Okay this might be tough to believe, but this before image, as well as the final shot were captured with the exact same natural light, the same in camera settings, and they were processed identically in lightroom. The only differences were the pose, direction and timing. These are all things that we’re gonna analyze in this video, so stick
around, my name is Pye, and I’m one of the founders of Lin and Jirsa Photography, and SLRlounge.com We’re teaming up with Adorama to bring you a new series of photography tutorials called Master Your Craft, right here on AdoramaTV. So let’s dive in, so we’re inside of Lightroom, and before we dive into working through this sequence, let me just first gain your trust a little bit and show you that I was not joshing you. I like that term, my dad uses that term, so I’m gonna go ahead and go into Loupe View by pressing E and press I to bring up my information, where you’re gonna see that from the before shot to this after shot, okay, none of the camera settings had changed 1/8000th of a second f/1.4, ISO 50. These were all shot on a Canon 5D Mark IV, using a 24 mm Sigma Art Prime Lens, so nothing changed there, now you’re probably like well but Pye, you probably adjusted the exposure settings and did all sorts of stuff in post, no, let me show you. So i actually process this image using Visual Flows Modern HDR Natural preset, and then i just applied it to this image, so what you’re seeing is actually the exact same exposure, the exact same settings, the exact same tone curve, same HSL. I’m not joshing, they’re the same exact shot but we’re gonna work through and analyze exactly what makes these two images so different. We’re gonna talk about the process of capture, the, the beautiful part about this is that honestly, you could capture this image, or any image like it, with any camera that you want to, and the same posing and directing and understanding of the scene is gonna apply to anything you’re shooting, regardless of what that might be, so there’s a lot of tips here, and I hope all of you guys stick around, and let’s dive into the first piece, which is kind of walking up to the scene, and why did we choose this first shot, why is this our composition. So that brings us to the C.A.M.P Framework, to the C piece of that framework right we always talk about camp the first step – Composition. I honestly believe to do this right you really need to put the camera down, okay, put the camera down, walk the scene, scout it understand the scene and what I want you to do is to begin by identifying your light sources, and then potentially thinking about the angles and how you can shoot the image. As we walked this scene, I’m gonna go ahead and bring up my red pen, just so I can paint a little bit. I’m gonna first start with just identifying our primary light source, right, so let’s go light source ‘Primary’, we’re gonna label it one, it’s the sun that’s coming from the top left of the frame, and it’s kind of creating this highlight along all of the water, and that’s the rim light that we get across their body, that edge light, and everything.. that’s that, but we’re also obviously have some light filling in the shadows right, so where is that light coming from? Well probably our second light here is gonna be the sky, that’s a weird shape too, should we try that again nope… that’s not any better, let’s try that one work with but… oh there we go, our number Z. Okay so number Z says that our next light source is coming from basically the sky, so the sky, that blue light is also gonna fill light into our scene, into the shadow areas of our image, and we can see a lot of that like in the reflections, we can see some of those blue tones. If we go close on the skin, but really we have another big helper in the scene, and a big piece of why they’re posed where they are. If you look at the behind the scenes video, our third light source is actually coming from this wall, and the wall that I’m actually standing on is a giant earth tone wall, that’s just catching sunlight, and filling that kind of tan brown light back into their skin. It’s beautiful because it already gives me like a nice golden glow to the skin, and and it really kind of works nicely with skin tone. So I have them placed close to this because that’s my big giant fill light, so that’s the third light in the scene, but what’s gonna happen depending on my timing, and I want you guys to be prepared for this, is whenever water comes into a scene, it becomes another light source. You can make it your fourth light source, whatever it’s gonna be, but if we look at the actual settings between these two images, again the exposure settings, everything is identical right, exposure is identical, everything is identical between these two shots, but we gain about an extra stop of light from the water itself, as the water comes in, it catches all three light sources, and reflects more of it back up into our subjects faces, so all our job becomes as photographers at this point when we have, you know, this kind of thing working with us, and the same thing happens with snow with water, with anything, it’s gonna reflect all of those existing light sources back up and into your shot right, but that’s that significant bump and brightness that we see okay, so that’s the light in our scene, and those are the kind of differences that are are there. Why do we choose this angle? Well, I really like this angle, as I’m standing up here, because it lets me see the depth in this scene, right? If I didn’t stand up onto this, these tide pools that are over here in the back side, they would have kind of been lost in the frame right? If I got down lower, we wouldn’t have seen the depth of the shot. So we’re choosing to put them down in the kind of the middle of the frame, and leave this space to kind of show splashes, to show water, to show depth in the scene, this is an epic shot in Laguna Beach, Okay. So that’s the the composition, so now we place our subjects and we go to the next step…. which is gonna be our ambient light, so we need to dial in the ambient light exposure, which I want to set something to maximize our overall dynamic range, and the other thing is, since I’m shooting wide and since I have quite a busy scene, if I can I’d love to shoot at a wider aperture, so I’m setting this to f/1.4, I’m gonna do a separate video because we’ve gotten a lot of questions on how do you shoot wide open, but still get sharp images? Well you’ll notice that they’re they’re still completely sharp in this set of images, even though we’re wide open at f/1.4, we’ll talk about that in another video, because I think there’s some good tips that we get you guys, but compositionally I want that, because on a wide-angle lens, I’m not gonna see that much depth anyway. I do want a little bit of separation from the background, and if I can use a wider aperture that’ll help me out there, so with those two steps in I’m looking now to kind of modify light if I need to right, and then I’m gonna pose my subjects. Those are steps three and four, what you’re gonna see here though is kind of when we’re using natural light, we’re gonna use the pose to play into the modification of light, because between this shot and the last one, in fact if I get these, I think I adjust my ISO up to 100 in this one, because my exposure was a little bit dark on this one, so I adjusted up to 100 ISO here, if you look at these two images though, even when I adjust the brightness of this image up, to kind of match, the only difference here is, just the overall pose. That’s it and what we’re doing is, we’re using this pose to play into essentially how we’re modifying the light, so I love using natural light, I love even hard light but we have to make sure that we pose our subjects to play into it. So let’s talk about how that’s actually working here, I have him taking a small step backwards, so they’re going into a stack pose, and you guys can check out our foundation posing series as well as our complete posing course, we have the foundation posing crash course on AdoramaTV, we have the complete posing workshops, everything inside of SLRloungeworkshops.com but you’ll notice that he’s a step back in a stack pose, they’re holding hands right here, and she’s looking down and toward this side, well we talked about that main light source coming from here, so what that does is by him taking a step back, he no longer casts a shadow onto her, and now we get that high light edge going from the top of her head, all the way down her dress. Right so we now create that bit of definition on that side, she’s looking down towards the side and with that chin direction, we have this beautiful Rembrandt light that’s landing right there on the skin, right here, right. Beautiful shadows and light direction, he’s looking towards her, so we have a rim light and then the face is in shadow on his side, that’s okay in my opinion, in my opinion like, it makes sense for when you have a masculine subject, it makes sense to put their face in shadow, because having shadows with that kind of lens into the masculinity of a shot, so it works well with you know a guy like this, in this situation to have his face in the shadow, as he’s looking towards her. She’s looking down towards this side, the next thing that you’re gonna notice probably is the hips, so when going back to this shot right here, she’s standing flat-footed here. I’ve had her adjust and we’re bringing her knee across the body, just like this, and what that does by pushing the knee in, we create a natural taper point on the dress where it widens out at the hips, and it tapers in at the bottom and we create the hourglass shape, and we’re bringing the hand up naturally to kind of go through the hair, just to kind of create a bit of motion or kind of an in-the-moment type look to the shot. We’re also allowing the hand to go up, so that we can show the, the form on the dress right, because if the hands are at the sides, we can’t see the the shape of the hips right, so one hand is holding his, one hand is up, that way we can reveal the hips and show the form of the dress, and and show off her figure, okay, there’s another important thing that’s happening here which is in terms of eye lines and connections, so you’ll notice that his eyes are going down to hers, then what are her eyes doing, her eyes are going down to the hands, and what are the hands doing, the hands are linking up and sending you right back up to the top of the frame, so there’s a little pattern here that will actually keep a viewer kind of looped in, you kind of look down toward the hand, the hand comes back up, you go to his eyes, and you kind of stay here in focus in the center of the image. There’s a nice little trick that we can kind of use to help keep the viewer fixated on what’s going on in the image, but that adjustment is what makes such a substantial difference in the way that these two images look, and then once they’re positioned all, what we’re gonna do is cue up an expression right, so from that position we might say a joke, we might say something, and we might elicit the expression that works perfectly for the the image, perfect, I love this shot, that’s a keeper in and of itself, but the last and final step is timing, and we talked about when those waves come in, what’s gonna happen right? So we have them position this tide pool in an area that’s completely safe. The wave is not gonna land anywhere around them but it is gonna wash in over their feet. So the last thing that we’re doing is once we have everything kind of timed, we just wait for the wave to come in, and then we shoot the exact same shots, and we might say okay, look at each other, switch up the pose a little bit, we might kind of work off of that as soon as the water comes in, but that’s it, once the water comes in, we grab our final image, make sure that when the water is in your shot your exposure at that point is not blown out, so you’ll actually notice that I end up going up to ISO 100 for this image, and then actually once the water was washing in, I dropped it back down to ISO 50, and that was because if you look at the raw file for this, you’re gonna see that in this first shot with the ISO up to 100, we’ve maximized out the histogram, our highlights are pushed right up to the right edge, our shadows are right there, they’re mostly intact, and when we look at this shot it’s the exact same, so we had a full stop of difference when that light came washing in, that if we left our exposure bright, we would have actually ended up with this shot right here where we would have actually blown out some of our highlights in them, in the highlight area of the image, okay so, just make sure that if the final intention is to shoot the final image with that water in, make sure you’re exposed reading is on that point, and that’s it, now I mentioned that all we did to get to the final image was apply visual flow HDR natural right. I wasn’t lying, watch this, I’m just gonna take a white balance read, okay it gets us somewhere close, click HDR natural, adjust a little bit of my contrast exposure, maybe bring the white balance up a little bit that’s it. I might add without a vignette, or just do a subtle vignette, that’s all we did to get to our final okay, and of course correct your horizon lines. So we’re done now you guys, can take these techniques and apply it to whatever you’re shooting. If you all enjoyed it, please subscribe to the channel. Give the video a like and comment below on what you guys would like to see next. In addition if you guys would like to learn more about all of our premium education, we have an entire library of the best education available on SLRloungeworkshops.com So check that out as well, all the rest will be in the description below. You guys can check out all the gear that we used and I’ll see you guys in the next video. Peace.