Live Shoot: Bridal Portraits
Live Shoot: Bridal Portraits
5. Live Shoot: Bridal Portraits
Class Introduction03:15 2
Why Care About the Film Look?03:48 3
What is the Film Look?03:59 4
Tips to Achieve the Look of Film with Digital19:22 5
Live Shoot: Bridal Portraits47:44 6
Introduction to Editing for the Film Look07:42 7
Using Photo Mechanic to Cull10:02 8
Live Edit: How I Get the Film Look38:30
Live Shoot: Bridal Portraits
So just to give you, I guess, a little bit of idea of how, like what I'm planning to do with the shoot today. I want to put together a fashion shoot for you. This would represent in terms of like lighting, posing, and styling, and directing, execution-wise. It would represent, it could be a portrait session that you're doing indoors, it could be a bride that you're shooting or it could be an editorial shoot or it could be like a shoot you're doing for a designer. Like a lookbook or something, right? So I wanted something really clean and simple so I went with the seamless. I purposely chose this direction of light because I do like a little bit of direction. So the light obviously is coming from this direction. Now I did this because that's how you see texture. So do you see how this backdrop part, in this right here, it's white on white. If I had done this completely front lit or completely back lit, you wouldn't have seen the details in that texture. And also with these beautiful pap...
er flowers that Quinn from Pink and Peony did, you would lose a lot of those textures too. So I always joke that, for those who don't know I'm really in to fitness, but I always joke that light, lighting that's great for abs is horrible for face. And vice versa, right? So I know that if I walk by a mirror I'm like, oo abs, I'm like okay, not for the face. (students laughing) I learned this because I was so used to shooting faces and I was so used to looking for that low contrast lighting and then I was realizing, oh but doesn't highlight the abs at all. So same concept here, right? So if I want the backdrop to show I want a little bit of sidelight. However what's that's gonna do for my model's face? Right? So we're gonna try to balance that out a little bit with having some reflecting. We're gonna use a reflector and reflect some of the light back at her this way to soften up and make it not so directional coming this way. So I think that will give us a nice balance between texture in the background, but also still soft light coming from this way. I don't mind a little bit of direction, I think it's natural and you can tell that there's a window here, I just don't want it to be too contrasty, I wanna soften it up as much as I can. So we have our model Jessica today. And we have a gorgeous gown from Jean & Jewel. Love it. So I wanted something that was simple, that doesn't take away from the background. So when you're choosing your pieces, you wanna try to not have things fight with each other. So because we were already having texture here, I didn't wanna go with a very texture-y dress, but I did want some details. I didn't want it so simple as well, so I love like, just kind of like the little architectural details in that dress, right there. So the first thing is trying to see the light, right? So if you look at her right now, I think it looks pretty, pretty even and soft. Can we get a reflector? I wanna just kinda show what happens. So let's have you stand on here. The nice thing, too, about when you have the white on the floor too, it also reflects light back up, too. So that's why I love shooting on the beach. Because you have a lot of, the sand is reflecting light back up, right? As opposed to a green field, where you have nice green light coming up, not so nice. (laughs) Yeah, so if you take a look at her face right now, do you see some difference, right, versus without? Right, without, and with, right. So it just kinda softens up, it brings a little bit more light coming this way at her. So, I'll switch with you, I'll give you this and I'll take my camera instead. So today I'm gonna be shooting with a Fujifilm GFX 50S. It's a medium format film camera. Sorry, medium format digital camera. (laughs) My other camera is a, oh I was gonna use the bigger lens, sorry. My other camera, for film, is a Contax and it's also medium format. So I love the medium format, it's bigger, but each file's like really giant on this. All right, so let's get some light reflecting up on her. So right now I'm gonna go 2.0, and I'm gonna try ISO 200 first. When I'm shooting film, typically if I'm shooting Fuji 400H, which means it's ISO 400 film, I usually rate it at 200, meaning I pretend that it's an ISO 200 film. So it just gives it, it guarantees that I'm getting the shadows a little bit brighter, too. So I try to mimic that here too, 'cause like I said, I want to try to get that soft, romantic look, right? So I wanna be, and I'm at f/2.0, which is the lowest this lens goes to. This lens is 110 millimeter, so it's a bit longer than what I usually use on my film, my film camera I use an 80. So this one I have to step back a little bit more. But you do get the really beautiful blur from this. So right now, (camera shutter clicks) oh so pretty. So I use live view on this, I don't normally use live view. Obviously when I'm shooting film, I don't have that option, so I am like, in there. But I'll admit, since having this camera and having the live view, I get a little spoiled with it. (laughs) So... Yeah, this is so pretty. Lemme have you turn sideways for me, and look right into the light. Actually, I'm gonna try it two ways. One, typically I prefer her face to turn away from the light, and I know that sounds like, wait, why would you do that, and the reason is because her hair is so black, that I feel like it kinda evens out the, do you know what I mean? Because if I do it this way, her face is gonna be really bright, and her hair is gonna be super dark. So, my prediction is that means in post I'm gonna have to adjust the contrast if I want details in her hair a little bit. But I think it would be worth doing both way. Take a step back a little bit. Gorgeous, and lemme just have you look, gorgeous. (camera shutter clicks) So pretty. Close your eyes. (camera shutter clicks) And then let's have you turn and look this way instead. Oh, like turn that, yeah. And the quickest way to direct someone is just modeling. You just do it yourself and have them copy you. Okay, so turn that way again. And I'm gonna have you look straight that way. I'm gonna get a nice profile shot of you. (camera shutter clicks) Pretty. Bring some of your hair forward, lemme see how that looks. Pretty. (camera shutter clicks) Lemme have you close your eyes, a gentle part in your lip. Let's bring the reflector a little bit closer to her, I wanna see, and maybe a little angled up. Thank you. (camera shutter clicks) Gorgeous. Let's have you turn forward. They'll be worth seeing, I'm curious to see in post later, the difference between the two. All right, so I wanna try to get a full body of her with this one. How are your arms? (laughs) Okay, so this lens is a 63, so it's wider. It goes up to 2.8 on this one. So, because it's a shorter lens, 63, and it goes to 2.8 instead of 2.0, what do you expect with the blur factor? More blur or less blur? Yeah, less blur on this, all right. But typically when I'm going for, (camera shutter clicks) when I'm going for full body, I feel like its usually less about the blur anyway. So now I have a couple options, if I want more blur what can I do? Yeah, I can bring her forward. So let's have you take a couple steps forward. Perfect. So with this, I might lose the full body effect of it, but typically speaking, unless I'm trying to get the background in focus, I like some separation between them and the background anyway. Gives a little more depth. (camera shutter clicks) Pretty. Now just look. (camera shutter clicks) Gorgeous. Okay, let's, I'm gonna have you take a couple steps back again. I wanna get the full body. Pretty. (camera shutter clicks) Super gorgeous. So because this, so earlier I was at 2.0, 125th. So when I switched this to 2.8, right, so when I switch it to 2.8 it's letting less light in now, so I have to adjust my shutter speed down to a 60th, right. So the way I see ISO, aperture, and shutter speed working together, I see it as, you know like those scales, right? So the amount of light you need, it's based on how much ISO, aperture, and shutter speed you need. So if you're taking out one, or taking out some of one, you're gonna have to add a little bit of another. So I took out some aperture, so I have to adjust the shutter speed. Does that make sense? Oh. (camera shutter clicks) So pretty. Lemme have ya, like see, yeah give the dress a little swirl, I wanna see if we can get some... (camera shutter clicking) I'm gonna stop down. Okay, 'cause it's a little bright to me. Pretty, so keep going. (camera shutter clicking) And look at me and laugh as you're doing that, (Jessica laughing) 'cause this is kind of fun, right? Yeah, cute. (camera shutter clicking) Cute. Love it, okay. So, what I did right now is I lowered the, I ended up lowering my ISO for this one because I didn't, I wanted some motion in the dress still, and it was looking a little bit bright for me. So I had to make it not as bright. I didn't wanna take it out of my aperture, and I didn't want, I could have increased my shutter speed, but then I wouldn't have gotten as much motion, so I went for the ISO instead. So. Lemme see what other full body I can get, because I really wanna go back onto my long lens. But I really wanna make sure I get some pretty gown details. Let's see what the back of the gown looks like. Then I'm just gonna have ya, like look, yeah. Gorgeous. (camera shutter clicking) See now that I'm getting close to her I feel like I should go back on the long. So before I switch, let me have, let's see what it looks like if you just gathered up all the gown. Like you're about to walk through a muddy puddle, and you don't wanna get your gown dirty. I wanna see how that would look. (camera shutter clicks) And then let me have ya try, like, yeah like fake. Okay. And give me playful, like you're like... (both laughing) Cute, yep. Cute. (camera shutter clicks) Love it, okay. So lemme switch. The 63 is great for group shots, very studio looking shots. I use it a lot in my studio when I want it to look more just kind of very clean and flat almost. But if I want really like that dreamy stuff, then it's really about this. Like if I really want that depth, then, so that's why I was eager to get back onto this one. All right, so lemme have you, I'm gonna have you play a little bit. So hold this over your face. Uh huh. So take a step this way, and come just a little scooch this way, a little more. Okay, and then come forward. Perfect, all right. (camera shutter clicks) So pretty, close your eyes. Hold on. So one of the cool features about this is there's, it has face detection. But when it's detecting face, it doesn't allow me to like say focus on that flower instead. So I just turned it off right now. Okay. (camera shutter clicks) So close your eyes. Gorgeous. (camera shutter clicks) So if I want the flower in focus and her eyes more blurry, what are some options I can do? I can move closer to the flower, right? So close your eyes again. (camera shutter clicks) Or I can have her move the flower close to me. Yeah. And then look here this time. Then, what about right up to you now, that's cute. (camera shutter clicking) Oh, I'm not sure, okay. I wasn't sure if she blinked. Then let's have it down. Let's see your pretty face. Gorgeous. Let's half scooch this way, perfect. (camera shutter clicks) Then look up. (camera shutter clicks) Then what about (laughs), what about maybe like half, half your face? Yeah, yeah, yeah. Try the other half. I was doing that just cause of the shadow. When I had it on this side it casted a shadow on her face. So this time I want you to like cover half your face with the flower, yeah, perfect. (camera shutter clicking) Gorgeous. And close your eyes. Hold on, lemme see a little... I'm debating, I don't want the leaves to cover her face. But, you know, try it this way again, and I wonder if it's a little bit separated, then it won't cast the shadow. I think when it was close up it was giving the shadow. Oh, that's cute. (camera shutter clicks) Cute! (camera shutter clicks) Adorable. (camera shutter clicks) And then, like... Here? Uh huh. (camera shutter clicks) Cute, and then how 'bout just nice and low. So this is like if it's a bouquet. A little lower, gorgeous. (camera shutter clicks) So same thing when you're shooting like a bride's bouquet, you wanna consider which, I also see bouquet as a loaf of bread. So which slice of bread are you, which slice are you focusing on. This is a single flower bouquet, so it's not as much to think about. But even still in terms of the petal, right, like which slice of bread am I focusing on. So am I gonna focus on these little filaments in here, 'cause if I do then that means these petals are gonna be out of focus, right. I mean, depending on how shallow you are. But same thing, if it was a big bloom of bouquet, then same thing, which layer do you want focused on. Typically I go for the front. I go for what the eye is gonna look at first. Typically that's what, what you want people to look at, and it's typically right in the front. That's what they're wanting to see. So this one, I just wanna make sure I get a really pretty one for Quinn so that she has documentation of her beautiful work. (camera shutter clicks) Gorgeous. So, lemme think what else I can do with this before, look, try looking, actually you know what, what if we did a full body one, where you just covered your face with it? Yeah. Okay, well I'll do a portrait version of it first. (camera shutter clicks) Adorable. And then let's do a full body one of that. Then for social media, you can then turn it into a boomerang. (laughing) (camera shutter clicks) Super cute. All right, let's have, lemme have you try sitting down, or laying down. Laying down? No sitting down. (laughs) Maybe on a hip. Yeah. Gorgeous, love it. Okay. I'm gonna have you scoot this way just a tad. I wanna try to get some that's like clean white background. (camera shutter clicks) Beautiful, I'm gonna have you look down. (camera shutter clicks) Then, let me have, like look, like lean and looking out the window. Then actually look down. Pretty. I wanna try, I'm trying to get like a lot of blur from her. So from this angle, the loaf of bread is now turning this way, right. And so, I can focus on her eyes, and then her dress would go out of focus. 'Cause I'm separating, I'm putting her eyes and her dress on different slices of bread right now. (camera shutter clicking) Really gorgeous. (camera shutter clicking) Then let me have you, okay. (laughs) (camera shutter clicks) Let's play with the flower again. (camera shutter clicks) Close your eyes. (camera shutter clicks) Cute. Then how 'bout like right in front? That's cute. Close your eyes. Let's try lower. I like the way you're holding it. So maybe like, I'm gonna do like just the detail of the flower, yeah. A little lower. Perfect. (camera shutter clicks) So for this one I like how the V, the V neck on her dress, and the slit is kinda coming up, like drawing lines towards that flower. Okay, so. I'm gonna have you lay down. Bring your hair all to me. This one, the stuff that I'm doing here, is I like really clean backgrounds too. Like I love that. I was starting to feel like this flower was competing with that background. So that's why I'm trying to see how I can separate. Put a little separation because I feel like with that, I love it when it's all clean, and there's just that one little pop. So lemme have you cross at the ankle, and then maybe, yeah. I think one key thing is, when you have the laying down like this is to make them not look dead. (laughs) (students laughing) Really pretty. So I think when you have them looking at you, or if you can evoke certain emotions from them, I think this is alike a really fun and pretty way to do it. So I want to somehow incorporate the flower. Maybe if you were holding, lemme see where, which hand. That's pretty. Okay, so I'm making sure I'm as wide open as I can, so I'm at 2.0. (camera shutter clicks) Then how 'bout just looking straight up. Gentle part in your lip. Gorgeous. (camera shutter clicks) I think any time that I can get pretty blur, is always a bonus for me. I love it. Okay, and then, you stay there, lemme see what else. The fun stuff about laying down too, is you can have a little bit perspective fun, because like her hair. 'Cause, especially when you're shooting on all white like this you kinda sometimes can't tell. Like is she laying down or is she standing up, right? Like for example, that could have been her sitting up and doing that. Right. And so, I'm trying to have some fun with it and seeing how I can make it look like, make it look like, a little different than what it would be if she was standing up and holding a flower. All right, so this one's at 2.8, I'm gonna slow it down to a 60th. Then, this is the fun part about having a live view, by the way. I don't need a ladder. Gorgeous, close your eyes. (camera shutter clicks) So I'm trying to focus on her lip with this one. Then, let's see if, if you show the top of the flower, I could probably get it where the flower is in focus and her lips are soft focused. (camera shutter clicks) Pretty. Try holding it with one hand. All right, so I'm going longer lens, 'cause I'm trying to see if I can get even more of a blurry effect with it. I like it. (camera shutter clicks) Oh so pretty. Sometimes I feel like laying down, 'cause this is also like, I know I'm showing you guys like how I'm lighting and shooting, but it, naturally posing is coming into play as well. I feel like having her lay down, there's a certain affect of how she's more relaxed than when she's standing up. So that's why sometimes I play around with that to try to get those different looks out of her. So, super. (camera shutter clicks) Gorgeous, I love it. Okay, and then let's have you, hold on, lemme see if there's anything else I wanna do before, what if you're holding the flower like, yeah, like kinda playful, and like you're gonna, you have to show me the front of the flower though, so you'll have to rotate it. Hold it by the stem. Then just smell it. (camera shutter clicking) Gorgeous, okay let's have you stand up. I love a all white background, 'cause you can play with so much. Again, like, that could have been her like standing up and doing that, but I feel like with the hair it kind of adds a little fun playing with it. So, the other one, I wanted to do a full body of you holding this. All right, so let's see. I think we're a little bit dark so I'm gonna, because this went down to 2.8 again, so I'm slowing down the shutter speed to brighten it up a little bit. (camera shutter clicks) So this one I'm kinda loving how it connects it back to the backdrop, right. So it's like foreground, but background, but yet the shape is all like, wrapping around her. So because this is a full body, you don't get as much depth, but I'm gonna play with the longer lens after this, and I think we can get some cool effects with that. But lemme see what other full body ones we can get. So try walking forward just a, pretty okay. Actually go back. It's hard because, I want a separation from her, but I also wanna make sure her head is in the right spot of that, so the reason why I had her go back instead is when I had her come forward, it made her head stick out of the frame, then it looked like it was chopping through her head. So I wanna kinda keep her head within that. When I'm shooting a full body, I typically like to keep my camera parallel to her body. 'Cause if you go up, I know like with selfies people like to do it this way, but if you do a full body like that it also makes you look short. So if I was to do a full body of her like angled down, she'll look short. If I go bottom up, she'll look tall. She'll look like she has really long legs. But it's a different look and then I'd get all the ceiling stuff. I feel like straight is the, so I don't have that much room to move, in terms of angle here, so then I have to place her in a place that puts her head nicely framed within that backdrop. So that's kinda my sweet spot. Take a slight step this way. Okay, perfect. (camera shutter clicks) Gorgeous. (camera shutter clicks) Look right at me. (camera shutter clicks) So pretty, lemme have you, like, yeah. Take a slight scooch this way. A little too much. Come back, okay. (camera shutter clicking) Gorgeous, okay I'm gonna go in close to try to get more blur from this. So we should start seeing a lot more separation between her and the backdrop now. (camera shutter clicking) Lemme try something. (camera shutter clicks) So pretty I love it. All right, what if you let the brand kinda block part of, like you're peeking out from it. So I wanna see, yeah more. So there's like a gap right here. Maybe if you filled in your face. (camera shutter clicks) Close your eyes. (camera shutter clicks) Pretty and then look here again. (camera shutter clicking) I want more, like a little bit more peekaboo like, if... (camera shutter clicks) I love all the gold in it. Going with this longer lens, we're getting some really pretty blur. (camera shutter clicks) So let me have you try coming forward, just slowly walk forward and then, okay. (camera shutter clicking) Pretty, so now I'm still able to keep her head within that backdrop frame, but pulling a little bit more separation. (camera shutter clicks) Then look here, yeah. (camera shutter clicking) Let's try some fun compositions with this. Like maybe, details of this gold, of these gold leaves. (camera shutter clicks) So this to me is, like we an turn this into kind of a very filmy image, because you have a lot of bokeh happening. You have like, and I purposely chose this leaf because it's more forward and there's a ton of leaves in the back, that I know could get blurred out. So let's see if there's other good options. Let's try this, if I was to focus on this leaf instead, because this one I think is the front slice of the bread. Right? You know, lemme have you try holding it low. Yeah. When you're dealing with blur, and you're going for blur, you have to consider what the rest of the blur is gonna look like. So for that one I was purposely going for half of her face in the blur, but the result is you do also have this really big, black piece in it. Right, so if we're trying to kinda get that more light and airy and pretty look. So I'm trying to get, what if it's more white, and less of the black in it. Will it make it more soft and romantic? So let's see. Sometimes when, with stuff in your frame, you have to ask yourself, is it, do you want it in the frame, if it's gonna be in the frame then you have to really make it work, or just take it out completely. 'Cause is it helping or distracting. (camera shutter clicks) Okay. But I'm loving how she's holding this right now too. So let's go for, (camera shutter clicks) oh so pretty. (camera shutter clicks) Then what if you, like just, yeah. (camera shutter clicks) That's cute. Close your eyes. (camera shutter clicks) I love it, okay. So let's put, actually, hold it, lemme try some profile shots of you. And take a step forward. So I'm trying to see if I can get more white, and cut out some of the backdrop. So take another step forward, and then look out the window. Gorgeous, and hold it facing me. Yeah, and then just look forward. So this one I'm trying to cut out some of the busy backdrop. I feel like one of the very pretty film portraits that I do that I love, is just when you have really simple, but clean portrait of a girl, but it's really soft, too. So like whether it's like her eye is in focus, or her hair, and then everything else is like soft and buttery. Let's try that, okay and look that way. So I'm trying to frame her face right now. (camera shutter clicks) Close your eyes. (camera shutter clicks) Gorgeous. Then turn right at me, pretty. And hold that again. So this one I wanna get her lips. Nice. (camera shutter clicks) So I'm trying to get the leaves to frame her lips and I just want her lips in focus. Then I wanna try some where maybe the, try that. I moved her hand cause I wanna get the leaves in focus, and I wasn't sure if her hand was distracting. (camera shutter clicks) And again, it's like if something's gonna be in the frame, it has to have a role. (camera shutter clicking) Cool. That's a pretty portrait. Could you make it where just one leaf covers your eye? Yeah. Little lower. Hold on, let's see. (camera shutter clicks) Oh, so pretty. And close your eyes. Sometimes when I have the face out of focus, I'll have them close their eyes because sometimes a blurry, a blurry open eye looks weird. So I feel like when the eyes are closed it looks, yeah. Cause again, I think when you see someone's eye you naturally wanna look at their eye. When you can't see their eye, then sometimes like, unless you're purposely trying to make your viewers, discomfort, like cause discomfort when they're viewing, which there's a purpose for that too, you know. But it has to be intentional. But if you're going for something soft like this, and you're trying to go for something warm and ethereal and romantic, right, like you typically don't want the discomfort. So, I find that the eyes shut kinda gives it this more approachable, but it's almost like you have an in on their secret. It's like a very, the guards are down, and you get a little more intimate step in, right. So let's see. So what I'm trying to think now is like, what am I missing. So if this was a shoot that I've had people pull together, well I did have people pull together, I got someone, you know Jean and Jewel who provided the gown, Quinn who provided the backdrop. So for me it's like, how can I really make sure that they get the images they need as well, right? 'Cause this is how you get collaborations. And more collaborations in the future when you're able to deliver images for them. So lemme try you going sideways again. So this one I'm gonna try to go for a pretty silhouette shape of her. Then with the leaves in focus, and her body a little bit more out of focus. So let's have you step slightly back this way and I'll put her back into the frame again, the backdrop, perfect. So look straight out the window. Close your eyes. (camera shutter clicks) Pretty. Again, you don't, if something's in the frame then it has to be intentionally in the frame, so her hands, do I want them in the frame or not in the frame? So if they're in the frame, then I really have to give it the space to be in the frame versus cutting it off at a weird spot. So this one, I actually wanna see if I can get like a pretty detail of, just... So this one's gonna be kinda more about the hands. (camera shutter clicks) Okay, cool. Was there any specific questions or shots that you guys were seeing and wanted shot? Yeah. You're in a situation like this, so you're using the background, backdrop that you've of course, worked hard to get, but there's some interesting other things here. Do you ever just, like maybe against the brick wall, or against that wall, even though you're not set up for that, you know? Just curious. Yeah, well I think one, one thing that I've learned through my years is that there is a tendency to like, oh my gosh there's so much to do and I wanna do it all. I feel like when I try to do it all, that's usually when I walk out of the shoot feeling like crap. The reason is because I'm spread so thinly when I do that I don't have a clear vision. And when I don't have a, and I think it just applies to life, when you don't have a specific goal that you're working towards, then you kinda just feel like, you're just a chicken with it's head cut off, right. Like aimlessly going, right? So you wouldn't even know that you were successful if you were because you hadn't defined success for yourself coming into the shoot, right? So for me, coming into any shoot, I'm already predefining success. Like what does success look like to me. For this case, I wanted this very romantic look, and I was okay with not having the brick and the stuff. But I do agree, when I was here just a month ago, I looked at this thing, and I was like, oh my God, that is such a cool texture, I really need something with it, you know. But if it's, but I think it's important, too, to stay focused on what your vision is. And also, you'll get this with clients too, where suddenly clients will bring a certain prop or something that doesn't fit with the rest of the storyline. So for me in that situation, let's say it was a very romantic pink and cream wedding, and then the brought this bright orange and yellow card that they wanted a picture with, right. Sure it has significance to them, so for me, I define success by, lemme just get this one moment for them so they have that picture. But I'm not gonna suddenly put that pressure on me that I need to make a whole shoot based on this. Because then it affects you, your confidence and your emotions and stuff like that. So I think coming into a shoot, it's important to already have, I like that, hold on. (laughs) It's important to already have your vision. So that way you know what success looks like to you so when you see it, you recognize it. And you're okay with when it doesn't... Okay, lemme get this one first. (camera shutter clicking) And I actually just really love your hands. Lemme, get a simple detail of that. (camera shutter clicks) Gorgeous. And then, maybe with more centered, does it, like more in the middle of your body. Just nice and relaxed. (camera shutter clicks) That's pretty. And then, try looking sideways again. I'm just finishing up like the last shots, so typically, if this was like a real shoot this is where I would ask the client as well, is there any other lasting shots that you wanted. Just to one, set the expectations that we are wrapping up and we're coming to a close so that it's not like a, like you leave 'em hanging at the end of it, and it also makes, ensures, because we straddle the fine line of being an artist and being in the service industry. We're trying to create our art, but we're also a service as well, so we wanna make sure that any shots they wanted, they got as well, even if it's something you think is kinda cheesy. So lemme (laughs), lemme have you try this. I wanna get like a real close detail of your hands and lips. (camera shutter clicks) Pretty. (camera shutter clicking) Then I'll do one more like this. Back up just a tad, yeah, perfect. (camera shutter clicks) Love it, cool. Then I think I'm just gonna get some details of this backdrop to finish this storyline, and then we have a complete story of Jessica. (laughing) It's a story of you and the prom that you never got to have. (both laughing) (camera shutter clicks) Pretty. Quinn did such an amazing job on this. (camera shutter clicking) All right, so I'm ready for questions. All right, fantastic. Thank you. Thank you so much. (students clapping) All right we have a question here? My question is about white balance. I'm curious about your white balance. My white balance? Yeah. Auto. (laughing) Auto? Yeah, I'm, for the most part I find that as long as you keep it one color temperature, the auto will do fine. That's why I was saying avoid mixed lighting, 'cause if you mix the light, then that's where your camera doesn't know what it's white balancing to. But I find that in general for me at least, I find that in general if I keep it to one temperature lighting, that the auto white balance does okay. And you'll see like in post later, I'll show you that sometimes it's a matter of preference of how warm or cool you want it, but I find that as long as you're not mixing your lighting, that it should be fine. Artistically would you ever consider using your longer lens to do a full body shot? Yes, if, if I was not tethered to that, yeah. So I do do full body shots. I'll show you a shoot that I did when we do the post-production segment, where I did shoot it from like the other end of my studio. It just, I just like the, you get less distortions on the side, and you get prettier blur, mm hm.
Ratings and Reviews
Caroline Tran is bursting with creative energy and enthusiasm! In this class she walks you through the little differences between film and digital that separate the SOOC of the two. She shows you how understanding what makes them different is the cornerstone to learning how to manipulate digital to mimic film. All you need is a working knowledge of manual mode, and a willingness to let go of go-to DSLR habits that keep your images distinctly digital. She finishes with walking you through the simplest post-production that doesn't even require a strong knowledge of Lightroom. She even sells her presets if you don't want to recreate them on your own. This class was wonderful and so much fun! Thank you Caroline!