Bride & Groom on Location
This is even more inside the location. Robby I need light now. (mumbling in background) okay, more the light. Yeah, okay, Chris. I need you to be here.
Yes. Okay, go closer, heads closer. And take a walk again. And closer, closer, beautiful. And take a few steps forward, few steps. And stop stop stop. That's it. And go Chris. Put your arm around her now. That's it. And Chris, turn this way. That's gorgeous. Stay there. Robbie closer. Yeah that's it.
Okay Robbie, closer to me. That's it.
Yeah that's it. Perfect. Stay there.
I'm quite forcing it.
Yeah he's doing alright now. There that's it. Nice lighting again. Look up. Look up. Nice that's it Dani. Close your eyes. That's it. And perfect. Next stop.
Where are we going?
Wherever you want you pick.
You want to go
Can you go that way and we'll go back to the compound.
Okay. Uh You saw that now it's gone really dark this is the last session of the day. I want the actors to be photograp...
hed. I introduced the warm light, the modeling light of pro photo. I'm still not using flash. I'm still refusing to use the flash. But that gives me nice warm light. So introducing the nice warm light, this is what I get. A lot of blue, so the day lights have become blue. I love this is a European style of the cinema. The European cinema uses these techniques. A lot of daylight in the background. Blue, and the light and the tungsten light on the subject and you correct the skin tones and you get even more blue in the background. That is the correct one in this but that's the idea. And then using that tungsten light, yeah you see the tungsten light a bit of daylight coming into the picture. Just gives, but the big thing is if I use flash here, there was going to be somewhere shadows, somewhere the details where going to go. This keeps the mood of gothic look into the picture. And that's why she's there, she wants to capture this mood of the place. And again from the background shoot with a bit of tungsten light. Her walking away and that's not posed. She gave me that look okay lets go. And then we go under the arch. So this is a bit of back light coming. You see it's very important for me to frame the building in the background perfectly so I go a bit lower on an angle. There's a destruction there of the light there but Doesn't matter it's not dominant. And then when I was there I was seeing this light, the day light coming in on the subject. It was side light. You know it's coming from behind Chris into Dani's face. So I took some really romantic shots there. You know how beautiful is that? And look at that.