LIVE SHOOT: Mixed Lighting
All right, so now we're gonna just play around with the wall itself. I find it's an interesting piece, has a lot of interesting elements to it. What's important here is that we really eliminate any of the surroundings, and really try to get a clean frame with the wall itself. The way that I'm gonna place them is, I can see the daylight coming in through the windows. So this is really where I want them to be, is really in this area of the frame. You can see the window light on me, and that's really gonna allow me to balance the daylight with the lights on the back wall over here. So I'm gonna have you guys come over here. So Mark, you're gonna take my spot. Maybe just around here. Come on in. Katie, are you gonna come in front of him? And I'll actually have you on this side of him. Good, they're still staggered, kinda like you were before. The reason why I put Katie on this side, is because when I try to create the connection between the two of them, I want her looking at him, and becau...
se the light is coming from that direction, it's really gonna put her in the good light, sorry Mark. Yeah. (laughs)
Probably best that way.
So bring your hands together. Yep, good. So you're gonna look back at him. Good, come a little bit closer. Good, there you go, even more. Just really snuggle up in there. And I'm gonna have you guys rotate a little bit towards the window. Good. So the reason why I've made that little adjustment, is it brings a little more light on Katie, and it brings some of that light on Mark as well, which we definitely want. Rotate maybe just a little bit more, keep going. Good, and take a little step towards the window together. Wonderful, good. What I'm looking for here is to frame them in a way that the light bulbs are even all around them. And that we don't have anything coming out of anybody's head, that everything is as clean as possible behind the two of them. Let's go ahead. Good. (camera clicking) All right, so photo number one. Definitely underexposed, because of what I was doing before. So let's adjust our ISO. Maybe frame number one would look something like this, just to see what all of the elements look like. So we have that really interesting daylight, but we're seeing too much of the studio space around them. I'm just gonna zoom in a little bit. Try to eliminate all of that clutter behind them. Go for darker exposure. (camera clicking) And then, so first step for me, is to figure out the exact framing, and make sure that the light and the exposure are good. And then I'm gonna try to perfect the pose a little bit. So can you guys take a tiny step back to your left? Too much, too much, come back. Okay, good. Just trying to align you perfectly. Good, Katie, you're gonna look back at him. Not so much, come back, chin down a little bit. Look down or on the floor. Katie, look down, yeah. And Mark, you're just gonna give her a kiss on the top of the head, or this side, whatever feels right. Yeah, good, perfect. And give her a tight squeeze. (camera clicking) Even a little bit more. (camera clicking) And maybe let's have you cross your left arm over her shoulder. Yeah, there you go. And can you guys connect hands up there? So Katie, bring your hand up, there you go, perfect. Beautiful. The hands can be such a strong message in the photo, and this just feels less stiff and more believable between the two of them. We still have really good light on her and Mark. Perfect. And give her a tight squeeze, and a kiss, good. (camera clicking) There you go. (camera clicking) Good, and while we have them in a good light, and a good situation, let's again, just to bring a little bit of a reflection. Make it a little bit more interesting. So stay as you guys were. (camera clicking) All right, give her a tight squeeze again, (camera clicking) And one more time, just really get in with each other. Good. (camera clicking) Perfect, good.