All language subtitles for 1_Melanis shoot - Introduction

All right.

So now comes the fun part, where I get
to go behind the Scenes and actually do

a photo shoot using

the one light approach.

And my wife and I were out to lunch,
and we met this family, they were

sitting across from us, and they had
these three beautiful little girls.

And so we got talking about, because we
raise four boys, the next time we know,

mentioned I was a photographer.

And I was thinking about,

I had, you know, I do all these force
figures, I do, cowboys, Harley writers,

I hadn't really done in a long time,

more of a portrait of a younger

child.

Used to do a lot of ad stuff with kids,

so I thought, you know, that'd be
something different.

So let me try that.

So we set this thing up, and

their daughter, Melanie was their
oldest daughter.

And so we came over, and we set the
shoot up.

And so

photographing kids is not easy.

This girl, obviously, Melanie was
wonderful,

a little nervous, maybe at first,

little, kind of like, she didn't know
what was.

This is the first time lights and
everything had been set up.

I think she was a little bit timid.

at the end, i'll show you the last
picture we did, which is really the

best picture.

It started to come together.

So

that's part of the job of being a
photographer is, I think,

going through the process, just waiting
for

your subject to relax and get a little
more comfortable.

So

let me go back to my basic approach to
one light, which is,

do I do an overhead light or a cross
light scenario?

Those are usually my two

approaches.

And then I think, if I'm going to do a
one light approach outdoors,

do I put the sun on the shoulder?

Usually that's

an option, it's an option.

I'll look and say, where's the sun up?

Ok?

If I'm going to do a cross light, I
look around, I say, ah, there's a big window.

Hmm, beautiful light coming across.

I'm going to approach it with a
crosslider.

Not always.

It just means to me that there's the
big Windows.

That mean I always throw across light.

I might do an overhead light, but in
this case, I kind of looked around.

Is this a shot in my front living room?

I want to do a very shallow depth of
field

look.

So I do the 8514,

I believe it is 8514.

Might have been the 512 o'clock.

You'll see me behind the Scenes.

When I put these on, I changed lenses
around a little bit.

A couple of things I did.

I did a couple stitching scenarios with
the tilt shift.

You know, I mix it up.

So

let me show you the first picture we
did.

We started out with her downstairs, and
I kind of moved around a little bit

trying to get a good angle.

When you shoot shallow dip the field,
you really have to watch your background.

And because you've thrown something out
of focus, sometimes you get these big

blobs that just kind of sit there out
of focus, but they're sick there.

So you don't want that to go right over
the top of the head,

even though it's not distinguishable.

It's still a big blob.

When you have like, daylight coming
through, you got lots of hot, hot

lights in the hot window.

Window light that's really blit up.

That's kind of a challenge.

So here's one,

we started out with cross light.

And then you can kind of see a little
bit of the rem rent trangle.

But here's the challenge that you run
into when you go and

create a shallow depth of field,

lifestyle approach,

which is more airy blown out, which is
lots of ambient coming in.

What did I say about my rule of thumb
is that

the biggest source, and I shive the
subject to sar the light.

So I move a big source in that makes
soft light, but if I

bounce or drag the shutter, I bring in
and it softens.

The overall look, that's good.

In this case, I think it's good, but
you lose a little bit of that Rembrandt

triangle effect.

You see it there, but it's not

really distinct.

So I'm letting the light just hit the
cheek,

but it is lit probably more than I
would do if I was going to do a little

more of a character

dramatic portrait.

So

when the mother

we talked about, we text it back and
forth about wardrobe,

I said, bring all white, or all black,
or something dark solids.

And so they showed up with these white
dresses.

And I actually ended up

photographing the other little sisters
to all one big kind of portrait.

But

white is also difficult,

but it also works.

When it comes together, it works, and
it really makes a beautiful, I think,

overall approach.

So there's the first shot we did.

And then I think I just did a natural
light one, just to kind of,

again, when you'll see me behind the
Scenes there.

I think I just did natural light I
think I stitched it and shot three frames.

Not bad for natural light.

I mean, natural light works

great if you can get the light

really nice on the subject.

So then we went upstairs and

photographed in one of the guest rooms,
where I

thought, ok, this is window light over
here.

Technically that could be

light coming across.

So you can see,

I don't really have a

clicker here.

It kind of does click, show

the Rembrandt

triangles right there.

And so you got your light coming from
this direction across.

But there's so much ambient light
coming in that it really

gives it that airy look.

Now, if I did not have a strobe coming
across here, she would be fairly dark

up front.

That light is really lighting her
again.

Shall it up the field?

This one I stitched.

So I got,

I think, the 85, no ninety tilt shift.

So I shot three positions.

So that works for a pretty good,

pretty good approach.

Now, I probably would even crop that if
I was to.

I don't really necessarily have to have
the feed in that one.

So

that's a decision later I could have
made easily.

And I think I did it when, just a test,
when I cropped, it looked really good.

So here I moved her over in the bed.

Now, this is overhead.

No, minute.

Yeah, this is overhead light.

If I'm correct here?

No, maybe not.

I think that's still cross light.

Yep the shadow here.

Then I went to

overhead light.

There you go.

That's overheadlight.

So that's still light, there's
overheadlight.

Two different approaches,

same, almost spot.

Only I had her sitting here, and then I
had her spin and sit.

And I thought I tried overhead light.

I actually like this one the best.

It kind of works with her her
expression and everything.

But I still like the cross light there,

which is, which is kind of nice, right?

There's a shadow side,

very blown out.

with that room, it works.

You don't always have a room that's got
white

in the curtains, and the bedspread
everything's white, she's in white.

It works pretty well.

So I'm not the first to approach, kind
of all white, but

it's a good fall back if you're going
to do something like this.

At the very end here, I think it was
this one

of my head, to really shake her hair up
and kind of let it was looking too perfect.

And the mom's there,

and she's obviously wanting her little
girl look perfect.

But I like to have a little bit not
looking too perfect.

So we're going to go from here.

You're going to see me go and shoot
some stuff.

And then we're going to go, and we'll
probably retouch this one right here,

and i'll show you how to do that.

Not that it's complicated,

but I'd like to throw in a retouch
there so you guys can see how we do

that.

So let's go to the actual chute, and
then we'll go from there to a retail.