Photo Week Bus Tour - Clip 2
All right, everyone, we are back in our very first many stop. We are about an hour outside of sacramento, and we are here for the bright light, harsh light challenge telling jazz and start, how are you doing? You are going to we approached this park here. It's really, really bright out. What do you do if you arrive here with a bride and bridegroom to do a shoot? What goes on for actually particular excited with the harsh light challenge? Because all four photographers who are joining the bus are going to shoot this, how we would shoot it in our own natural habitat and some of the photographers were just like, how would I ever should hear it? And like as a wedding photographer, we get parks like this every weekend, so I want to talk about first and foremost, I'm not gonna focus on the picture necessarily. I want to walk people through my approach and what I would be looking for. So when getting to this park, I've noticed that it is very, very bright. So the first thing that I'm looking ...
for are what I call natural reflectors. I would absolutely love to shoot with artificial reflectors or even have a scrim or something um, um, diffuser, but I'm not always I always have that shooting a lot of subjects bridal party families pictures and they don't have a scrim that's like sixty feet wide, so what I want to do is look for national selectors, and so what we're standing on right now is a natural selector because this is cement and it's very light in color, so what was going to do is be popping light back into her face, and we'll have room light around us now. The reason why I actually decided to stay here we're about fifteen feet from the bus is that I can still kind of leverage light that will be balance out the ton of greens that are in the park. I found a lovely area on the back, it was very dark and very, very green, which is going to make the picture look a little bit more muddled. So what I want to do is just try toe leverage some room light with the natural selector put my subject in front of something that's not too distracting, but also the same time doesn't give away that I'm actually at a neighborhood park. So what I'm going to do is going to work with our model danielle she's, actually part of the crew on the bus, an integral part of creative live and so most of what I was going to be shooting, this is going to be interesting to see how we all work that I love and actually, daniel was a model for one of my past, a creative life courses so it's, full circle boat. This is great, so I'm gonna be shooting with e eighty five one point two. I'm just kind of take things up to make it a little bit more difficult. I'm going to show it in bright light at a one point two, because I want to show photographers how easy it is to leverage it. Once you have a natural flecked er now, I wouldn't want to use a natural selected daniel if you can back up a few feet now. One thing I want to point out is that this is a natural factor and it's reflecting this bright light back on her face. But if I have her here and I step close to her and I say, say, shot her with a thirty five, the reflector in the frame would be then become the grass in front of her. So she's gonna get green totality is to her skin tones, so things to avoid and think in advance is the closer I get danielle to this national if lecter the less green that will be on her face now I'm talking about two minutes to this last thirty seconds I'm going to take a single just one phrase a couple frames of danielle to get one shot then we're going to transition her to sue brace now supervise works in a beautiful situation in that she brings a scrim she usually shoots portrait of one or two maybe three people at a time it surfaces gorgeous screams she's gonna show you how she approaches that with this glamour type of photography using natural light I'm going to use the natural fucked I want to see how it goes on at one point two I'm not s so I mean it working around a little bit right there you can stay there and I'm gonna work around it so I'm going to use these tree branches around and yell but I'm going to stay away from the base of the tree and if in case that it's going to be popping out of her head in a way that's distracting take a couple steps toward me beautiful right there now the cool thing is danielle's has a lighter color eyes we're going to get some like reflection in her eyes this is going to look as if I'm going to be using a reflective from underneath her now donnelly kind of your thumb in your pocket both yeah there you go beautiful chin down a little bit relax, gorgeous. I'm going to change my settings at sixteen hundred one point I'm about one point two sixteen hundreds of a second and one twenty five years so beautiful turn your face towards me a little bit nice beautiful take a deep breath relax the shoulders I'm gonna step in a tiny bit shin downtown you bet a slight smile you look down at the floor and take a deep breath relax at front left shoulder beautiful. No. Bring your eyes beautiful. Down to the ground again. Shift your right shoulder towards me. A tiny bit at a girl beautiful, beautiful. See, we have some wind going. You look like a cover girl. I love this beautiful good you could smile. We're told radio good it now that's beautiful looked up towards that basketball court. Beautiful. Yeah. Bring your eyes back here. That's it, darling, I think my three minutes are up for the transition over to see rice. Thanks, guys. All right, sue bryce, we're here in the harsh light challenge. We definitely need sunglasses out here we have. What did you do? What did you do when we got off the bus and I'm just going to let you take it away for the couple of minutes here with the harsh life down, okay? I say I got the scream out of the bag so let's have a look it's right here it took under a minute to her calf it's very light, invasive style. Obviously, if you're going to be shooting outside let's say you're doing portrait toots in the park, you know you're going tohave harsh, light you couldn't book at any other time. You can create light stands, you can get assistance to hold them. They're going to get an arm workout. But this is a scream that felix suggested that I buy. This is a four hundred dollars scream it's the laser light and it really is an amazing scrim. But, you know, prior to meeting felix, I had the good old police to schiff on, so this is my hex grim. It takes a little bit more rigging, but I could, and by this to a tree, I could get a volunteer to hold it. I could pay an assistant, but I'll pretty much do whatever it takes to get diffused light wherever I am. And if you want to see it in action, danielle, come in. I'll have darren and silly. You could be my assistance and basically come into this nice hot light, ok, there's something that you've got to really consider when you shooting outside in hash light I'm going to take a fighter of danielle is she's beautifully lit because she's still getting a lot of bounce in reflection off the foot path, which is exactly what jasmine just taught you, but the problem is, is look at how hot the light is behind here. So even though I'm getting a really good bounce to hear, we're sitting and really had right there and there's still a lot of had light coming around here here and it's stopping it from being her face being this main focus. So if I get my assistance to bring this grim up and over, we're just going toe turn all of this into a beautiful heart box of light and it's just going to come straight down, so on my blood right now, you can have a look and I created what I called this sun box, which is when I get the v flats and I put the scrim on top, so if you are shooting in a pack for a period of time and you want to create your own son, both go for it. We're going to teach that on tuesday because I'm teaching natural life, but if you want to see the difference between what we had and what we have here, this is absolutely beautiful, so shooting with a scrim and shooting, obviously with hash like completely different if we can get a good camera angle on denny else face on what I'd love to do is walk away with this grim and have a look at the difference so she goes from this beautiful beauty light dish looking like to her face to justin out to a portrait now you can rig up light stands you can rig up parley boards which give you a good booth and it's going to give you a really good look you can shoot anywhere with it and used the sun nice filtered down use your hex graham is a good scrim and take beautiful diffuse porter earthen hash life all right sue thank you so much. I love these many lessons all right, now we're going to go to matt and matt this is the harsh life challenge I see you've got your harsh light sunglasses on they match your shirt, which is fantastic number one I didn't know I was actually going came up to me you're like give me fits pot and no one go you're going here we are we need to be over there, okay let's do it. So I actually know what start here thought it started I got three tips okay, we get started, we start here, get anybody else ready to move, so I'll give you three tips because we're at a park landscapes outdoors location is is a part of it, so I'll give you three tips tip number one is when you're out of location, no matter where it is, color is a cool is a cool thing to draw your talent, your photos. So the one of things I look for is contrast, color, contrast to think like a color will blue when yellow's air on the opposite side. So when you see that tree it's kind of got a greenish yellowish type of ah telling to it, and you got the clear blue sky behind it. Um, if you just zoom in, take a shot, I'll go vertical because the branches are vertical, but you know, that gives you a cool colored contract because you have those, you have the warmth and you have the blue, so you can think of it that way, that's one thing, um, as we start to walk over here, let's, walk over, just talk me through it so as we start to walk over, the other thing is think about we're in harshly your background, ok? So since we're in harsh light, you're going to have all these backlit things. If you're going to shoot something backlit, then put something dark behind it, we're going to shoot something back with put something dark behind it because what's gonna happen is is like if I start shooting those leaves to see if there is a dark green tree behind it so I can zoom in right and maybe we'll be able to look at these later on the box we'll see what the results were yeah, and the idea is that you have the backlit leaves yeah, and you can see all the light coming through behind it is something dark, so we're going to see what's because it was bright. You would not see that contract when you shake it would just look like really, really poorly lately. Okay, great. If you under expose a little bit, I mean it's not ideal conditions, but you can still come away with the shot. So absolutely that's three tip number three. Can we go over here? Yeah, let's do it. They're all simple can't don't tell us what we can so tip number three is I found the edge of this tree. Okay, you got all these little flowers and whatever it's called coming off of the tree and you have the sun poking through. Okay, if you change your your share your aperture to f twenty two and what do you at right now and have twenty two episodes? And so I esso is down to two hundred, ok uh twenty two for the aperture okay and then what I'm going to do is this kind of play with the sun and kind of move around and f twenty two you get that son star ok and you can kind of move in and the more you talk the sun behind the branches the smaller the sun star the more that you kind of bring the sun out you're going to get this big some starting to get a lot of flair from it but you can start to play with it again we're trying to look for ways to make the shot happened that's right rather than uh rather than person versus the rather than going out on the basketball court and seeing what we can get awesome I love it great tips let's head on back over to the bus and we've got victor ha has the buster treating you so far the buses going good it's a lot harder to move around stand yeah, absolutely. Thank you, matt. All right. Harsh light challenge. Victor ha! Here we are, let's do it. What do you see when you come out here? Okay, so the first thing I see whenever I see harsh light is the first thing I want to give you guys a tip is don't be afraid of it, okay, so when you see harsh light the first thing you don't want to do is just make sure that you can control that light and if you can't control that light you want to add light so we've had a lot of great tips so far about cutting the light we've had a lot of great tips about using natural reflectors but at this point what we want to do is try to take a look and see what we can do about adding light so I got here just a speed light and I'm gonna actually get the speed light off the camera so we'll talk more about the gear what the settings are in that kind of stuff later right now all we're going to do is about is think about getting the light off the camera getting the light on a on a probably more like a forty five degree angle to the subject and then making sure that subject comfortable okay so when I take a look at the situation the first thing I look at is where or the shadows falling okay so take a look here where the shadows coming from the shadows are coming towards us on a case of the sun's over there and the shadows are hitting the ground we're coming towards you so the first thing you want to do is know when the shadows are coming from and place your subject in the shadow all right, so didn't you always come here so what I'm talking about what I mean place your subject in the shadow is I can actually do this which is what I want but I don't mean this so she's in the shower right now where she's facing she's facing right towards the sun I can't control the light anyway by doing this so I placed her back to the sun and place her in the shadow what you're going to see is that she's beautifully room lit she's got a nice backlight and now all I have to do is make a decision and my going to photograph her with ambient light without any sort of white or am I going to just popper with a limit of light so we've already seen using natural reflectors what of danielle dear just so you guys can see this is just have her sit down really quickly daniel won't you do that idea you're going to sit down and put your knees that way he's going to do that for me okay? You're gonna angle your body just this way touch now that's perfect and just like here so the minute we dropped her a little closer to the ground that she let her up a considerable amount right? So all I'm going to do here is gonna have another assistant be human light stand for me so I can have about one minute all right? So once you come right over here when we look at her face we want to make sure to see where the shadows are on her face so I want to create death they want to create dimension where her face is so I'm looking here and danielle's faces pretty evenly lit but there's a huge highlight right here so I'm gonna push light a little bit from this side just just accent her just a touch so we set my flash okay and cannot why don't you drop that down just a touch come towards me just a touch point right towards the oh hell yeah here we go and I don't think it fly I don't think fired give me a second yeah is it on yep there it goes together ready and one two and three one more two and three bring your nose this way just this way just a touch there miguel one two and three school and we're done got it alright fantastic well thank you everyone that was our harsh lite challenge that was fantastic to see sue bryce jasmine star victor han mac laskowski to the harsh allies challenge we're going to get back on the bus and keep moving for our sacramento stop we will see all of you there at noon and you could go to credit live dot com slash bus tour that's where we have a live blogged going you can see the latest and greatest so we'll see you back soon everyone thinks