Original subtitles

All right, watch me practice what I preach

right now as we follow the five steps.

And what were they again?

It's light number one, location, pose, exposure, and

then of course emotion.

Now, we are going to actually of course

share some more information with you about emotion,

but we're certainly going to try to get

some in this particular process.

But we're going to be chasing the light

right now.

We're going to hopefully look at all the

lighting options we've already talked about, from sun

to overcast, to open shade, to all those

different things, and let's see what we find.

So in fact, here is Lisa and Dylan,

our beautiful couple, some great friends of ours.

And we're going to walk around.

This is my backyard basically.

Okay, love this.

Okay, I love you, but I love you

after.

So you can hop over here.

Lisa, I'm going to get you right up

against there.

So guys, what I'm seeing here, of course,

is beautiful sunlight.

Don't be scared of the sun.

It's just sort of a shame that we

totally ignore it and just run for undercover.

Now, as you can see, Lisa is sort

of struggling a little bit to look.

When you've got someone with lighter eyes, you've

got hazel eyes, it's going to be a

bit tougher.

So anyone with blue or green eyes, you

know that they're going to be, it's going

to be hard to look into the sun.

What I'm going to do now is actually,

you can, she can actually look down or

close her eyes until I'm ready to photograph.

But first of all, the light led me

here, but we said we want to turn

the body away from the light and the

face back in.

So if you can turn that way for

me, that would be awesome.

I'm shooting three quarter because I want to

isolate the location, the column.

So remember too, guys, that if you crop

context, you improve mystery.

If I include anything outside, so left and

right and the foliage around, then I am

photographing in a domestic house.

But if I isolate this particular column, it's

going to look really awesome.

So why don't you bring your backside right

here.

And yeah, I love that.

Come a little bit closer towards me.

Good.

Actually, lean your backside on there and that's

it.

Perfect.

Now, what I'd like you to do very

gently is I want you to hold this

part and then hold that part with the

other hand, shoulders back.

Now you can sort of see the detail

here.

We've got this beautiful detail coming through because

we're turning the body away from the light

and the face back in.

We could probably go even further.

Turn a little bit more this way.

Good.

Gorgeous.

And now we turn the face back into

the light, chin up a little bit and

eyes down.

If we look at the shadow on her

cheekbone, we can increase that by just turning

her face a bit towards me.

Stop there.

Gorgeous.

Love that.

Beautiful light on her face.

This is good.

Again, we've got light location and pose already

done.

And now technique, we look at our exposure.

So I'm with my 70-200 lens with

the FTC adapter.

I'm on 100 ISO.

I will shoot at 4.5 because why

wouldn't I?

We've got a beautiful pose there.

I'm off the body.

And then isolate that.

We're going to isolate that.

So you can see now how that's overexposing

because I'm actually already in the manual setting.

This was defaulted to what I was doing

earlier.

So I want to bring it down until

I get detail in those highlights, which I

have now.

Shoulder back there for me, Lisa.

Gorgeous.

And that's beautiful.

Chin up a little bit.

Turn your face a touch to the right.

Stop there.

Gorgeous.

Hold it there.

Beautiful.

So we've got a gorgeous shot there.

Let's have a look at it.

Love that shadow.

It gives us some really dynamic composition.

And then while she's there, let's not waste

it.

Turn your face that way.

Turn your face a touch towards the left.

Gorgeous.

Just there.

That's stunning.

And then I'll allow for a little bit

of negative space.

Remember, negative space behind someone is going to

actually add mystery.

Negative space in front of someone will add

harmony.

In this case, I'm actually making it quite

mysterious because we've got that dramatic light.

Turn your face a touch to the right.

Stop there.

Beautiful.

So I want to get that light on

her eyelid.

Beautiful.

We've got that.

And now, Lisa, on the count of three,

I want you to look up towards the

light, okay?

So look at my hand.

Okay, good.

Stop.

Chin up a split second.

All I need is a very, very much

of a split second.

So I'm going to go wide again.

Okay, gorgeous.

Of course, focus on the eye that's closest

to the camera.

On the count of three, don't anticipate the

sun because you'll already be squinting.

Ready?

One, two, three.

Beautiful.

Relax.

And check out how sharp that is.

Love that little shadow just on top of

her eyes.

It adds a little bit of drama, but

she looks absolutely exquisite there.

Now, don't waste that.

Let's get the groom involved.

So she's going to stay where she is.

We're going to get Dylan.

I'm going to get you to come right

over here, mate, and shuffle your feet right

underneath that particular area.

Now, because this is quite a dramatic shot,

in the sense that it's full sun, it's

got a lot of drama to it.

We could be romantic right now.

We could do a lot of things.

I feel like I just want it dramatic.

So I don't want to get her to

hold her veil softly there.

That arm right around his waist.

And then let's come right in there for

me like this.

Beautiful.

I just want that hand here.

Now, turn your whole body a little bit

this way.

That's it.

Beautiful.

Look at that texture on the dress.

Remember, we said turn the body away from

the light and the face back in.

In this case now, I love the fact

that we've got a little hint of light

on his face.

That really, really works.

So now, I don't really want to have

to be romantic here in the sense that

this is quite dramatic.

Traditionally, I would get him to hold her,

but I quite like the idea of cropping

close.

And I might change my mind, which has

happened many times before.

Just the hand right over here so I

can see.

Now, this time, Lisa, turn your face that

way and chin right up.

Look at me down for a second.

Tilt.

Remember, mirroring is the easiest way.

And I love the fact that we're just

seeing a tickle of light on him.

That's perfect.

Love that.

Arm off the body there, just softly there.

All right, guys.

Hold still.

And remember, guys, that when you're photographing, sometimes

you're not really evoking the emotion by really

what you're saying.

It could just be how you're saying it.

So in this case, love that there's a

hint of him there.

That is so cool.

That is really beautiful.

And this time, I'm going to get a

bit more negative space on top.

Eyes into her, mate.

I can hardly see your eyes with the

shadow here, but there's a little hint of

light there.

That's gorgeous.

Beautiful.

Hold it.

Perfect.

Love that.

I'm going to go a little bit closer.

Lisa, turn your face more to the right.

And I want your eyes up high.

Good.

Just there.

Like quite high.

It'll hurt your eyes for a split second,

but trust me, in a day, in a

week, in a month, in a year, you're

not going to care about how your eyes

were on that moment.

You'll just care about how beautiful these photographs

are.

Look right into her, mate.

That's awesome.

Right.

So lower, lower with your eyes.

That's perfect.

Ready?

Give me a second.

One, two, three.

Gorgeous.

Beautiful.

Don't move.

Now, I'm going to get a bit more

of your face in there.

Just there.

Cutting right into you.

That's perfect.

Love that.

Chin up, mate, a little bit.

Good.

I love how their faces fit like a

puzzle.

Do you see that?

When faces or body parts and things like

that fit like a puzzle, it's aesthetically pleasing.

So now, I'm going to crop really tight

on her face, and I'm going to get

them both to close their eyes like they

are now.

So we can give them a little bit

of a visual break there.

Love that.

That's awesome.

Love that.

Perfect.

So check that out.

Isn't that beautiful?

Every so often, what you want to do,

guys, is show your couple what you've just

done.

Isn't that beautiful?

Okay, so we photographed the bride on her

own.

We photographed the couple together, and now, of

course, don't waste it.

Let's take her out and then photograph him.

So let's do that right now.

Now, remember how we said with the bride,

we turn the body away from the light

and the face back in, and then for

the guy, we can actually do the opposite.

Well, the face still stays into the light,

but we'll turn his body in towards the

light as well.

Now, what I'm thinking would be really cool,

in fact, I've just changed my mind here

with what I was originally thinking.

I want you to bring this shoulder right

here, and now turn your whole body that

way.

So turn, turn, turn.

Keep on turning.

So keep on turning away from me, and

now turn your face to the left.

Awesome, and just relax that shoulder.

So we're just letting those little pinches of

skin.

In fact, I'll tell you what, Dylan, come

away for a second.

I want you to copy what I'm doing.

You're sitting quite straight.

I want you to just lean lower and

then like this.

Okay, that's good.

Now turn your face towards me.

Good.

Let me have a look here.

No, you know what?

It's not going to work.

I'm trying to get his face to turn

this way so I get a bit of

a shadow, but I'm going to get a

pinch of skin on the neck, so I've

changed my mind.

Let me get your back on here, and

then that.

There we go.

Good.

Turn your face this way.

Good, and now turn your face left, and

now look at me and tilt.

Perfect.

Now those shadows underneath the eyes are actually

quite masculine.

It actually works for a guy, so I'm

going to keep that.

Rather than if he looks up into the

sky, it's a bit feminine, so we don't

want to do that.

I'm going to keep him there, and I'm

going to frame him with that shadow like

we did Lisa as well.

So he looks really cool there.

Love that.

That's really cool.

You see how I'm isolating the composition there

as well?

I'm isolating the pillar.

If I include the actual like on either

side of the pillar, then now I'm at

a domestic home, but now this looks really

cool.

So now the more I look at this,

I'm looking at his face.

I feel like that light on his ear

is okay, but I want to see what

it looks like if he turns his face

more left.

More, more, more.

Stop.

Perfect.

That looks better.

If you look at his...

Actually, let's do that in camera here.

So just turn your face to the right.

You see that little that highlight on the

ear?

It doesn't work.

Turn your face more left.

Left, left.

Perfect.

Good.

Chin up a little bit.

Awesome, man.

You can hold that there.

Give me a bit of brow pressure there

like this.

Yeah, chin up a little bit higher though.

Eyes a bit higher.

Again, those shadows under the eyes I think

work really well.

We've got a little bit of a highlight

on his ear.

Turn your face a bit left.

Chin up a little bit more and eyes

a bit higher.

Awesome.

Hold it.

Awesome.

Yeah.

How cool does he look?

And I think we actually can combine both

of them here in a different way.

Lisa, come this way.

I've got an idea.

So what we'll do is we'll put black

on lights and then sort of light on

dark.

So if you come over here, mate, just

like this.

Oh, too much.

Just come back here.

Perfect.

So this location, I've often told you that

the location will give you an idea.

It'll always tell you what to do.

So I like the idea of adding all

these elements together.

So over here, I want you to turn

your shoulder in this way.

You could actually hold him.

So you can just hold him right there

and bring your chin just there.

Yeah, that's beautiful.

That's gorgeous.

But the think about it, the original thing

that I just told you, I think I

want to see if I can achieve if

the light allows us to.

I want to bring her skin tone on

that darkness here, but now we're going to

lose it.

All right.

Actually, I'll tell you what, one second.

Half your face would be good so that

can marry up to the picture that we

did before.

That's just there.

It's perfect.

Okay.

Come back, mate.

So guys, this is all, composition's hard to

teach.

You've sort of got to trust your gut.

You've got to isolate the beauty, crop the

crap out of the photograph, work out what

you want, but you've got to use your

gut and your instinct as to what it's

telling you.

The location is telling you to do something.

Right now, I love that little highlight.

Turn your face left and tilt, and then

come back a bit more.

There we go.

That gives us somewhere to go.

Yeah, I love that.

Eyes down, and then tilt your face this

way, mate.

Turn your face that way, and just let

the air out a little bit.

There we go.

Yeah, beautiful.

Okay, you're closing your eyes exactly like that

is beautiful, and Dylan, you're looking really cool.

Let's have a look, and Dylan, turn your

face towards me again, mate.

That's just it there.

Perfect.

Lisa, turn your face left.

Oh my goodness, this is so good.

I'm going to crop into his hairline, which

I think is more than acceptable.

Love that.

Beautiful.

Now, Lisa, I want you to look at

me.

Gorgeous.

Close your eyes for a second.

Just give yourself a break a little bit.

Turn your face a touch to the right,

and then come back a little bit.

That's just there.

Good.

Ready?

One, two, three.

Beautiful.

Oh man, that looks so good.

Guys, we have not even...

We've literally walked three steps, and I could

literally photograph in this column for the next

couple of hours and just play with it.

Half the battle with creativity is, I think

many of us are not short of ideas.

It's just executing one of them.

It's picking one of them and then just

going for it, because now I could make

them laugh and have some fun, but it

wouldn't really suit that area, I feel.

It's dramatic.

The shadow is telling me that.

So I just love that we can create

something out of nothing.