Natural Light


Natural Light


Lesson Info

Rotate Into Window Light

All right let's rotate into the window light so now you've got that nailed down any questions we'll get any christian says everyone cool with that and my being too basic no because I'm trying to be one I won because you want to go when I want let's go back to basics I'm trying to be basic I could john let's get this out danielle step forward pull that out um I want to show you uh just a little rotation so this is a really good thing to even out light across the face but it's also really good when you are you don't have enough light okay so let's say you're suffering and your esos gone up here's a couple of questions I always get asked how high would you shoot your s o I will go as high as I need to to get the shop so yes sixteen hundred if I have to I will do that okay so bored in the background and the first thing I'm going to do is you come around john is I'm gonna leave it right there okay so it's angled towards the window light okay it's not side on although let's do it let's imagi...

ne that you don't have the ability to turn let's say you shooting in a cubbyhole and you only have a side on this tri let's go completely side on yeah let's say this is your only option danielle come and stand in front and sina of lost that teacher again sorry that's um not a good system all right let's have a look at her and of course the lights coming from the side even though she's back from the light source that's going to sweep over her face it's not going to be a hard side light but it's certainly not going to be a really nice flattering beauty light all right let's bring in a big v flat reflector now the big beef let such a good reflective source it's gonna pick up all the light from that window bounce it and it's going to give me a beautiful even come in a little bit more john and a little bit more that's it now towards me just a tickle that's the one stop now it's literally like a christmas tree check this out turn down tonight I didn't change my settings cause I just want you to see the difference between the two so that sidelight and I'm still getting a beautiful flat dish I'm still getting a flat washed straight across now like a lot of people are like what's with the flat light okay most of the people I photograph are over thirty and I've yet to meet a woman that once shadow on her face now I do not retouch bags and wrinkles I removed the shadows underneath them okay I do not remove bags and wrinkles I removed the shadows underneath them so if I have a good reflector and good open soft beautiful light I don't get shadows under bags and wrinkles it minimizes its beautiful it works for may it is my personal choice it might not be yours and my mom taught me when I was a teenager that you have to let every soul walk his own path so I'm just going to just accept that about you and not judge that you might not like my way. All right. Okay, now it's imagine that was outside light and that's still beautiful light by the way look at here for crying out loud. She looks incredible. Let's bring this arena let's take it away because I don't want to block everybody let's take it away let's rotate the backdrop towards the light if you go back to my keynote who do I have dr niko come around come around its neck. Stop! Stop! Johnny sorry, john all right, so basic, right? You don't think and isn't it weird you would walk into a studio and they'd be a backdrop like this up against the window. But if we go back to my keynote john, wake up okay, this is here so I don't to the light with a big reflector, which is what I just showed you its highly doable, so it works all right now he's she's here big reflected there look at that light hello I just I see it you know what here's the thing when you're a photographer and you've got a lot going on you've got a police this client take great photographs you've got oppose them you've gotta worry about everything you've got to look at your camera settings you gotta look at your life and you've got poor light or you've got a poor situation I've set up my studio so well that the control that I have over light and of course posing because it's my it's my jam that to mate this is where I look at a client and I get this I don't get the pain of oh oh crap this is not working I get this overwhelming joy of being a photographer like I'm hitting the baton and my whole soul is just on fire because I'm making images for this woman that is making me excited to be a photographer I've been doing that for twenty six years the thrill is still there and when I have good light situations and you're just banging them out and you know that you feel good you're enjoying your client you walk out of that chute and you just know you have the best job on earth okay now look at the rotation top leaf screen what I'm not the rotation of the pot's although I'll do that for you the rotation off the backdrop now all it changes the light so let's bring danielle in and I'll show you a good and a bad example of it and say any questions nobody's asking many christians your so you're covering the question okay as long as I am are asking they had asked about the flat light okay I'm they'd asked about how you get the hair light didn't ask you what I'm wearing such a pretty dress they absolutely have commented on how fabulous you look I didn't mean to run out of clothes cause I got on that bus to uh and then I didn't have I've only got my going out clothes and so I got justice money and I was like well look a bit fancy for creative life for a shoot so sue that the exact question that had come in and had a dozen votes from brendan j was how does he get the separation with black on black background using on ly window light the separation because it's not black it's kind of a gray the light hits it and it almost has quite a little luminous sort of uh takes you're in it and it really hits like beautifully on dh when the light does hit it also remember I teamed to shoot a little hot not high key but definitely over my mid range but when I should on the black eye team to shoot just under the mid range because the meter on the camera reads, the light is hitting her face, but when you've got a black background and you've got a white face especially tears because she's a very white skinned danielle and I are browner, so we kind of blend in a little bit more like will out exposure will definitely go up instead of down who's goes ride up because it gets confused by how light her face is versus how black the backgrounders even that's not black and sew it reads it is needing the exposure to go up, so it actually reads it it actually shooting over exposed so I just look at the back of the cannon I trust my camera, I knock it down to start to take another shot. I look at the back of my camera and I'm away, so technically I'm shooting at one to two stops lower to allow for the reading of black on white, same difference in the back light in the opposite way I shoot two stops over in the backlight because is all this white light in the meter is reading the client, but the meter's like hang on there's not enough light and it instantly under exposes it because it's seeing all this white light and going, oh, too much light, too much light and that's what it's doing, I'll actually show you because I feel like showing you is way better than telling you how that works on when we go to the back light okay, now if danielle stands here with no reflector take a steep away from a that's it perfect and I've got my back against the window just like her doing this shot here which is my studio okay, I'm actually this makes me gasp okay? I'm going to show you this this makes me gasp she's turned towards the light it's gold and glowing even though the screen is a little cold you're not going to see exactly what people in here saying but this light this angle of light watch this um makes my heart sing and when I see it I'm just like I see this light and she's got no reflectors oh look at that I just love that like that's the light I love so much I'm I just my wilders just symbiotically in a perfect state of creation and this my mate and now I just need to photograph this woman you know, like I just have to take photographs cassette to me is gorgeous light do you like it? Yeah it's called good like okay like I care, I just rave on about it so much I sound like such an idiot but it doesn't matter to me, eh I know my clients don't kier and but it's photographers I just know photographers get really excited about light or maybe they don't but maybe I get really excited by light but that just excites the hell out of me so have a look at the rotation in oppose if you go back to my keynote john tune that way and I want you to push your shorter for drop your right hand that's it just give me a little bit of shoulder danny out I'm going to take you here off the and I'm going teo just clean that up a little bit you've got two choices you can either show the here off the shoulder and define the shoulder on didn't give me a tip ford good gil and then looking over your shoulder at maybe eight just lips together just to touch rotate back you've gone just a little stop you've got it there it is right there and then just a beautiful rotation into the light but remembering I am on a fifty millions I am back against the window but I'm just showing you a short shooting space I could move her back there good two or three meters and shoot the whole scene I'm just showing you a short version because you're like well there's not many options that close up is there because there's not you know ultimately my options tend towards me danielle ultimately my options this close even at the fifth day pushing chin ford is even now, I'm not too far for dinner. Chin up. Just a tickle. Good girl. Um is just a sort of magazine cover to the bottom hips. So that's a ce faras I'm going to get this close, but that to me is that's the magazine cover. Like, once I put a bit of beer in that here, I just nailed my cover shot. And my cover shot to me is the shot that she's gonna flip over because that is the one that I love. Now, I have a lot of million rotations imposing that I can do in this area, but I can't pull back further than that in this situation. Okay, let's, just discuss that. If for any reason you have very small shooting space and you don't have the option to shoot lower than the hips, I would say very few woman wanna photograph off their full body. Um, however you do want to at least be able to get to take a step over here. So even on my fifty mil, you do wanna at least be able to get dick tone appreciation for two fat. No, don't that to chain up a tactical girl, drop your shoulder on the right hand side, keep your elbow bent because I really like it, I could chin down have stopped okay, so what I'm actually doing, um here is just showing you pull back, I connect to get down to her knees, so I do have a range there. I definitely have a range emotion. I would probably not work very well from the affairs of family in the studio because if I had two or three people to would be okay, but three, four and I would be pushing the backdrop back. Okay, I'm in six. Forty so I could shoot it at eight hundred. I could shoot at one thousand I could shoot a twelve hundred, sixteen hundred, so I'm sure one step back is not going to make a lot of different once you know, your studio space, you know the time that you get your sweetness light, I want to shoot once a day. In my early days, I shot two to three portrait a day in my studio six days a week. I don't know why. I just want to say that I just needed to kill myself doing it. And, um now I'm one a day I wouldn't do more than one a day. I want to spend more time three hours instead of one and a half, I want to take more time, I have a higher sail and I have double the average that I head back then so it works for me to take more time to get double the average sale but that's what happens when you are older photographer because when you're new and young you tend to shoot faster and fanatically and you take more images whereas I I try not to shoot over a hundred in a full shoot over hundred images because I only want to show you twenty five um so if I shoot over a hundred I'm making it really hard on myself okay to choose can we go back to the keynote okay from here rotating around to the window yes, I do get asked john let's take it parallel to the window and take it back just because people ask a ll the time um go and stand there danielle uh two things people ask me is on you blocking the light technically I'm smaller than the light source but I am wearing black so I'm going to be a negative draw um but I have the light source is bigger than me so if it's a small light source and you're going to stand between the model it's not really gonna work um remembering that this light sources is biggest this huge window is huge but can you shoot directly opposite the window and then the next question I get us what will the catch light look like? It does look a little bit snaky because I'm a black line with two white reflectors on either side, so you just have to either photo. Shop it on, make sure it's not too dark, but does it change the way that she's photographed on the spectrum? I'm you decide. I still think it's absolutely beautiful, and if I needed the light and I needed it to be even absolutely notice. We haven't born in a reflector for the last three shots because we don't need to, because we're rotating her towards the line, which is ideal. Look at that. Ah, that color and the light pellet just makes me so excited, so excited don't really get really excited over strobes. Now, to these days, it's, a funny world.

Class Description

Sue mastered natural light early in her career and it created her wildly-popular signature look. Learn how you can harness the power of natural light during your indoor shoots in Natural Light with Sue Bryce.

Knowing how to work with natural light is essential for every photographer and in this class Sue will demonstrate her favorite techniques for working with it. You’ll learn about diffusing, bouncing, bending, and more! She’ll help you master backlight and show you how to create dramatic looks out of sunlight while working inside the studio.