Backlit Shots: One Girl
Anything you want, all right, come back in. You seem even more awake than last time. All right? We're going to do some backlight. You're ready for that. Let us tio this and you don't have to read about anything because we're gonna shoot that way. Is that okay? If I do it this way with you guys? Okay? And we're going to the white. So again, any time you're in a really bright right, I think for the most part, you're gonna be doing the white because the silver will blind people to be favoring. Scooch back and try this. Hey! Yeah, let's try like this. Two hands like this do this instead. That's fun? Yeah, I think like that. Yeah. Okay. You're gonna have your face this way. We're going to be very backlit. So I'm going to be doing that spot meeting because of that. And you're warmer now, right? Yeah, you're going to like that. Excellent. Come over here. I'm gonna be switching, tio I'm on the eighty five still and and you look fabulous. I sell is that two hundred, and I'm probably going to be...
at a one one thousand in terms of shutter speed let's, just test it and see we've got uh, look, I think when kick it up a little bit more, all right? Do your chain a little bit more this way and then down there beautiful look at that last shot I did and this one, I'd like to be able to show the difference in terms of the hot spots in the face. Can we see that last shot that came up? Yes, so that is actually a really big deal right there. If you can see in the image on the left that first shot, we've got those really jarring light coming overhead on and we've got him and her right hand has got a ton of hot spots, and we've got a much longer line a light than I would want on that side simply by doing nothing more than turning her mohr in adjusting her pose a little bit. We're able to control for all that those lightings in those hot spots and and even the hand, so that makes a big difference little adjustments like that can really help if I really wanted to work the scene and make it just amazing. I would want to block some that light behind her, teo, and really said a lot, but that's something I would do, maybe four more elaborate commercial shoot, not so much for a family portrait where I'm going, everyone who's really stressing about that yes so you have a question yeah question about white balance maybe going back to a couple of the other scenes does it make sense to use the gold side of the reflector to warm it up but then just have the person standing back more or is that not good okay like warming up this kind of for which for which shot like the previous one with the chair and then um the little boy earlier okay, so I the only reason I tend to use the gold reflector and use that probably the least is if I'm in a situation where I'm at outdoors at a park and this really beautiful golden light the whole time but now the lights dropping and the lights now getting purple e and or green or blue and I want to bring some of that warm back then I'll use the gold reflector and then and reflect against the light we still have but for the most part I don't really want to add in that color tone because I wanna be able to have it come in as clean as possible into post so I'll use most of the time the white side of the reflector unless we're in a really shady or kind of darker lit scene and I did everything I could get and then I'll use the silversides reflector way sense all right good so you're doing beautifully honey you want to try something even different let's, sit down right here the concrete and show how? Like in this team we can get a really cool portrait. So you're going to some like this that can be put under your hair? Yeah, and then see how like I'm not doing this. I'm doing this really light but it's behind my ear. Yeah, and then you're changing turned this way towards me. Yeah, yeah it's just like that? Yes, perfect. Now you see how you're coming up, it hurts to write so but the angle is great. Do me a favor and just move it back about two feet. Yeah, because what I'm going to do if I have too much reflection is it's not only going to get me hot spots across her face, but it's gonna make her sweat all right in this scene, I'm going to be in about a two eight I'm definitely still in the spot, me tearing at a two eight and her that far from the background. I'm going to be pretty good with with the aperture and right now, she's, not really emotionally with me anymore, but I'm going to bring her back at the last second because I can tell and I want what I'm doing right here, one scratching myself back because I'm working with prime land that's a fixed smooth because I work with the prime fan lens it's a fixed mobile and I have to move myself back and I want all of her in the frame so what I have found often is I have a shot and it's great she's perfectly in frame and she makes a small adjustment and now our fingertips to cut off and I want to be able to allow for that those small adjustments without feeling like oh, that was the best shot but I lost it ok? And everything's exactly perfect titties except I want you to bring your right knee up a hair off the ground not that one that's your left one yes, yes good and then you're doing other things might change my angle you know, teachers everything looks gold ed all right? And then last year I like to worry about his expression oh, she brought it all right dude in a little bit more yeah. See, we still had that same thing. You can look at light duty favor and look at those two scenes together the last shot and the shot just a small adjustment and wherever we're getting that same sort of lighting patch do you see that? So what I'm gonna do is have you go even more this way? I'm like that yeah good, good, good, good and then bring your knees really close together, have them and I'm changing this pose not because I didn't like the other post but I don't like the hot spot and the lean forward towards me yeah I get it now that more yeah beautiful stay just like that just like that ready and as I'm going closer to her I was gonna to two I'm making sure I got just three to just so I don't lose her down a little bit there oh you look so good that looks beautiful happy I'm gonna slow the shutter speed of it so I get more light not shot great catch light that is so pretty and then she now that towards me see that last shot and the shot here and I could use some of her scared actually block out the light to change out of it so instead of instead of trying tio constantly adjust her frame over never getting combat the lighting I move where I am and make a difference all right good girl job great um does that make sense to you see the difference so I'm angling might come down to that last one come in yeah you flip to the one that's just before the last manager shot um there thank you a cz you can see if you could take that and then the last one together thank you that's perfect so as you can see on the right side is she looks great at blocking the light ever things good, but the angle on the view is just not really flattering, doesn't really work, and then by children, the camera and then silting orientation nothing's changed about her. I just changed the way I framed it, and it has a huge impact on the final image question for you. Camera. Are you less concerned with kids about cutting body parts off of that type of thing? Are you terrible, terrible in the frame? You mean like where we get a man? Yeah, cropping. Yes, yes, I crap across tips, heads all the time, that editorial look, I'll go anywhere as long as it's not join. I don't want I don't want crop, but I don't mind prepping at a mid arm or mid calf or mid thigh, especially that supports the shot. But I won't do an ankle and need waste a wrist, etcetera, because that looks like you are chopping off body parts.