Lesson Info
18. Natural Flash/Bounce
Lessons
FAST CLASS: Incredible Engagement Photography
08:03 2Posing Guidance for Him
08:08 3Posing Guidance for Her
08:50 4Foundational Posing
04:59 5Posing Touch Points
04:44 6Couples Body Language
05:19 7Posing Three Point Check
05:12 8Posing Tips with Demo
06:51Mood Board Tips
05:36 10Camera Settings Quick Overview
18:21 11Seeing the Light
17:22 12High Speed Sync vs ND
04:17 13Processing Black and White Images
05:09 14Editing Using Presets
11:37 15Outdoor Engagement Location Scouting
10:42 16Using Photo Mechanic to Cull
08:44 17Culled Edits in Lightroom
13:01 18Natural Flash/Bounce
03:52Lesson Info
Natural Flash/Bounce
we have this beautiful scene right here. We actually do some natural light reflector modification. We place him on the stairs. We get amazing, just simple backgrounds. We focus on the couple, we get really cool shots. Then we take them inside. Disney. Um and there's actually some slides. Maybe I could just show the slides briefly. So that way we can actually show I can actually show you guys the effect. So if you look in the scenes right, we talked about looking for natural light and looking for where that light is reflecting and so forth when you're downtown or in your city places where there's glass, metal and all these kind of things. You have this stuff naturally present everywhere. You just need to look for it. Which means that we can walk through downtown middle a day without any lighting gear and still position our subjects and shoot shots as if we had a backlight, a front fill and so forth. We're just using reflections off of glass and that kind of stuff toe and position. The c...
ouple with that, So here was really interesting. I thought I actually shot this scene previously, but this is what it looks like on after sunset. You can see basically the sun is below this wall. So it's it's already set, but we do have a brighter sky, right? So this is basically blocking that skyline. So look at how bright this section is up here, and that light is actually being cast down into this area. And so it's just enough light right now. I think this is about I was measuring it in post. It was about 1/ toe, one stop of light that's landing right in this area. The frame. You actually see it darkening towards this side, right? You see a darkening there. You can see a darker here where it's not hitting, so I just place them in that and that have toe one stop. A light was enough that I could expose it. So this is the exposure with a dynamic range push. And I don't have to do anything to I have all my detail in the shadows All my detail in the highlights and all I do is reveal each of these So I pull the shadows up, bring the highlights a little bit down, and we have a shot that looks as if we have, like a off camera light. Kind of a wide, soft like that landed on that spot, right? Beautiful tone, the sky. We didn't lose a bit of that blue graduation. It's gonna print really well during the day. This is what it could look like. So during the day when you have direct light landing on the building, look at this. This transition right here This is like two stops to plus stops of light that's landing on the building between that shadow and the brighter area. And you'll find these little bits all over Medic metropolitan areas because it's just there's so much metal in buildings and so forth, they're gonna catch light and throw it in different places. All we got to do is find them. This is shooting, So basically, I have them come off the wall a little bit, and I'm actually shooting this shot going this way. So we actually shoot this way. That light is hitting him directly in the face, and it looks fantastic. I haven't added any bit of light. Look at the way that this graduates up top, and the lines that lead kind of into them in the shot looks fantastic by the way we talked about We do a lot of same sex weddings and couples and so forth. We talked about the hip thing. Dude, I've got them connected. I make sure that we keep the hips connected. Do you want to? Do you want to demonstrate again, Trevor? No. No. Why do you say Yeah, Gosh. All right. Eso We show that in the foundational piece, we actually showed, like what a hug looks like without that connection. And with that connection, there's an awkward separation when you don't have that connection. Is there standing close to each other? So we create that connection. I even having him pull Tom in from that lapel right there just to kind of create another sense of closest. I really like that shot they're so easy to work with. And then we get this shot. Really cool. Kind of whimsical shot. Where they're opened up is very casual holding hands. But I loved that The difference in light in that one scene compared to this how the same scene looks just so completely different at a slightly different time of day.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
user-975fc7
Man, Pye just covered EVERYTHING! I love the complete process explanation of Photo Mechanic to Lightroom.
Mal Brown
Student Work
Related Classes
Portrait Photography