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All right.
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So now comes the fun part, where I get
to go behind the Scenes and actually do
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a photo shoot using
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the one light approach.
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And my wife and I were out to lunch,
and we met this family, they were
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sitting across from us, and they had
these three beautiful little girls.
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And so we got talking about, because we
raise four boys, the next time we know,
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mentioned I was a photographer.
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And I was thinking about,
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I had, you know, I do all these force
figures, I do, cowboys, Harley writers,
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I hadn't really done in a long time,
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more of a portrait of a younger
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child.
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Used to do a lot of ad stuff with kids,
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so I thought, you know, that'd be
something different.
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So let me try that.
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So we set this thing up, and
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their daughter, Melanie was their
oldest daughter.
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And so we came over, and we set the
shoot up.
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And so
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photographing kids is not easy.
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This girl, obviously, Melanie was
wonderful,
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a little nervous, maybe at first,
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little, kind of like, she didn't know
what was.
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This is the first time lights and
everything had been set up.
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I think she was a little bit timid.
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at the end, i'll show you the last
picture we did, which is really the
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best picture.
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It started to come together.
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So
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that's part of the job of being a
photographer is, I think,
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going through the process, just waiting
for
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your subject to relax and get a little
more comfortable.
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So
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let me go back to my basic approach to
one light, which is,
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do I do an overhead light or a cross
light scenario?
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Those are usually my two
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approaches.
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And then I think, if I'm going to do a
one light approach outdoors,
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do I put the sun on the shoulder?
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Usually that's
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an option, it's an option.
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I'll look and say, where's the sun up?
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Ok?
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If I'm going to do a cross light, I
look around, I say, ah, there's a big window.
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Hmm, beautiful light coming across.
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I'm going to approach it with a
crosslider.
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Not always.
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It just means to me that there's the
big Windows.
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That mean I always throw across light.
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I might do an overhead light, but in
this case, I kind of looked around.
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Is this a shot in my front living room?
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I want to do a very shallow depth of
field
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look.
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So I do the 8514,
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I believe it is 8514.
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Might have been the 512 o'clock.
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You'll see me behind the Scenes.
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When I put these on, I changed lenses
around a little bit.
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A couple of things I did.
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I did a couple stitching scenarios with
the tilt shift.
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You know, I mix it up.
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So
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let me show you the first picture we
did.
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We started out with her downstairs, and
I kind of moved around a little bit
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trying to get a good angle.
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When you shoot shallow dip the field,
you really have to watch your background.
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And because you've thrown something out
of focus, sometimes you get these big
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blobs that just kind of sit there out
of focus, but they're sick there.
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So you don't want that to go right over
the top of the head,
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even though it's not distinguishable.
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It's still a big blob.
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When you have like, daylight coming
through, you got lots of hot, hot
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lights in the hot window.
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Window light that's really blit up.
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That's kind of a challenge.
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So here's one,
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we started out with cross light.
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And then you can kind of see a little
bit of the rem rent trangle.
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But here's the challenge that you run
into when you go and
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create a shallow depth of field,
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lifestyle approach,
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which is more airy blown out, which is
lots of ambient coming in.
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What did I say about my rule of thumb
is that
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the biggest source, and I shive the
subject to sar the light.
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So I move a big source in that makes
soft light, but if I
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bounce or drag the shutter, I bring in
and it softens.
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The overall look, that's good.
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In this case, I think it's good, but
you lose a little bit of that Rembrandt
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triangle effect.
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You see it there, but it's not
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really distinct.
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So I'm letting the light just hit the
cheek,
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but it is lit probably more than I
would do if I was going to do a little
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more of a character
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dramatic portrait.
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So
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when the mother
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we talked about, we text it back and
forth about wardrobe,
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I said, bring all white, or all black,
or something dark solids.
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And so they showed up with these white
dresses.
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And I actually ended up
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photographing the other little sisters
to all one big kind of portrait.
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But
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white is also difficult,
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but it also works.
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When it comes together, it works, and
it really makes a beautiful, I think,
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overall approach.
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So there's the first shot we did.
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And then I think I just did a natural
light one, just to kind of,
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again, when you'll see me behind the
Scenes there.
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I think I just did natural light I
think I stitched it and shot three frames.
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Not bad for natural light.
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I mean, natural light works
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great if you can get the light
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really nice on the subject.
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So then we went upstairs and
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photographed in one of the guest rooms,
where I
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thought, ok, this is window light over
here.
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Technically that could be
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light coming across.
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So you can see,
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I don't really have a
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clicker here.
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It kind of does click, show
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the Rembrandt
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triangles right there.
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And so you got your light coming from
this direction across.
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But there's so much ambient light
coming in that it really
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gives it that airy look.
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Now, if I did not have a strobe coming
across here, she would be fairly dark
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up front.
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That light is really lighting her
again.
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Shall it up the field?
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This one I stitched.
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So I got,
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I think, the 85, no ninety tilt shift.
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So I shot three positions.
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So that works for a pretty good,
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pretty good approach.
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Now, I probably would even crop that if
I was to.
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I don't really necessarily have to have
the feed in that one.
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So
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that's a decision later I could have
made easily.
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And I think I did it when, just a test,
when I cropped, it looked really good.
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So here I moved her over in the bed.
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Now, this is overhead.
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No, minute.
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Yeah, this is overhead light.
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If I'm correct here?
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No, maybe not.
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I think that's still cross light.
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Yep the shadow here.
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Then I went to
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overhead light.
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There you go.
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That's overheadlight.
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So that's still light, there's
overheadlight.
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Two different approaches,
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same, almost spot.
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Only I had her sitting here, and then I
had her spin and sit.
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And I thought I tried overhead light.
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I actually like this one the best.
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It kind of works with her her
expression and everything.
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But I still like the cross light there,
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which is, which is kind of nice, right?
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There's a shadow side,
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very blown out.
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with that room, it works.
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You don't always have a room that's got
white
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in the curtains, and the bedspread
everything's white, she's in white.
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It works pretty well.
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So I'm not the first to approach, kind
of all white, but
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it's a good fall back if you're going
to do something like this.
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At the very end here, I think it was
this one
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of my head, to really shake her hair up
and kind of let it was looking too perfect.
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And the mom's there,
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and she's obviously wanting her little
girl look perfect.
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But I like to have a little bit not
looking too perfect.
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So we're going to go from here.
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You're going to see me go and shoot
some stuff.
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And then we're going to go, and we'll
probably retouch this one right here,
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and i'll show you how to do that.
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Not that it's complicated,
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but I'd like to throw in a retouch
there so you guys can see how we do
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that.
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So let's go to the actual chute, and
then we'll go from there to a retail.
14608
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