So let's do one thing, we found, so the other two videos, I don't think we're gonna have time to watch them in this show but we have this beautiful scene right here where we actually do some natural light reflector modification. We place em 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 and there's actually some slides, maybe I can 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, we talked about looking for natural light, looking for where that light is reflecting and so forth. When you're downtown or when you're in city places where there's glass and 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 of the 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 to, and position the couple 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 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's about a half to one stop of light that's landing right in this area of the frame, you can actually see it darkening towards this side, you can see a darkening there, you can see it darker here where it's not hitting. So I just placed them in that. And that half to one stop of 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 it, 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 light that landed on that spot. Beautiful tone in the sky, we didn't loose a bit of that blue graduation, it's gonna print really well. During the day, this is what it can 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, two 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 metropolitan areas 'cause it's just there's so much metal and buildings and so forth, they're gonna catch light and throw it in different places. All we gotta 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 you actually shoot this way, that light is hitting them 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 line that lead kind of into them in the shot, looks fantastic. By the way we talk about, we do a lot of same sex weddings and couples and so forth, we talk about the hip thing, dude I've got them connected, I make sure that we keep the hips connected. Do you wanna demonstrate again Trevor?
Why do you say yeah, gosh. Alright, I'm just kidding. So we show that in the foundational piece, we actually showed what a hug looks like without that connection and with that connection. There's an awkward separation when you don't have that connection as they're standing close to each other. So we create that connection by having him pull Tom in from that lapel right there just to kind of create another sense of closeness, I really like that shot there, it's so easy to work with. And then we get this shot, a really cool kind of whimsical shot where they're opened up, it's 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.
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:
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.
- Use simple on- and off-camera flash lighting
- Communicate effectively to devise creative, meaningful poses
- Develop post-processing and overall workflow
Conducting an engagement photography shoot requires a delicate mix of technical and interpersonal skills – but not an abundance of expensive, demanding equipment.