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I'm out here on our front, on our
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back porch, we got this beautiful mountain view
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and we're gonna try and do a reflection
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shot, another reflection shot, but this time we're
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gonna shoot through the, through the glass and
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we're gonna have, um, we're gonna have Daryl
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out in the porch and we're gonna have
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Maddie inside.
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So let's give this a shot.
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Okay, so Daryl, you come on out here.
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Okay, perfect, right about here.
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And what I'm gonna do is I'm gonna
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use a big lens.
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The reason I'm using a big lens, I've
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got an 85 on right now, is because
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I want to keep myself out of the
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reflection, which is much easier to do with
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a bigger lens as opposed to a wider
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lens.
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So I'm just gonna show you what I'm
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doing with Daryl first.
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So Daryl, I just have facing the sun
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and I've got this beautiful sort of high,
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highlight right on his, on his profile here.
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And if you look at the reflection, I
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can just expose for that highlight.
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So I'm gonna set, I know I'm gonna
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be using flash, so I'm gonna shut my,
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set my shutter speed to 1 200th of
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a second.
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My eye, it's very bright out here, so
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my ISO is 100.
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And then I'm just going to play around
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with my exposure.
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And basically I'm just upping my f-stop
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so that I get the exposure that I'm
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looking for.
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So I'm up at f5.6, that's still
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a bit too bright.
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I'm gonna go up to about, about f8.
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And I'm going nice and low here because
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I want to try and eliminate the highlights.
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And actually I'm finding f8 a little bit
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dark.
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We'll go f7.1. Okay.
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Perfect.
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Yeah.
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Okay.
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So I'm at f7.1, 1 200th of
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a second.
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I'm pretty happy with that exposure.
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I've got it just exposed for this nice
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rim of light that you can see in
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the reflection on the profiler's face.
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Now I'm going to try and layer Maddie
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into this.
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And the way I'm going to layer her
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into it is actually put her inside.
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So I'm going to have her face inside,
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within his face, hopefully.
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But his face is reflected, her face is,
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I'm actually going to be seen through the
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glass.
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Now there's two options that I could do
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here.
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One is I could have Maddie stand forward,
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just come forward.
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And you can see when she's in the
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sun, I don't have to use a flash.
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And I'll just take a shot like that,
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just so you guys can see.
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So turn this way Maddie, a little less,
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so you can feel the sun on your
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face.
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Tuck, tuck your hair back there.
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Just like that.
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And stand for just a tad.
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Perfect.
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I just want to show you guys what
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this looks like, because this is essentially what
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we're trying to achieve with the flash.
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But I'm going to do it with the
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flash instead of natural light.
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So Maddie, go ahead and stand back in
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the shade again.
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Okay, perfect.
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And she's right in the silhouette of his
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head, which is great.
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So I'm going to shoot right from here.
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I'm going to get a flash.
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I'm going to put it at a nice
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hard angle, just to match the hard angle
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of the light that's on Daryl's.
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Right about there.
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I don't even know what my flash power
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is.
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I'm just going to taste the soup with
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where it is right now and we'll see
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how it works.
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Okay.
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And I actually, I'm actually going to change
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my composition a bit.
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I really like including Daryl's beard and profile
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in the foreground.
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So I'm going to layer that in as
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well into the reflection.
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I'm going to focus on Maddie.
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Close.
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We're actually pretty close with the flash power.
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I'm going to up it a little bit.
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Or sorry.
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No, I'm going to decrease the flash power
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a little bit, maybe by one stop.
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And Maddie, I'm just going to have you
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turn a little bit more towards the flash.
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Perfect.
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Come on.
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I'm going to focus on Maddie again.
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That's about perfect.
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Okay.
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So now what I'm going to do is
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I'm going to adjust my composition and do
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some micro adjustments because A, I'm trying to
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get Brett out of the frame and Michael.
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And there's a highlight in the background.
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You can see the other deck on the
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other side of the house.
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So I'm just going to see if maybe
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if I shot this way.
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Okay.
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So let's have you move forward here, Maddie.
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A couple of steps where you were.
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The flash accordingly.
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Okay.
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So I've readjusted the video crew a little
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bit just because Brett over here just always
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gets in my shots.
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He was in the way.
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So he's come over to the other side
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because shooting in this pain was way better
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than that pain just simply because of the
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window on the other side of the house.
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And here, if I, if I, if I
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shoot from this angle, I'm able to eliminate
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that highlight.
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So perfect.
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Let's see.
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Oh yeah, that's way better.
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Okay.
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Maddie, like half an inch that way.
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Perfect.
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And you guys as heights line up just
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perfectly.
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Okay.
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And just a little gentle giggle there, Maddie.
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Perfect.
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Okay.
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I'm just going to show this to Lanny,
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make sure there's nothing else we want to
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do.
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Oh yeah.
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So I've got, I've layered his, him in
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the foreground.
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Yeah, that's cool.
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But the reason I did it there is
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because over there I had those highlights.
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Right.
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And let's go back to the other one.
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But then I've got that.
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It's not possible to get that under his
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chin, like under his beard.
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Why?
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I just think it might be cool to
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have it.
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Oh, well I could go here.
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Yeah.
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Yeah.
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Oh yeah.
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That's a good idea.
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Perfect.
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And Maddie, a little bit more towards me,
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but not.
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Yeah, there we go.
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Okay.
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And then both of you, I want you
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to give me a smile.
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Yes.
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Perfect.
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Perfect.
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Okay.
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We're good.
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Great.
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Okay.
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So that was shooting through glass with a
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flash.
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So I was exposed for the reflection on
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the outside of the glass, which in this
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case was Daryl with the sun shining on
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his face.
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And I layered what was inside the glass
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and whatever I wanted to layer that was
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inside the glass had to be at the
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same brightness as what was outside the glass.
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Right.
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So that's why I put a flash on
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Maddie to layer her into that reflection.
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One of the things you'll notice about this
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shot as well is that the reflection of
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Daryl is going to be double reflected because
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he's reflected on double planed glass here.
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So there's several different reflections of him.
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He's not sharp, but Maddie, because we're shooting
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through the glass at Maddie, she's a clean
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image.
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She's not a reflection.
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So there's no, what's the word I'm looking
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for?
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There's no double reflection on her because we're
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looking through the glass on her.
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And if you're ever wondering what's reflected in
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our shot and what's shot real, it's quite
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easy to tell.
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You just look for the telltale signs of
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what has a doubling or a tripling, or
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sometimes a quadrupling, depending on how many different
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panes of glass you're shooting through.
14243
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