we have this beautiful scene right here. We actually do some natural light reflector modification. We place him on the stairs. We get amazing, just simple backgrounds. We focus on the couple, we get really cool shots. Then we take them inside. Disney. Um and there's actually some slides. Maybe I could just show the slides briefly. So that way we can actually show I can actually show you guys the effect. So if you look in the scenes right, we talked about looking for natural light and looking for where that light is reflecting and so forth when you're downtown or in your city places where there's glass, metal and all these kind of things. You have this stuff naturally present everywhere. You just need to look for it. Which means that we can walk through downtown middle a day without any lighting gear and still position our subjects and shoot shots as if we had a backlight, a front fill and so forth. We're just using reflections off of glass and that kind of stuff toe and position. The c...
ouple with that, So here was really interesting. I thought I actually shot this scene previously, but this is what it looks like on after sunset. You can see basically the sun is below this wall. So it's it's already set, but we do have a brighter sky, right? So this is basically blocking that skyline. So look at how bright this section is up here, and that light is actually being cast down into this area. And so it's just enough light right now. I think this is about I was measuring it in post. It was about 1/ toe, one stop of light that's landing right in this area. The frame. You actually see it darkening towards this side, right? You see a darkening there. You can see a darker here where it's not hitting, so I just place them in that and that have toe one stop. A light was enough that I could expose it. So this is the exposure with a dynamic range push. And I don't have to do anything to I have all my detail in the shadows All my detail in the highlights and all I do is reveal each of these So I pull the shadows up, bring the highlights a little bit down, and we have a shot that looks as if we have, like a off camera light. Kind of a wide, soft like that landed on that spot, right? Beautiful tone, the sky. We didn't lose a bit of that blue graduation. It's gonna print really well during the day. This is what it could look like. So during the day when you have direct light landing on the building, look at this. This transition right here This is like two stops to plus stops of light that's landing on the building between that shadow and the brighter area. And you'll find these little bits all over Medic metropolitan areas because it's just there's so much metal in buildings and so forth, they're gonna catch light and throw it in different places. All we got to do is find them. This is shooting, So basically, I have them come off the wall a little bit, and I'm actually shooting this shot going this way. So we actually shoot this way. That light is hitting him directly in the face, and it looks fantastic. I haven't added any bit of light. Look at the way that this graduates up top, and the lines that lead kind of into them in the shot looks fantastic by the way we talked about We do a lot of same sex weddings and couples and so forth. We talked about the hip thing. Dude, I've got them connected. I make sure that we keep the hips connected. Do you want to? Do you want to demonstrate again, Trevor? No. No. Why do you say Yeah, Gosh. All right. Eso We show that in the foundational piece, we actually showed, like what a hug looks like without that connection. And with that connection, there's an awkward separation when you don't have that connection. Is there standing close to each other? So we create that connection. I even having him pull Tom in from that lapel right there just to kind of create another sense of closest. I really like that shot they're so easy to work with. And then we get this shot. Really cool. Kind of whimsical shot. Where they're opened up is very casual holding hands. But I loved that The difference in light in that one scene compared to this how the same scene looks just so completely different at a slightly different time of day.
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Full-length class: Incredible Engagement Photography with Pye Jirsa
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Couples want to capture their commitment to each other in high-quality, creatively shot photographs. They also expect their bliss to appear natural and evocative. Photographers who are trying to build their engagement photography portfolio need to be able to juggle both technical and creative expectations. Pye Jirsa’s Incredible Engagement Photography will teach students how to strike this balance with basic equipment.
In this course, you’ll discover how to:
- Use simple on- and off-camera flash lighting
- Communicate effectively to devise creative, meaningful poses
- Develop post-processing and overall workflow
Drawing on lessons taught in Pye’s other courses (Photography 101, Lighting 101, and Lighting 201), you will learn how to adapt to a variety of different lighting situations – indoor and outdoor, natural and urban. You’ll also gain a sense of the importance of storytelling and of developing a disarming interaction style for putting couples at ease during a shoot.
Conducting an engagement photography shoot requires a delicate mix of technical and interpersonal skills – but not an abundance of expensive, demanding equipment.