes always looked long legs and what I'll do is I'll just set you up nice and tall and you sit you into here perfect now bring your chin back to me this way that give me slight tip there stop perfect don't move all right from the city position I always sort of start no different than I take any of my other shoot I just need you to come towards may it's now tuck the salvo and now come towards me a little bit more you've got it nice and close perfect now from here I'll take it them into position I'm just going to take a couple shots for you and show you what to do what not to do and we'll look at sittings on our camera when I expose she asked for her face so when I can't write up and she really dominating the image just bring your chin down to me little bit more down stop lips together and just a tiny little smile in your eyes currently that there and you can have a look how it's coming off my camera I'll show you see how dark that is I'm shooting this I'm in three hundred and twenty so I'm a two point eight so from three twenty isa I'm just kind of bump my exposure meeting in camera art so this is the only time I ever shoot where I watched the back of the camera don't trust the sittings when you shoot on the black background and somebody's wearing a black dress they look very dark and the meter and the camera reads all of that dark and it says it's too dark we need to bump the exposure up so that's where I shoot usually one stop panda because I look at the back of the camera and I can tell that their skin is blowing up because the exposure is reading a little bit and quickly gets confused so in this light in daylight the camera is reading a ll the white light and there and it's saying you need to bring your exposure down so ethanol exposure meter in camera I feel like it is shooting too underexposed so I always bump my meter up about one one and a half stops so if I do that now I'm going to show you going to take it up and then I'm here just push your chin towards me a little way that good deal that's perfect then I'm starting teo get more information I can tell straight away that the difference between the first image in the second one is exposing bidder so always shooting a little high follow your chin around with me here stop okay straighten you hit up to me a little bit lift up nice and tall and bring your chin only chester chin not your shoulders chin towards may and down a little bit more you just your chin I know it's hard but like this cook your now straighten up stop and then chin down a little bit election mouth lips together tiny little smile on your mouth there it is all right so from here when she dominates it frame in just bring your chin down to me just a tickle a little bit more stop then I know I can just pump up this exposure a little bit here and I get this perfect shot now when you first that during this chin down just a little wee bit more down down down I can't go beautiful big smile could love that okay now let me try and do one and I'll change my settings in my camera we'll see what happens so remembering I'm always shooting at one sixty one sixty isa and I'm always around two point eight because I love it but let's go up to four it's imagine that you have a lens that can only showed it for okay so I just need to straighten up a little bit too may straighten you heat up his well bring your chin around this way and just bring your chin towards me that's it come back halfway stop okay from here chin down just to tickle that lips together tiny fine your eyes you got it so at four point oh I'm at sixty shutter speed at one sixty I'm gonna shoot that and look how dark I am okay even though it's measuring perfectly in my camera the only way that I can get that up is to shoot at one one and a half stops over selection rise syria and just bring your chin down just a touch there to go and so I have a look in the act that's two stops over to me it's still not so we're gonna pump up our eyes sorry so we're three twenty now three twenty and now my shovel spade is at sixty and one and a half stops over chin down just a little bit down down down go go start that's beautiful all right now it's coming up and I'm still one half stops over him at four point oh so I'm gonna put may I sew up to six forty so I want mohr light and I want teo just do that here we are one and a half stops I'm in eighty shutter speed so it's nice and fast but four point out six forty now there it is right the much better so you've got to come up on your eyes so but I want to expose for them based not that background really really important now any higher in my eyes so let's take it up and see what grain we get because I'm going to process thes unfairly shop so that you can get this right okay so just ten board and down so now I'm on one and a half stops over four point one hundred twenty five on my shutter speed animated thousand eyesight ok right that's looking good let's go up a little bit more and let's take it up to sixteen hundred so straighten you hear to me bring it in around this ray that go and uh chin towards me more more stay there okay you're just going off again so stand up nice and tall drop the shoulders down that's it keep this one around long chin towards me stadia to this fight that long chin towards me and down down down stop so here we are here we are at one and a half over now it to fifty so we really speeding up the shutter speed were pushing out so I'm sorry I got a blank wait there ok we've got sixteen hundred eyes so push your chin towards me now and down keep going that that's it stop all right no smile just lips together huh there you go now I'm going to bump it up again you see how high we can take it two thousand s I really nice and fast shutter speed now I wouldn't get up here and I would need to get up here in this s o and they sit with the darkest of all days I'm going to take you right up to thirty two hundred just so when we process that we can see the difference push your chin towards may straighten you hit up a little way but jerry that way stop pushed him forward and down so we go this way first and then towards me and then down notice everything we've been talking about for the last month everybody has a default setting and suri keeps defaulting back to that and so I just keep bringing her back and she defaults to that and she everybody's default setting is exactly the same okay pushing your chin towards me and drop those shoulders down just a little bit going so they're not so pen back that's the one perfect push your chin towards me now elect him out and we are thirty two hundred harry I just again chin down that's it we're at thirty two hundred we're five hundred shutter speed so in nice and fast and we'll take the ground that we process but as you can see from every single one of the images the background is blowing out just enough that I'm not getting any coutant color or shape any time if you're going to get me couldn't color is a farm too underexposed so I'm exposing for the face I'm going to go back to three twenty or six forty I s o because it was my favorite I'm going to open it up to two point because I love that drop away and what I'm gonna do is I'm going to shoot it a little bit under oh there it is okay so I'm gonna shoot it a little bit under so that you can see wow that's incredible set background and I'm going to slowly break it it until it comes up and then I'm gonna kick coming there guy and I'm going to put all these sittings when we process on there for you so basically I started it to stop sunder let's do that one probably though without a blink all right so here I am that's what I want today I'm currently shooting this at two point eight I met one hundred and sixty shutter speed I'm at six forty s o and two stops over so I've got a perfect exposure on her face information and here here and I absolutely there's no grain or not to granny chin forward and down now cherie that beautiful order that was gorgeous and here I am here so I've been through all of my break it tonight been through everything in there is where I'm I want to shoot I would never go up to the faster shutter speed and really big so and list they were moving so and that she was moving or dancing so what is really important here is that I'm exposing for the face now the big key is this the reason that I can do this so well right here is because there's a lot of light in this room reflecting back to her face now usually we don't have that and what I would normally do without all this light if this was my only light source I would come in season and I'll show them how to do this I would bring this ride out to here ok so I would shoot with a reflector that close to here so I would really literally be bouncing like behind here back to her face both sides like that I would have two big reflectors here in here and I would leave they get big enough just to shoot through so I would be holed up I would have to reflectors on the floor like that thank you and I would be just through that gap and I would make sure that there was enough like bouncing back to her face now that reflected their will put a stop the chaos top of light on her face all right so what I do here going to record this is that you need to go a little lower with your thighs and bring your up known and I stay hovering that go but bring your elbows under your shoulders or your shoulders over your elbows either one that works here it's kind of a thighmaster workout thiss backlight looks like what you're wearing right now couldn't be more perfect because you've got lace and it's soft colors and the light is incredible so to me this is my behavior it sort of beauty type image now what I want to do is just get these hands sit where I want them so I would just like this hand here to come and on the inside and then slide through that way so slide your alibi just marry me could go all the way through start that's exactly right now sitting up nice and tall and bring your chin towards me now and then stay there now from here to mei these beauty images to me always look like stale order or it's really the quintessential beauty shop I look att these sort of sharks and I just think that these are the shots that you know you see in magazines and I know that when a patient is shot with a beauty addition they've got that nice white light behind them all I wanted to do was learn how to replicate it without artificial light so one of my all time favorite shots became this one pull back with your shoulders a little bit more and sit up nice and tall just bring your chin on lee so what I love about this is the way she was sitting not just in her outfit as I can see through this space here so I can see light coming around her body have a look how beautiful this is from my angle so just tip your tin down ever so slightly in a tiny little smile in your eyes now I settled with six forty so two point eight and that is magnificent I want nice soft fingers in the front belly fingers good girl beautiful manicure too by the way long chin towards me a little bit this way so from this position here chin down I just felt like I was suddenly taking images that I knew that everybody would love these are our options here let's look at them we can do the beauty shot we could do the ottoman lying down this shot looks absolutely incredible on the line down shakes wrapped in a white sheet it's just fresh and it looks like you know that gorgeous I just got out of bed I mean I'm still in bed you know gorgeous look that I think and that's on my website toe that would be one of my most requested shots for younger girls we can sit out back against here so let's do that now we'll slide this box out that way actually season you able to come round and get it out and I just want you to come and sit down I will take that they're at a frame right so from here slide your bum away from the wall just ever so slightly this lean back I use exactly the same position standing in the sitting position but just make sure that you pushed it back that's a girl they're nice soft on the front see the light coming through there that to me is beautiful so I bring this chin around this way to the front of a girl that's perfect and I used the back right here against the white wall now always wanting to shoot below the eye line here so long chin towards me and down always wanted to shoot here all right now just bring your chin forward and down to me a little way but more down down down down keep going go go stop that there it is right there I love using that half light half war that's something I've always done in the studio and I've always always been sort of habit my folio as well I think it just looks so fresh let's have a look at the difference from what it's going to get this naughty girl let's have a look at the difference between shooting this on a bed clyde in shooting this on a plain white wall as well because that love to show you the difference there so from here again I'm exposing exactly the same no different than when she's standing in front of window like I just think it oh fish beautiful weaken do exactly the same poses as we've just done standing up so they stand up and I'll change my camera right so what I want you to do is lean against this wall exactly like you were doing sitting but just use the back of your arm here so tune forty five degrees away from may put this hand down and just touch the back of your mom that way so it's really easy if you push your body away from the wall and just bring that hand there gogo this hand comes up onto on sort of happened and slides around about the way that they go down I'll go down and back yeah right back this relax it down now drop your shoulders perfect now I want you to turn away from me just a little bit more and everyone tends to face and I just want you to bring your chin ok so you bought your turn around like they're so I just want you to bring it normally back here that long chin towards me now push push push push that's it long in this way a bit stop now you're in my back light on my war was going to show you everyone this shot here have a look absolutely incredible on that back line what I love about it just is how completely soft beautiful it is I love that white light coming through I can shoot this nice and close up here now what I do want to show just go lips to give us your entirely little smile in your eyes chin down just to touch a little bit more little bit more you've got it cute so what I'm gonna do is take you over here exactly the same pose but without the back light I just want you to do lean on the back of your own tune your body all the way away from me good gil chin all the way back not so far harry just bring your chin vic it's girl now push beautiful little smile in your eyes so this here is exactly the same shot and I were closer vision of exactly the same shot as the backlight without the big light all right so the whole point is that the backlight to me brings a whole new dimension to the shot if you come back here again and stand right here so even when the freestyling when they're standing right in front of the window light it's just two acquitted your cover girl put your hands up like that put your elbows back so like you're bending your elbows out on a table top but now drop your shoulders forward there to go perfect now long chin towards may and just straighten you up to me and little bit that I don't know if it's gonna bring your curls through gorgeous alright now pushing it tend towards may have straightened up a little bit while this way that push it in towards me and down that someone so from this position drop your shoulders here he said that they're not so they're bringing him down now down a little way but more and lips together just a tiny little smile the guy even free starling in the center I absolutely love what this is doing so there is nothing I can't do in this pose pastoral knee up hand across ottoman shakes white sheet ottoman shay ce casual shot young girl sitting down the wall knees arms up use the wooden floor make it really magazine make it cover girl but what we've got to do is just make sure that they are getting perfect amount of light to the face so I've got some really good lighting scenarios to showyou opening in raw files if you are opening in raw on photo shop for processing and light room this shot is going to be a lot easier for you because the whole point is that you can print emanated eyes the whole point is proceeding is going to make it so much easier when you can used to recovery tool on the background I've got some really good examples off when the background is dropped into sort of a little bit under exposed and you can see the conclusions and I'm going to show you how to remove the white kitten I know that there's always questions around the sort of kid I use and with for this programme we've shot natural light studio so we showed three different ways to diffuse light but remember it's a simple is using a sheer curtain polyester chiffon organza but probably something without a sheen to it on biff you're going to use white net curtains not lace curtains or big holes the cotton couldn't have always the best I use packaging white paper anything that's going to defuse the amount of light that's coming through here right now it's going to make this a beautiful shot now as you can see with this one here it's just such simple polyester chiffon it's four dollars a maitre it's so easy to buy and have a look up there it's diffusing a lot of light through the air and it's just absolutely perfect as long as it's not too opaque and as long as you can bring light back to here so lots of reflected lots of reflector boards on this side to bounce light back to her face so what I'm going to do now is I'm going to take a couple of shots are sharing in just an equity colored top I'm going to do a beauty shoot and then I'm going to move her back into that corner scenario that we just put her into which is not backlit but I'm going to show you if there's enough light on their background I can make it look a little more backlit so if you if you've got too much light coming through your window right now and you need to cut down and you can't defuse more light you can pull her away from that light and shoot against a white wall and give the illusion of being backless so let's try that all right what I want you to do terry's bringing chin towards me here good girl push it forward this's my favorite shot always has pain right from the beginning ofthe all shooting time for me the first thing I'm going to do is walk somebody towards the edge of the window and photograph them and I think if I look back to now just a little bit reelect arise for me when I look back over my career I know that this shot here has been my signature shot just take half a step away from a yeah and now I want you to take your weight on your left foot and just tipped down to touch the war with your shoulder like this child to gil perfect all right now when I bring somebody to the edge of the window like this just like this I know I'm going to get an incredible shot because all of my life is coming from here straight to their tip away from the what better and just come down there now I know when I get this that this is where I began this is what I love and this is great now just relax is I've done a little weak but form a cook your little we smile in your mouth that yes don't just don't bring your eyes too wide that's it doing that more smile with their ok every single time this is the shot I'm going to go to but have a look at this when I started to shoot into the window light I realized I could do a rotation around here so if I can from here just follow me with your chin not your body your chin if I start to walk around here now bring your chin with me or away and actually turn your body away from me as well keep going keep going keep going bring your chin back stop then long chin I realized that I could start walking around here and then hang on go but to hire mike so I can take another steer and keep coming now all of the sudden I realized that I could start using a little bit more of the slight coming to the window a little bit more maybe half and half like step across that's a go all right now bring your chin back this way now from here I realized that I could start shooting people half on that big fight so I could start doing a little bit of a making it look like it was half backlit tim forward and down that stay there and then if I keep coming around one more step turn your body towards me all right lean back against the wall with your bum that's it perfect and just put your thumbs into your jeans and then just kick one hip out and relax and elbow down albert damage in the side could go now straight and you hit up to mate and go long chin towards may now here I am right on the edge of the window like let me see if this works and how this works so what I said to you about faking the back line let's have a look now I want you to move into the backlight that's it stadia were here relax those ice down to goa and now step into the back light a little bit more now you can't lean that's okay so now the selects here now is she comes across you'll see now come across a little bit more you will say that air she steps into this back right I've lost now my exposure's changing dramatically sounds going to look through these sharks so what I started to do was I realized that when she came into the back light half and half this is when I started shooting the back light a little bit more sometimes I feel like when they all on the white it's a little bit too much so it's just attitude ng on the age when you start shooting on the age it actually looks really really good and there's lots of beautiful light coming through here now what makes a significant difference in my camera is when she when I bring reflectors in so what I'm going to do is set up a live view right from here to show you the difference in the cameras so just give me you stay still and you guys give me a little sick and to set it up I'm going to bring in reflectors so that you can run really see how I should when there's no cameras filming me because remember I use big reflectors for a reason to stay there sherry I'm going to leave my sittings the same and I'm going to set it up for you so now what I've done as you can see I've lived here in exactly the same pattern space not just put these two big reflectors up here in here so when I pull my camera and I have a look and I take a shot exactly as I did before yourself from those eyes down for me a little bit more little bit more smile better to go stadia I am one two three four five six six seven eight nine stops I got or nine well more like three stops but it's going down half sari blink and what I'm doing now is have a look at that it's crazy it's bored and so much beautiful like back to her face this is where we want to be in an ideal situation cheating through this crack just like this it's a small crack it's enough to get him through but it's amazing flat light reflected straight back from the window to her face and it's just absolutely perfect in terms of creating like a little natural light bd just push it towards me on your chin that's it more more than just stopped and I could get right up to here just relax those eyes down little tiny spiny lips good girl got it and there it is he's my shot locked of reflected light never mean that she couldn't dance in this light she can do beauty shots she could do cover girl should do so many different things but what we have to do is get this exposure right we have to get this reflected light right now today I'm very lucky because I've got lots of big windows that the big windows also work against you when you've got too much life so just making sure you can cut it down to future and bouncing around exposed and focus always on the I trying not to let your exposure get over sixteen hundred because it just gets too grainy but I've shot right up to thirty two hundred today so let's open them on photo shop and see the river best results that we're getting the shoppers results were getting in hopefully most of you are shooting on raw so that you can eat it on raw and use your recovery tour for any blowing out highlights so let's try and get as much information in our cameras we can and then I'm also going to show you how to break it and use that in your photo shop editing if you do have too much light in the background and if you need teo switch out of background so when I say break it I mean expose lower for the background to bring the light down and then expose higher for the face and then merge those two images together if you cannot get a median in between so let's open these and pour a shot and see how it go prow nettle backlight challenge I'm going to open the bracketed shots that we took in the window have a look at this completely no face and you can see the curtain as you can see up here on the top right hand side this is the only thing I want you to monitor over here I'm going teo keep my camera settings therefore you I'm shooting at an f stop of two point eight it's my favorite if stop and only changing that shutter speed so as you can see I'm s o six forty and my preferred eso won sixty three twenty and six forty I am shitting on my thirty five mil taking a drink of water because I've been talking all money sorry about that right here we go you can see as I change and toggle up my shutter speed I can start to expose for her and now my background was exposed perfectly but she's of course not and then slowly I'm coming into here now she's exposed properly but the background has pushed a little bit too far and that's it I shall speed of three twenty and now she's gone over and the backgrounds gone way over so talk would ride up only changing my shutter speed so let's have a look here I've gone back to the air this is kind of where I want to be but let's get riel and its imagine for one minute that you did it he screwed it up and now we'll see if we can save it so the first thing I do when I opened my role window in the shop is hit obviously auto in default and it's not giving me anything I can look at my exposure and see if I can lift it up through here and clearly this image is long gone there is really not with saving not enough information even if I was to bring out the blacks in there it would just not not be there let's see if this one se va ble so this one here again I think she's blinking anyway even if I bring up my brightness my exposure no it's still pushed too far yeah is that she's blinking because I am was at the point where I was just taking a federal wasn't too interested right here we go so remember in my camera I told you that I'm going to stops over so let's just have a look at this the recovery tool takes away any been highlight so if I apply the recovery toe right up to eighty eight it's giving me information in here there's a little bit of information missing and what I'm hearing from a lot of people is they're getting this they're getting the stripes of the kitchen so I'm gonna show you how I remove that now currently if I go back to here to the order and default this is how I shot it ok what I'm going to do is I'm going to open two images one exposing for the face in one exposing for the background now remember I told you if you get to the stage where you and you don't have a reflector you know you only have two options and that is to photograph one for her face in the other one for the background and see what you get then let's have a look how about we do this one for her face I don't care how blond out that is and we do this one for the background so I'm going to bring the brightness down I'm going to take the recovery up just to take the boot off the ground but see I can see some blue coming through here that tells me it's got it under expose it doesn't have a lot of information so we don't want to push that too far because we don't want that to come up and I was gonna drop my contrast down so I'm not pushing what is there this is just reading in the background we're going to open these two we're going to put them together ultimately I would probably take this exposure and let that blow out exactly like that so I'm going to show you how I worked those two images and we'll show you how with them together and this one I did the extreme I pushed it too far so if I go to auto in lititz select an auto that's where it feels comfortable reading so what I can do is go to auto and pass bring out my brightness maybe change my exposure but again I'm saving something that I shouldn't have got wrong so our mid range is definitely our strongest point so here we are here let's quickly is open those two and show you how they edit them to perfection okay and x went down the next one on the challenge was I showed you how to shoot into that backlight and this is perfect this is beautifully exposed straight out of camera so there it is I'm going to take my recovery up just to say that highlight through the the only thing that bugs me in this image is the integration into the shadow on the wall and I'm going to show you how to get around that we've got good light coming through the here now this is exactly the same pose but done on the white corner where the window was on the far left hand side so she still has a better light but it's not directly behind here it's coming in from that angle and hitting behind here so she still doesn't have any light to the face so what I'm gonna do is it going up there I'm just going to use my recovery to take the highlight off the wall and she's still gonna beg like feel and I'm going to show you how to make that more so so if you're finding it too difficult to shoot straight back into the light I'm going to show you how to shoot back into the light without shooting into the light if you know what I mean let's mark those two so that we know to open them and I like both of them and I'm going to show you how to retouch them now also in the challenge I put her on the each of the window and see her highlight is quite blown out here so I'm going to lift my highlight with recovery and dropped my contrast in theory slightly so that I have a more even tone across his face very very important you can take the recovery right out don't take the contrast down to low otherwise you start losing the blacks you can take the black line down just to remove the blacks but again if you take too much black out of here contrast you lose too much contrast in the image and it doesn't look good let's even this out we're going up on our recovery because we want to save this here and then we're coming down on our contrast okay perfect and as I slowly bringing her into the back lights you could shoot them on the halfback like you could cheat right there it's actually quite amazing but do watch the difference is kind of cool I'm going to take my recovery up to say that whole image see the big shift there take it down drop my contrast down sorry bought my recovery up my contrast down my brightness down now not a good shot s o here anyway but it's not about your expression we're just showing light so I do like shooting half into the light like this special looks good in lingerie or white lingerie or pink lingerie now we're coming right in there now up on the recovery this is all just about light so fair remember if you need some light in the front you can feel like to the front but mostly you'll find you don't need to because it just blows out too much there all right then we're looking good without light she's slowly coming into the back lights they're controlling it and then she's here and then what we did was I bought those big reflectors and I bought the right up to here I reflected as much light back to here as I could ok and she's right in the light here and then I got this and then I shot through the hole of the reflector now I have a perfect backlight and now I have more like tio here so what I'm going to do is up my recovery okay and I have all this light hitting here in the front so where I have no information and they hear on the outside I'm now here okay and I've got lots more to wig with and as they come closer it exposes even better because the camera is finding it easier to read the to meet her to her face when I'm closer to here and now I had this beautiful halo and it's going to take my contrast down the blacks is sitting at five and taken to three and I'm gonna keep coming down now I'm going to start that one for you and exactly the same they're in exactly the same there so now what I'm going to do because I want to correct these images all exactly the same I'm going to highlight them all so you can either hit shift and top and bottom or you can command the more and I'm going to synchronize and the synchronized will sink thie corrections from these images here to the other four okay and I'll just mark them is being open and just bringing here into that light let's have a look at that progression again because you can watch it on the video but is it's being shocked but it's really need for you to see and then we put it here and put a flower in here okay so we were here on the edge right there on the edge of the light and she slowly started to come into the light and I could shoot somebody on that half light and then as they come in what was the most in the front of here meaning the light source behind here was brighter than the light source and front appear of course because it's backlit but I needed to be out of lift my it was to fire off so I needed to be out and lift my exposure to your face but I couldn't do there with that light behind her so I bought in a reflector toe bounce it like back to here to even that expression and then as soon as I got into here I had something I could work with and it's beautiful and that's we want to be so just going through making sure you've got a good correction before you open them remember the recovery too will help you get information around the outside of the here which is definitely about us and they're down like that let's open them and see how we go now one more there only brings it here japp a lot doesn't it and she looks so pretty okay this one here you'll see in the video I was shooting back towards the light I saw the era that I was making fundamental era I'm going to have to retouch this out too many photographers retouching stuff out instead of fixing it in camera I am guilty of this I make no secret of that I jumped out I put a white reflected the ear and I put it back again notice and the backlit shot there is going to be this line here I'm going to show you howto work that radiant that's going to be really really easy that's my phone going off because it's not on silent sorry about that okay you can see she's lying on a white board I've got this backlight much better so attuned to that way of changing this face let's have a look at that result I'm going to show you how to fix this because this happens I'm gonna show you how to fix this fast so that seed of pretending that it doesn't happen let's just say it does and how would I fix it soon and I'm going to show you that I love her beautiful big smile let's get that one that one that one that one and I want those two perfect and then I want the two that I can integrate the face okay and we'll open these images up and finish up so here we are here the first one is this one here first thing I do whenever I work on backgrounds you know I love cloning planning's worked at for make lining is the be all and end all of quick retouching for may but I used the healing tool when I use anything for the background because the healing toe is fast it's not very accurate I can claim almost as fast but when it is accurate it just works I wouldn't use the healing till here on this a grady in't but you know um okay when I'm recording my computer slows down so if you just give me a little bit of time there's hurry but that I could sing to you maybe I could sing I'm going to show you a little trick that I used for a hundred years seat that just annoys me because let's have a look at how quickly I could do this with client stamp and I do wonder sometimes why use the healing tal at all because when it doesn't work it is really annoying right let's have a look at this we have an interesting grady in't going on here and I don't like that so I think this door got too much bone in it but what I need to do is block that instead of trying to lift it and recovery so if I create a lay a mask over the top and then I turned the top layer off and I go to the bottom layer and I go to curves and just drop my highlights then it stands to reason that I'm just dropping through there really white section here okay but then I lose here so turn that top layer back on and then I can just a race back here okay sir not here but just the parts that I want and I can a race back it I mean I'm a racing back at nineteen percent and here I am a racing bottomland on live television okay clearly ninety is not gonna work I'm going to go back this time I'm going to do twenty and just going to bring that dark makeup okay I can save my highlight that way it's just one way okay if that doesn't work then obviously I need to look at getting this great aunt here and by cline claimed everything I even claimed like radiance and my background corners in ward yes what I don't do is climb this and I'll tell you why let's try because and I'm going to take you back to the start so you can see what I'm doing I've taken it from bright white to the and we're gonna do this quickly remember now I can start doing this like this and ultimately what happens let me flatter mints ultimately what happens is I start and it's a never ending journey because the clone is not a great tool and it gets very confused about what a start and we're finished and ultimately it's just hard work so how about this go to your brush tour b for brush and I want you to go cult salikh it this color here then change that and then go out select this color here so what I've done is I've selected this color and this color then I go to my lesser I go down we're right to where I want to go and I get up and then I go to hear and I create a new layer so this new layer exists only from here to here then I go to my grady in tool which is here great in't and I apply a line across the center which takes a great in't from the darkness to the lightest takes a little while to make this work then I've got two choices when I turned my layer off I can still see a very faint little line around here my choices I can either a race that each back just very gently feather that bet with my racing toward ten percent like that on either side and it totally gets rid of that they're that grady in now remember all I've done is sampled the backdrop and put a layer that still exists as a layer the orders again so if I push it back again okay pushing back to here you never know that it was there when I'm happy with that and I think I've hit all of my layer on enough I can simply flat on that and that's how I clean up the background with a radiant layer it really works it's absolutely amazing how easy it is move on from here because remember we were there and remember that we were shooting in a stupid situation when we could fix it to that and now we're going to fix it again were in short close quarters we don't have a lot of room to shoot I want to make sure that we're getting the most out of el studio and we're shooting in the right place and that I'm teaching you that so we cropped it here I lighten it up and at the end of the day it comes down to this I need thio remove this I have two choices obviously and one is I can paint in backgrounds I can make backgrounds appear but if I can use a real background and get a real texture when filling in backgrounds that I'm always going to do that so my first choice would be to take the right side flip it a race back the bit that I want and then try and make it work this way and if I can't make it work this way then I'm going to clone my way back so I don't need to keep the wall I just need to keep it real and keeping it real means any real teachers any real shadows any realigns will always look riel and anything else you want to go to make sure we don't make them look out official right now the light source coming from this side of the image in this is dag so I do have delight in this image so let's take the dips out of it on our curves please take it out and then I've got to see how much I can really take off because I still think we could shave off a little bit more we could make it lighter and then after I do that now I can flatten that image and so I'm always if I have to fix an image because it was the best shot then you know I do it otherwise I wouldn't keep it would have kept it what it's ron at the first round because I saw it happening in camera as you saw in the video and I fixed it so they would go is you know cloning at the background starting tio you know get difficult so don't make it hard on yourself erase it back and then safe alright array speculator say that and go from there all right so that's that one now let's have a look at this with got let's go back to our first image they're absolutely gorgeous I love this now let's have a look we're going to do our two minute roll on here you know it's all about two minutes on the kline the at their their puppet lines gotta go from the light of the chin out I always remove their highlight through there and yes I am cloning here here be careful you've got to be quick and you've got tio keep your brush small because you're going to get fuzzy areas like this so if you start to get fuzzy areas the rule of thumb is go smaller with your brush and higher with your client stamps eh sixteen tilden okay if you find yourself it's not working this is your only other option when it comes to here I want you to keep that left one because the one I like what's your other option here is to go to an area go copy and paste pick up that area put it over minimize in your rope a city until it blends in with the other here and then go to your racing toe because whenever you can use real cats it's always going to look more authentic morial oh too far and then you just blended them into then make it work and soon you'll forget that you ever looked there and blowing the color up in lightness whatever you have to do okay so I do either usually a clone I like cleaning here the reason I removed those little holes I find them distract them he might not let up to you I can't and I'm going to go up tio here got to keep it simple down the bridge of the narrows cleanup before here up into the shadow there now the first thing we're going to do and remember I don't remove stray here's until she's bought the image this is just preparing it for sale is I put my dodge in here but my dodge and pick up a highlight from the reflector because I want to lift your eyes up for the dodge in there that production here but we don't dodge right out to the corner just around the iris around the bottom of the iris round the round the outside of the iris and they should guys so I have a few beautiful little set up here that we can add I was going to see her popped through there I'll open that an alien skin gorgeous is my natural light shot okay this one here a bit of flour exactly the same gorgeous it just it's too easy tio create the source simplicity what all we did a theme of the day when we shifted here into that background was put those two reflectors your pictures are just so cheap and so easy and you know when you put them around people people just relax because they're encased in their own little corner and they feel safe and you know they're not out there being watched by everybody this is such an easy way to shoot it's opened this one I'm alien scan let's try and pick something really pretty that's going to suit this whole mood the flowers here beautiful smile differently not like white they used last night hell about kalif aiding let's try something really beautiful that might be going towards too much pink it's come up there is some really nice love this my way like it cold actually and I'm gonna click here or even like that or yes love thes turned here okay what if I was to choose this but then minimize the turning from here so you watch this pop when it's applied just give it a little bit of a sick end by computer lights run slow and I'm recording luckily I've got lots to say just to keep you all entertained looking good today by the way don't say that took high guys well love you here okay there there's nice little part pellets dropped in taipei city down so wait about sixty per scene I don't really watch their pay city I just watched the image and and I feel when I feel like it's headed enough and I'm just going to drop the sigh in and they're sayin it's the opposite to read I feel like there was too much read let's drop another uh short of saying in there and for the people that say how did she drop a shot of saying and they are just go command be or control b which is the pc vision and that will give you your color wheel and you just go towards san stop okay so my computer is having a little bit of freeze it up and I'm gonna put a shot more of science and I can even go a shot of yellow which takes me away from the blue so very subtle the color have a look I went from a very subtle pink time to a cold a turn you know that's where I like to be absolutely and I could apply the same filter to this backlit image here although we didn't meet up to your face or thing we didn't need to let's see this one pop up excuse me sorry I am running logic location okay way to magenta so let's take out our back to seventy it's flattened and I'm going to do it the old fashioned way so command bay so that you can seem eighteen nineteen levels is a stop and then up so we're going toward science and away from dark blue which is bleu rid and we're going more towards sai in yellow which is that colder picture in which is where I like to be but not cold enough to make her hear go blue so there it is there and it takes it away from an everyday looking photograph into a stylized portrait now this one here was about shooting exactly the same thing but into the back light I don't know too much about how much of these I would remove sometimes I go to do it and then I think I'll know I'm not improving this image I'm not making a bit of so I start other times I do it just quickly and it works and I think it's going to take those holds out really it's this one is about putting light in here eyes she's fled through the eyes because the light source is coming from behind here that's the problem with the backlight is you don't have it light source in front of you so you have to make that decision okay let's go to our brush tall again let's tow grady in drop we're going to select there we're going to move we're going to select there we're going to do eh right down to that corner there there were going to slip their area as a new name sitting on top so we can erase it back other ways we can we're going to go to our grady in tulle and go up and that's going to take us from dark to light and we're going to do it in the direction that we want the grady into moving so I am going off to the left there I'll decently that and then I have two choices I can either clone threatening clone or just a race back fear radiantly their edge in a race back that edge and then just like that that's how radiant done flat in their image put a dajun here eyes and apply that beautiful exposure uh this one here I love she is very very pink so let's go straight away before we put anything on and just take her into the science but not too far take her away from the blues as well into yellow and then apply that filter we don't need to do anything else to the shot the back light is coming in this way but what I said to you before about making it look more backlit is you going to do now up your curves so that's a kid's adjustment team seems to let me show you the old fashioned way I'm going to take the docks out the case that's a nice light image then what I'm going to do is I'm going to go to my dodge tool and the light source is coming from here and to make it look a little bit more backlit I'm actually going teo exacerbate that by dodging through that little highlight on the back wall so I'm actually applying more like to hear from behind so that you look like she's more backlight in there it is and now when I apply my filter even though she's not shot into the light she's got the highlight coming from the back it looks contemporary and as we play this filter you'll see the shift here I hope you enjoy mastering the backlight it is definitely one of the only images I use what I relying on photo shop I can't get it right in camera without a flash but it's not the flesh that I'm trying to replicate because I don't want to shoot with a fish I hate this shot phil fleshed I don't think it looks is mario testino even though married does use lights I love this shot to look like this I wanted to look really organic and really gorgeous and backlit and a little bit grainy and yes I like the coldness and I'm definitely my kid's fears I'm definitely after this look and I think it's perfect so enjoy this enjoy mastering and enjoy shooting it and I look forward to seeing your results and thank you very much sheriff oh hang on before you ran away can I just show you well more how about this I forgot this one the background here is exposed correctly my foreground is not I have two choices I can drop my top image on in a race back and keep their background so I need to do that these cameras these days are amazing and we know that we get oh I mean when we fist out of doing this you'd be shocked at how much further shot we had to do but if you can't all I'm saying to you is this if you can't get the backdrop and get her take a quick break it'd shot and you know just to save your own bacon it's really good if you do that anyway take good shutter here quickly shift your shovel spade take a good shot of the background so that it looks a little bit more even and then use the two of them together lend them to give that use it as a bracket he'd swap whatever you have to do to get this image perfect until you can either eh get into a bit of situation where you can filter and reflect light they get a bit of camera or c fix a mistake that you've already made that you don't want to make again so you've learned from it so enjoy this distant today I look forward to seeing your work on natural backlight chalfen l peeps

Class Description


Sue Bryce's 28 Days is the all-in-one portrait photography class that teaches you posing, shooting, marketing, selling, and everything else you need to know to run a successful contemporary portrait photography business. 

This series begins with two sessions of intense instruction on business, pricing, and overcoming your fears. Following the kickoff, Sue delivers short sessions exploring 28 different topics essential to any successful portrait photography studio. Sue covers flow posing, connecting with clients, posing and shooting groups, marketing to your key demographic, sales, and more.

In this comprehensive series you'll learn Sue's inspiring approach to styling, posing, marketing, selling and so much more!

Lessons

1Teaching 2 Photographers in 28 Days 2First 2 Years: The Truth 3Rate Your Business 4Year One in Business 128 Challenges 2Fear 3Price & Value 4Checklist, Challenges, and Next Steps 1Day 1: The Natural Light Studio 1Day 2: Mapping Your Set and Outfits 1Day 3: One Composition - Five Poses 1Day 4: Flow Posing 1Day 5: Posing Couples 1Day 6: Capturing Beautiful Connection & Expression 1Day 7: The Rules - Chin, Shoulders, Hands 1First Weekly Q&A Session 2Day 8: Rules - Hourglass, Body Language, Asymmetry, Connection 1Day 9: Styling & Wardrobe 1Day 10: Shooting Curves 1Day 11: Posing & Shooting - Groups of 2, 3, and 4 1Day 12: Posing & Shooting Families 1Day 13: Products & Price List 1Day 14: Marketing & Shooting the Before & After 1Day 15: Phone Coaching & Scripting 1Second Weekly Q&A Session 2Day 16: Posing Young Teens 1Day 17: Marketing & Shooting - Family First Demographic 1Day 18: The Corporate Headshot 1Day 19: Glamour Shoot on Location & Shooting with Flare 2Photoshop Video: Glamour Shoot on Location & Shooting with Flare 1Day 20: Photoshop - Warping & the Two Minute Rule 1Day 21: Posing Mothers & Daughters 1Third Weekly Q&A Session 2Day 22: Marketing & Shooting - 50 & Fabulous Demographic 1Day 23: Shooting into the Backlight 2Bonus: Shooting into the Backlight 1Day 24: Marketing & Shooting - Girl Power Demographic (18-30s) 2Photoshop Video: Girl Power Demographic (18-30s) 1Day 25: The Beauty Shot 2Bonus: Vintage Backdrop 1Day 26: Marketing & Shooting - Independent Women Demographic 1Day 27: Sales & Production 1Day 28: Posing Men 1Bonus: Pricing 2Introduction 3Photography, Style, Brand, and Price Part 1 4Photography, Style, Brand, and Price Part 2 5Marketing Part 1 6Marketing Part 2 7Money: What's Blocking You? 8Bonus: The Folio Shoot 1Photo Critiques Images 1 through 10 2Photo Critiques Images 11 through 27 3Photo Critiques Images 28 through 45 4Photo Critiques Images 47 through 67 5Photo Critiques Images 68 through 84 6Photo Critiques Images 85 through 105 7Photo Critiques Images 106 through 130 8Photo Critiques Images 131 through 141 9Photo Critiques Images 142 through 167 10Photo Critiques Images 168 through 197 11Photo Critiques Images 198 through 216 1Identify Your Challenges 2Identify Your Strengths 3Getting Started Q&A 4Rate Your Business 5Marketing Vs Pricing 6Facing Fear 7The 28 Day Study Group 8Selling Points 9Interview with Susan Stripling 10Emotional Honesty 1Sue's Evolution 228 Days Review 3Student Pitches 428 Days Testimonial: Mapuana Reed 5How to Pitch: Starting a Conversation 6Your Block: Seeing is What You're Being 7Your Block: Valuing and Receiving 8Building Confidence: Your Own Stories 9Building Confidence: Your Self Worth 10Pitching An Experience 11Pitching An Experience: Your Intentions 12Pitching An Experience: Social Media 13Final Thoughts

Reviews

Claude Bossel
 

Based in Switzerland, I am an advertising/commercial photographer since 20 years and I am still learning everyday. I have bought several courses on Creativelive, all are great and inspiring. This one is also fantastic, thanks to Sue and her incredible experience and wisdom, you will improve your personality, your attitude and skills that will bear many fruits in your business and personal life. I highly recommend anyone who loves photography or dream to become a full time pro to invest in courses like this one. Thank you Sue, thank you all from Creativelive.