- [Instructor] So now I'm going to take a huge, white v-flat, cumbersome things that they are. She's like, "Whoa. Don't let it fall on me." And it's going to do a very similar thing that the white reflector did, but it's just a larger source. And I'm going to, for poops and giggles, turn on the other light, just to see what a lot of light does. Any questions while this warms up? Any questions? Any questions? Oh, it's so pretty. Yes. - [Female] You're referring to the chimera light, but people might not be totally seeing it. Can you tell people what you're referring to? - It's basically one of the house lights in the studio here. It's this little tiny softbox. It's what? Two by three? Softbox that has a continuous of video light in it, so it's a slightly different color temperature than these lights over here, but it wasn't enough to be, to see it, really. I mean, you could if you looked real close, but I like the fact that it was sitting up there as, kind of, a hair light, or a kicker,...
we would call it. So, I just decided to use it as an additional light source. So, that's the first time in this entire class that I have introduced an additional light source, okay. That would be the next step, is to add a hair light or a kicker to your scene. So now, what I've got going on is a massive amount of light and a massive amount of bounce. It creates this glowy, effervescent look, okay. This is what happens when you bounce a lot of light off of a, like off of a building. Remember, I was talking about the white building yesterday, and the sun would go in and bounce it off? Now, granted, this situation is a little different because we have sun, or light, coming from both directions, and not just one direction, okay, because basically, I'm bouncing it off the big v-flat here. So, I'll take the shot, and you can see how glowy it is. This is my kind of light right here. It's a little flat. What do I mean when I say flat? There's no shadow. Very little shadow, as a matter of fact, I'm a little over-exposed because I realized I turned this light on here, and didn't adjust my exposure. But see how the glowy, effervescent it is? That might be a little bit under-exposed. No, let's go back. Here we go. It has that very, like bounced look. It is a little flat. Now, we still see some shadows. There's shadows here on her nose, there's shadows on this side of her neck, but it's extremely soft, okay. I love this kind of light. I shoot babies, babies, and kids. They are innocent, little, pretty creatures and they don't, like, that soft effervescent, low-contrast racial look. looks amazing on them, okay, because it's soft, it's light, it's soft contrast, it's ethereal. It has that feeling to it, which, if you're getting what I'm... if you're jumping ahead of me in getting what I'm getting at, color, light, composition. All these things impact the story and mood of images you're trying to create. So, if I'm trying to create an incredibly dramatic look, I'm going to use a small light source with very little fill. In a dark scene, with dramatic colors, and composition that's on that upper left, you know that very precipitous type of composition that has that kind of meaning, and that will change the way a viewer looks at the photograph, okay. That's what's beautiful about what we do, is we have so many options and tools to influence the story and the mood that the viewer is looking at the art with. It's the same thing as a painter. They just use paint and color. We use light exposure, color, and composition to create the mood. Okay? So, this is pretty, you're so pretty. She's one of my best friends and just such a pretty girl. I love it. Okay. So, I'll take that away, so that you guys aren't... so you can see.