Sunset/Silhouette Selects & Discussion
You got some images let's take a look yeah these air all again just a quick once over you know I did these actually last night so these this is really he's a really fresh uh you guys were pretty much besides me the first people to see these besides the video crew but all I did on these images was just bring up the shadows in light room a little bit and we're going to talk in the second session a lot about post processing so I'm gonna give you some my sort of theories and how I sort of moved through post processing so you're going to actually get in integrity with some raw images and I'm going to show you exactly how I get to the end point s o I've just dragged up basically it increased our shadow detail and just sort of brought it out and you know again it's really about a feeling is this correct or a ten thousand kelvin here very warm is it correct that was completely not correct so if you're right you're saying technique is this photo right now is completely wrong but it has a really...
nice warm feeling and that's what I'm trying to a vote you know I'm an artist I'm out there trying to give a sense of place I'm trying todo you know sort of draw those emotions in people you know and there's really subtle nuances I think it was bill allard dear friend, he said he goes, you are in charge of every single pixel in your frame every single time, and so we have a picture here, which I thought was, well, it's, pretty good, but, you know, it's not quite as good as the next picture because see how the board is sort of cropped off all of a sudden this next picture, it's just gives it that little bit of room to breathe. So those subtle nuances, these air things I'm looking for as he's walking towards me is his hand cut off if you're if you're taking a full length photo, don't cut their heels off, don't cut him off at the ankles like sort of noted, the noticing the subtle nuances will make better pictures, so I'm looking my background, I'm placing my subject in the background, the next thing I do is I look around the edge of the frame, and then from there I decided it worth taking a picture. Um, and sometimes, you know, I let the motor drive just go and take lots of pictures and just hope for the best spray and pray as they say, but typically I'm trying to, you know, work this, so I'm not just wasting a lot of time because, you know, I've got a five year old son and I like to hang out with my family and I love being outdoors and taking photos, but when you take a lot of photos, all of a sudden you've got a lot of time in front of the computer, so the more time you can spend, you know, taking good photos as opposed just lots, the better off you'll be, uh, here's this scene again, and this is where, you know, I was like, hair can you can you just sort of move the board tipped down, and he was basically just trying to get a foothold here and but made for a really nice, candid moment. This is one of the scenes where he doesn't look like I said, hair, go stand on this rock, and this is the in between moment, not necessarily that the hearing heroic pose where he's on the cliff and he's a silhouette and everything's perfect, but it's that moment where he actually sort of his body language says, oh, I'm sort of looking for the wave and those will come, but you need to be open and invite those those things to come and don't control everything you know, like so sometimes, you know, all purpose of lee, not say anything, because eventually they're going to get uncomfortable, and they're going to move or do something, and I'm waiting for that to happen. Um, and, you know, I'm known eric for years, and I know his nuances, and then all of a sudden, here we are back to this one it's a little more stoic, a little more posed, um, and I've again, all I've done here is where ten thousand calvin really warm, but I've just brought those shadows up a little bit so that it has more dynamic range. Uh, this one, I didn't do that but it's a little it's a lot different photo um, and then we must continue to work moving back. We've got this beautiful light and we're just working through this process a cz you saw in the video. Um and the last one, this is something I would say every single time this this image is not goingto win awards it's probably never going to sell it's, you know, it's, fine, but take these pictures just because you're out there and you're a professional or you're trying to sell pictures, make sure you take some pictures for yourself because to me, this sums up the whole day. Um, it's just kind of a cool thing I did and I will remember look at the shot on me like that was the day that we got, like, chased by ticks, thousands of them, you know, we were you know, we had a film crew, it was eric and I in big sur and wow, this this this sums it all up and that's really what it's about? Because if you want to do this is a career and you want to have a long career as a photographer or just get really involved in it, there will be a point. Well, you where you're going to kind of burn out because it becomes a lot of hours, you're out there standing in the sun, you've got ticks crawling up your leg, you know, you haven't eaten all day, you know, all these things so it becomes it can become tedious, so make sure that you're doing something for yourself and that you're enjoying the process as well. Can you talk a little bit about reflectors in the field you had? Those are pretty big reflectors. Is that your go to do you find it gives you enough light coming from the back on dh, what do you do if you don't have an assistant totally so a little bit about lighting theory, the larger the reflector in comparison to the distance it is from the subject, um, the softer the lights going to be so for instance, think about it like the sun if you're outside and there's not a cloud in the sky you see shadows everywhere very harsh light bright clouds come in not a single shadow very softly so the same thing of the reflector if you have a reflector very close to a subject it's going to cast very soft like there are things called a try grip a reflector that is actually rigid you could hold it with one hand so you could be shooting portrait's with one hand and reflecting with another, which is a great system if you're on your own if you ah have an assistant it's great because then you have a little more flexibility to be able to use larger ones we which sometimes can be better for fooling fortress but you know, really reflector this big is totally fine for a head shot, a beauty shot out there on and if we would have done a headshot of erik and put that reflector right in front of him, you know, with all that light bouncing back it made a beautiful fill light so it doesn't necessarily have to be huge. Um you've gotta remember like like eric said in the video, it is like a sail when you're out there and the wind will come up, so be prepared to be running down the cliff you're after reflector