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Eߣ�B��B��B�B�B��matroskaB��B��S�g QM�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��?M��S��T�gS��O��O� I�f�*ױ�B@M��libebml v1.4.2 + libmatroska v1.6.4WA�mkvmerge v56.1.0 ('My Friend') 64-bitD��A�P Da����[�4 s��d3ꚙxf�Cg�"T�k���ׁsňUcD[�w̓��� �� ��S_TEXT/UTF8"���enSn�English�D% C�u�� ����� [MUSIC PLAYING]��
mC�u@��G�ǡ�� So for this shoot, we're going
to be taking some photographs��
Ƞ����
� in natural light.��&������ We've got this gallery
space behind me���C�u��_������ and we have a balcony
out to the side where��砽���� we're going to do some
demonstrations with a model��#C�u@��s������ that I work with, Jess Cole.��蠼���� I'm going to use the camera
app on my smartphone.�� ��� And while you can go in and
make adjustments to exposure���C�u�炒����� or shoot with
filters, I just like��������� to use the factory settings.��
>C�u@�炧������ Part of why I wanted
to use my smartphone��4�����4 for this demonstration
was to show just�� $�����X how easy and accessible
it is to use what's���C�u@��������� in your pocket to
make a nice portrait,��������� especially in natural light.��6�����
� You're mainly
looking for the sun.���C�u@��լ�ɡÁ And it's about your subject, the
connection with your subject,��
n�����
n and what the light's doing.��̠ơ��: The main objective is to show
how you can cut light, bounce��LC�u���2����� light, and essentially
manipulate natural light��J�����J to make a nice
portrait of anyone.��&C�u�������� [MUSIC PLAYING]���C�u@��'��ơ�� When you walk into a room that's
lit up with natural light,��
n��
n like we are here, there's a
couple of things you can do.��XC�u@��>\����� First, look at what
your windows are.��������� We have two windows here.��8������ And we're using both to
basically light her up.��bC�u@��R������ And I'm going to shoot
her against this wall.��S�����S One thing to think about
when you're using windows��������� for natural light is
what you can see here���C�u@��k����� is that the sun is
coming in pretty strong.��蠾���� If you look at her clothes,
the shadows are strong.�� ������� And that's definitely a look
if that's what you want.���C�u@���P�ȡ But for now, I want to diffuse
it to make it a little softer.����ġ��� And actually, Jess, let's
scoot you closer to the window.��
FC�u���젲��� So see, I'm looking
at her face and see�� ����� how, especially when you're
closer to the window,��"C�u@�������� the shadow is going to be
much darker on this side,��M�����M it's going to be much
stronger on this side.��)�����v That's a lot of
contrast, essentially.���C�u���X����� So to diffuse it, I'll just
bring down the diffusion.��
>C�u@���F����� You can already see
the difference there��������� and how things round
out on her face,�� $������ things kind of evened
out all around.��lC�u��V����� So for me, I prefer
the diffusion look.��ؠ����� So when I bring
that down, and now��
�C�u��!����� even that it's
gotten overcast, you��������� get a much softer look overall.��d������ [MUSIC PLAYING]��
�C�u��N2����� When a model is very,
very close to the window,��������� the shadow side
of his or her face�� $C�u@�e������ is going to be much more
exaggeratedly shadowy.��֠����� So Jess, if we bring you
kind of over more, yeah,���C�u�����ȡ you can see the shadow side of
her face is slightly brighter.���C�u@���n�ȡ If we're indoors and we're using
natural light from a window,������� I like to really
make sure that we��ܠ����� can feel the light
hitting the person's face,���C�u@���ܠ���� but also think about shadow.��������� So when we're up
against the wall close,���ơ��� there's going to be a very
close wall shadow from the model��^C�u@�������� onto the wall.��ѠˡŁ� So also think about the way that
the light throws shadows around��
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