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All right, watch me practice what I preach
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right now as we follow the five steps.
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And what were they again?
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It's light number one, location, pose, exposure, and
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then of course emotion.
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Now, we are going to actually of course
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share some more information with you about emotion,
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but we're certainly going to try to get
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some in this particular process.
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But we're going to be chasing the light
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right now.
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We're going to hopefully look at all the
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lighting options we've already talked about, from sun
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to overcast, to open shade, to all those
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different things, and let's see what we find.
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So in fact, here is Lisa and Dylan,
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our beautiful couple, some great friends of ours.
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And we're going to walk around.
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This is my backyard basically.
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Okay, love this.
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Okay, I love you, but I love you
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after.
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So you can hop over here.
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Lisa, I'm going to get you right up
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against there.
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So guys, what I'm seeing here, of course,
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is beautiful sunlight.
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Don't be scared of the sun.
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It's just sort of a shame that we
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totally ignore it and just run for undercover.
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Now, as you can see, Lisa is sort
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of struggling a little bit to look.
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When you've got someone with lighter eyes, you've
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got hazel eyes, it's going to be a
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bit tougher.
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So anyone with blue or green eyes, you
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know that they're going to be, it's going
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to be hard to look into the sun.
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What I'm going to do now is actually,
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you can, she can actually look down or
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close her eyes until I'm ready to photograph.
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But first of all, the light led me
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here, but we said we want to turn
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the body away from the light and the
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face back in.
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So if you can turn that way for
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me, that would be awesome.
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I'm shooting three quarter because I want to
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isolate the location, the column.
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So remember too, guys, that if you crop
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context, you improve mystery.
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If I include anything outside, so left and
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right and the foliage around, then I am
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photographing in a domestic house.
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But if I isolate this particular column, it's
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going to look really awesome.
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So why don't you bring your backside right
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here.
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And yeah, I love that.
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Come a little bit closer towards me.
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Good.
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Actually, lean your backside on there and that's
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it.
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Perfect.
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Now, what I'd like you to do very
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gently is I want you to hold this
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part and then hold that part with the
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other hand, shoulders back.
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Now you can sort of see the detail
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here.
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We've got this beautiful detail coming through because
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we're turning the body away from the light
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and the face back in.
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We could probably go even further.
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Turn a little bit more this way.
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Good.
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Gorgeous.
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And now we turn the face back into
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the light, chin up a little bit and
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eyes down.
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If we look at the shadow on her
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cheekbone, we can increase that by just turning
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her face a bit towards me.
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Stop there.
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Gorgeous.
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Love that.
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Beautiful light on her face.
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This is good.
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Again, we've got light location and pose already
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done.
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And now technique, we look at our exposure.
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So I'm with my 70-200 lens with
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the FTC adapter.
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I'm on 100 ISO.
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I will shoot at 4.5 because why
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wouldn't I?
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We've got a beautiful pose there.
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I'm off the body.
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And then isolate that.
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We're going to isolate that.
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So you can see now how that's overexposing
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because I'm actually already in the manual setting.
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This was defaulted to what I was doing
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earlier.
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So I want to bring it down until
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I get detail in those highlights, which I
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have now.
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Shoulder back there for me, Lisa.
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Gorgeous.
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And that's beautiful.
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Chin up a little bit.
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Turn your face a touch to the right.
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Stop there.
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Gorgeous.
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Hold it there.
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Beautiful.
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So we've got a gorgeous shot there.
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Let's have a look at it.
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Love that shadow.
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It gives us some really dynamic composition.
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And then while she's there, let's not waste
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it.
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Turn your face that way.
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Turn your face a touch towards the left.
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Gorgeous.
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Just there.
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That's stunning.
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And then I'll allow for a little bit
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of negative space.
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Remember, negative space behind someone is going to
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actually add mystery.
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Negative space in front of someone will add
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harmony.
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In this case, I'm actually making it quite
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mysterious because we've got that dramatic light.
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Turn your face a touch to the right.
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Stop there.
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Beautiful.
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So I want to get that light on
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her eyelid.
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Beautiful.
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We've got that.
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And now, Lisa, on the count of three,
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I want you to look up towards the
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light, okay?
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So look at my hand.
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Okay, good.
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Stop.
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Chin up a split second.
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All I need is a very, very much
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of a split second.
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So I'm going to go wide again.
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Okay, gorgeous.
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Of course, focus on the eye that's closest
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to the camera.
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On the count of three, don't anticipate the
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sun because you'll already be squinting.
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Ready?
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One, two, three.
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Beautiful.
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Relax.
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And check out how sharp that is.
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Love that little shadow just on top of
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her eyes.
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It adds a little bit of drama, but
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she looks absolutely exquisite there.
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Now, don't waste that.
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Let's get the groom involved.
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So she's going to stay where she is.
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We're going to get Dylan.
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I'm going to get you to come right
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over here, mate, and shuffle your feet right
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underneath that particular area.
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Now, because this is quite a dramatic shot,
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in the sense that it's full sun, it's
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got a lot of drama to it.
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We could be romantic right now.
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We could do a lot of things.
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I feel like I just want it dramatic.
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So I don't want to get her to
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hold her veil softly there.
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That arm right around his waist.
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And then let's come right in there for
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me like this.
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Beautiful.
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I just want that hand here.
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Now, turn your whole body a little bit
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this way.
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That's it.
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Beautiful.
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Look at that texture on the dress.
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Remember, we said turn the body away from
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the light and the face back in.
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In this case now, I love the fact
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that we've got a little hint of light
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on his face.
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That really, really works.
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So now, I don't really want to have
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to be romantic here in the sense that
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this is quite dramatic.
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Traditionally, I would get him to hold her,
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but I quite like the idea of cropping
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close.
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And I might change my mind, which has
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happened many times before.
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Just the hand right over here so I
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can see.
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Now, this time, Lisa, turn your face that
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way and chin right up.
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Look at me down for a second.
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Tilt.
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Remember, mirroring is the easiest way.
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And I love the fact that we're just
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seeing a tickle of light on him.
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That's perfect.
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Love that.
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Arm off the body there, just softly there.
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All right, guys.
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Hold still.
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And remember, guys, that when you're photographing, sometimes
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you're not really evoking the emotion by really
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what you're saying.
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It could just be how you're saying it.
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So in this case, love that there's a
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hint of him there.
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That is so cool.
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That is really beautiful.
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And this time, I'm going to get a
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bit more negative space on top.
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Eyes into her, mate.
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I can hardly see your eyes with the
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shadow here, but there's a little hint of
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light there.
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That's gorgeous.
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Beautiful.
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Hold it.
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Perfect.
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Love that.
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I'm going to go a little bit closer.
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Lisa, turn your face more to the right.
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And I want your eyes up high.
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Good.
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Just there.
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Like quite high.
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It'll hurt your eyes for a split second,
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but trust me, in a day, in a
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week, in a month, in a year, you're
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not going to care about how your eyes
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were on that moment.
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You'll just care about how beautiful these photographs
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are.
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Look right into her, mate.
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That's awesome.
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Right.
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So lower, lower with your eyes.
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That's perfect.
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Ready?
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Give me a second.
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One, two, three.
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Gorgeous.
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Beautiful.
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Don't move.
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Now, I'm going to get a bit more
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of your face in there.
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Just there.
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Cutting right into you.
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That's perfect.
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Love that.
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Chin up, mate, a little bit.
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Good.
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I love how their faces fit like a
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puzzle.
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Do you see that?
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When faces or body parts and things like
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that fit like a puzzle, it's aesthetically pleasing.
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So now, I'm going to crop really tight
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on her face, and I'm going to get
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them both to close their eyes like they
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are now.
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So we can give them a little bit
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of a visual break there.
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Love that.
283
00:07:38,700 --> 00:07:39,500
That's awesome.
284
00:07:39,640 --> 00:07:40,220
Love that.
285
00:07:43,110 --> 00:07:43,510
Perfect.
286
00:07:45,560 --> 00:07:46,360
So check that out.
287
00:07:46,380 --> 00:07:46,940
Isn't that beautiful?
288
00:07:48,420 --> 00:07:50,120
Every so often, what you want to do,
289
00:07:50,240 --> 00:07:52,980
guys, is show your couple what you've just
290
00:07:52,980 --> 00:07:53,360
done.
291
00:07:57,190 --> 00:07:59,010
Isn't that beautiful?
292
00:07:59,430 --> 00:08:01,030
Okay, so we photographed the bride on her
293
00:08:01,030 --> 00:08:01,250
own.
294
00:08:01,350 --> 00:08:04,150
We photographed the couple together, and now, of
295
00:08:04,150 --> 00:08:04,950
course, don't waste it.
296
00:08:05,470 --> 00:08:07,290
Let's take her out and then photograph him.
297
00:08:07,510 --> 00:08:08,370
So let's do that right now.
298
00:08:09,710 --> 00:08:11,590
Now, remember how we said with the bride,
299
00:08:11,650 --> 00:08:12,970
we turn the body away from the light
300
00:08:12,970 --> 00:08:14,710
and the face back in, and then for
301
00:08:14,710 --> 00:08:16,450
the guy, we can actually do the opposite.
302
00:08:16,590 --> 00:08:18,630
Well, the face still stays into the light,
303
00:08:18,910 --> 00:08:20,590
but we'll turn his body in towards the
304
00:08:20,590 --> 00:08:21,130
light as well.
305
00:08:21,790 --> 00:08:23,510
Now, what I'm thinking would be really cool,
306
00:08:23,610 --> 00:08:24,950
in fact, I've just changed my mind here
307
00:08:24,950 --> 00:08:26,090
with what I was originally thinking.
308
00:08:26,590 --> 00:08:28,450
I want you to bring this shoulder right
309
00:08:28,450 --> 00:08:32,340
here, and now turn your whole body that
310
00:08:32,340 --> 00:08:32,559
way.
311
00:08:33,520 --> 00:08:34,260
So turn, turn, turn.
312
00:08:34,679 --> 00:08:35,240
Keep on turning.
313
00:08:36,020 --> 00:08:38,400
So keep on turning away from me, and
314
00:08:38,400 --> 00:08:39,360
now turn your face to the left.
315
00:08:40,980 --> 00:08:42,260
Awesome, and just relax that shoulder.
316
00:08:42,419 --> 00:08:43,640
So we're just letting those little pinches of
317
00:08:43,640 --> 00:08:43,860
skin.
318
00:08:45,240 --> 00:08:46,800
In fact, I'll tell you what, Dylan, come
319
00:08:46,800 --> 00:08:47,500
away for a second.
320
00:08:48,140 --> 00:08:49,520
I want you to copy what I'm doing.
321
00:08:49,920 --> 00:08:51,020
You're sitting quite straight.
322
00:08:51,660 --> 00:08:54,480
I want you to just lean lower and
323
00:08:54,480 --> 00:08:55,220
then like this.
324
00:08:55,960 --> 00:09:02,840
Okay, that's good.
325
00:09:02,900 --> 00:09:03,840
Now turn your face towards me.
326
00:09:04,960 --> 00:09:05,240
Good.
327
00:09:06,660 --> 00:09:07,760
Let me have a look here.
328
00:09:10,780 --> 00:09:11,460
No, you know what?
329
00:09:11,620 --> 00:09:12,340
It's not going to work.
330
00:09:12,780 --> 00:09:14,200
I'm trying to get his face to turn
331
00:09:14,200 --> 00:09:15,100
this way so I get a bit of
332
00:09:15,100 --> 00:09:16,020
a shadow, but I'm going to get a
333
00:09:16,020 --> 00:09:17,160
pinch of skin on the neck, so I've
334
00:09:17,160 --> 00:09:17,800
changed my mind.
335
00:09:18,200 --> 00:09:21,700
Let me get your back on here, and
336
00:09:21,700 --> 00:09:22,700
then that.
337
00:09:22,840 --> 00:09:23,300
There we go.
338
00:09:23,440 --> 00:09:23,700
Good.
339
00:09:24,700 --> 00:09:25,700
Turn your face this way.
340
00:09:26,340 --> 00:09:27,980
Good, and now turn your face left, and
341
00:09:27,980 --> 00:09:28,800
now look at me and tilt.
342
00:09:29,640 --> 00:09:30,040
Perfect.
343
00:09:30,620 --> 00:09:32,880
Now those shadows underneath the eyes are actually
344
00:09:32,880 --> 00:09:33,440
quite masculine.
345
00:09:33,580 --> 00:09:35,520
It actually works for a guy, so I'm
346
00:09:35,520 --> 00:09:36,300
going to keep that.
347
00:09:36,440 --> 00:09:38,080
Rather than if he looks up into the
348
00:09:38,080 --> 00:09:39,720
sky, it's a bit feminine, so we don't
349
00:09:39,720 --> 00:09:40,440
want to do that.
350
00:09:40,860 --> 00:09:42,900
I'm going to keep him there, and I'm
351
00:09:42,900 --> 00:09:44,220
going to frame him with that shadow like
352
00:09:44,220 --> 00:09:45,220
we did Lisa as well.
353
00:09:45,860 --> 00:09:47,380
So he looks really cool there.
354
00:09:47,480 --> 00:09:47,940
Love that.
355
00:09:48,200 --> 00:09:49,120
That's really cool.
356
00:09:50,260 --> 00:09:52,480
You see how I'm isolating the composition there
357
00:09:52,480 --> 00:09:52,780
as well?
358
00:09:52,900 --> 00:09:54,340
I'm isolating the pillar.
359
00:09:54,780 --> 00:09:57,880
If I include the actual like on either
360
00:09:57,880 --> 00:09:59,280
side of the pillar, then now I'm at
361
00:09:59,280 --> 00:10:02,500
a domestic home, but now this looks really
362
00:10:02,500 --> 00:10:02,760
cool.
363
00:10:04,140 --> 00:10:06,820
So now the more I look at this,
364
00:10:06,920 --> 00:10:08,120
I'm looking at his face.
365
00:10:08,200 --> 00:10:10,040
I feel like that light on his ear
366
00:10:10,040 --> 00:10:12,500
is okay, but I want to see what
367
00:10:12,500 --> 00:10:13,640
it looks like if he turns his face
368
00:10:13,640 --> 00:10:14,160
more left.
369
00:10:14,580 --> 00:10:15,600
More, more, more.
370
00:10:15,820 --> 00:10:16,060
Stop.
371
00:10:16,240 --> 00:10:16,520
Perfect.
372
00:10:16,600 --> 00:10:17,020
That looks better.
373
00:10:17,480 --> 00:10:18,500
If you look at his...
374
00:10:18,500 --> 00:10:19,720
Actually, let's do that in camera here.
375
00:10:20,200 --> 00:10:21,600
So just turn your face to the right.
376
00:10:21,680 --> 00:10:23,180
You see that little that highlight on the
377
00:10:23,180 --> 00:10:23,340
ear?
378
00:10:23,460 --> 00:10:23,980
It doesn't work.
379
00:10:24,380 --> 00:10:25,280
Turn your face more left.
380
00:10:25,400 --> 00:10:25,900
Left, left.
381
00:10:26,100 --> 00:10:26,420
Perfect.
382
00:10:26,680 --> 00:10:26,960
Good.
383
00:10:27,320 --> 00:10:28,000
Chin up a little bit.
384
00:10:28,480 --> 00:10:29,000
Awesome, man.
385
00:10:29,080 --> 00:10:29,840
You can hold that there.
386
00:10:31,740 --> 00:10:33,100
Give me a bit of brow pressure there
387
00:10:33,100 --> 00:10:33,940
like this.
388
00:10:35,040 --> 00:10:36,400
Yeah, chin up a little bit higher though.
389
00:10:36,520 --> 00:10:37,160
Eyes a bit higher.
390
00:10:37,660 --> 00:10:39,420
Again, those shadows under the eyes I think
391
00:10:39,420 --> 00:10:40,180
work really well.
392
00:10:40,640 --> 00:10:41,760
We've got a little bit of a highlight
393
00:10:41,760 --> 00:10:42,580
on his ear.
394
00:10:42,700 --> 00:10:43,540
Turn your face a bit left.
395
00:10:44,020 --> 00:10:45,260
Chin up a little bit more and eyes
396
00:10:45,260 --> 00:10:45,680
a bit higher.
397
00:10:47,060 --> 00:10:47,320
Awesome.
398
00:10:47,440 --> 00:10:47,820
Hold it.
399
00:10:48,280 --> 00:10:48,600
Awesome.
400
00:10:51,430 --> 00:10:51,610
Yeah.
401
00:10:51,670 --> 00:10:52,370
How cool does he look?
402
00:10:52,410 --> 00:10:54,710
And I think we actually can combine both
403
00:10:54,710 --> 00:10:55,790
of them here in a different way.
404
00:10:56,170 --> 00:10:56,850
Lisa, come this way.
405
00:10:58,590 --> 00:10:59,390
I've got an idea.
406
00:10:59,570 --> 00:11:01,910
So what we'll do is we'll put black
407
00:11:01,910 --> 00:11:04,430
on lights and then sort of light on
408
00:11:04,430 --> 00:11:04,970
dark.
409
00:11:05,130 --> 00:11:07,390
So if you come over here, mate, just
410
00:11:07,390 --> 00:11:08,010
like this.
411
00:11:08,050 --> 00:11:08,510
Oh, too much.
412
00:11:08,570 --> 00:11:09,090
Just come back here.
413
00:11:09,090 --> 00:11:09,550
Perfect.
414
00:11:09,790 --> 00:11:12,550
So this location, I've often told you that
415
00:11:12,550 --> 00:11:14,110
the location will give you an idea.
416
00:11:14,290 --> 00:11:15,590
It'll always tell you what to do.
417
00:11:16,030 --> 00:11:18,730
So I like the idea of adding all
418
00:11:18,730 --> 00:11:19,730
these elements together.
419
00:11:20,090 --> 00:11:25,390
So over here, I want you to turn
420
00:11:25,390 --> 00:11:27,050
your shoulder in this way.
421
00:11:27,250 --> 00:11:28,110
You could actually hold him.
422
00:11:28,190 --> 00:11:29,370
So you can just hold him right there
423
00:11:29,370 --> 00:11:32,330
and bring your chin just there.
424
00:11:32,570 --> 00:11:33,290
Yeah, that's beautiful.
425
00:11:33,450 --> 00:11:34,090
That's gorgeous.
426
00:11:35,010 --> 00:11:37,910
But the think about it, the original thing
427
00:11:37,910 --> 00:11:38,910
that I just told you, I think I
428
00:11:38,910 --> 00:11:40,210
want to see if I can achieve if
429
00:11:40,210 --> 00:11:41,430
the light allows us to.
430
00:11:41,730 --> 00:11:44,230
I want to bring her skin tone on
431
00:11:44,230 --> 00:11:46,490
that darkness here, but now we're going to
432
00:11:46,490 --> 00:11:46,850
lose it.
433
00:11:46,970 --> 00:11:47,430
All right.
434
00:11:47,670 --> 00:11:48,530
Actually, I'll tell you what, one second.
435
00:11:49,250 --> 00:11:50,550
Half your face would be good so that
436
00:11:50,550 --> 00:11:51,690
can marry up to the picture that we
437
00:11:51,690 --> 00:11:52,070
did before.
438
00:11:52,170 --> 00:11:52,730
That's just there.
439
00:11:52,750 --> 00:11:53,250
It's perfect.
440
00:11:53,830 --> 00:11:54,010
Okay.
441
00:11:54,070 --> 00:11:54,750
Come back, mate.
442
00:11:55,530 --> 00:11:58,230
So guys, this is all, composition's hard to
443
00:11:58,230 --> 00:11:58,530
teach.
444
00:11:59,130 --> 00:12:00,810
You've sort of got to trust your gut.
445
00:12:00,950 --> 00:12:03,310
You've got to isolate the beauty, crop the
446
00:12:03,310 --> 00:12:06,230
crap out of the photograph, work out what
447
00:12:06,230 --> 00:12:08,010
you want, but you've got to use your
448
00:12:08,010 --> 00:12:09,350
gut and your instinct as to what it's
449
00:12:09,350 --> 00:12:09,730
telling you.
450
00:12:09,750 --> 00:12:12,130
The location is telling you to do something.
451
00:12:12,450 --> 00:12:14,650
Right now, I love that little highlight.
452
00:12:14,770 --> 00:12:17,830
Turn your face left and tilt, and then
453
00:12:17,830 --> 00:12:18,870
come back a bit more.
454
00:12:20,270 --> 00:12:20,930
There we go.
455
00:12:21,010 --> 00:12:21,890
That gives us somewhere to go.
456
00:12:22,110 --> 00:12:22,690
Yeah, I love that.
457
00:12:22,770 --> 00:12:24,950
Eyes down, and then tilt your face this
458
00:12:24,950 --> 00:12:25,250
way, mate.
459
00:12:25,550 --> 00:12:27,890
Turn your face that way, and just let
460
00:12:27,890 --> 00:12:28,650
the air out a little bit.
461
00:12:28,770 --> 00:12:29,230
There we go.
462
00:12:29,670 --> 00:12:30,330
Yeah, beautiful.
463
00:12:30,970 --> 00:12:33,270
Okay, you're closing your eyes exactly like that
464
00:12:33,270 --> 00:12:35,970
is beautiful, and Dylan, you're looking really cool.
465
00:12:37,130 --> 00:12:39,210
Let's have a look, and Dylan, turn your
466
00:12:39,210 --> 00:12:40,210
face towards me again, mate.
467
00:12:40,870 --> 00:12:41,810
That's just it there.
468
00:12:41,970 --> 00:12:42,370
Perfect.
469
00:12:43,910 --> 00:12:45,050
Lisa, turn your face left.
470
00:12:46,790 --> 00:12:48,470
Oh my goodness, this is so good.
471
00:12:49,250 --> 00:12:50,710
I'm going to crop into his hairline, which
472
00:12:50,710 --> 00:12:52,130
I think is more than acceptable.
473
00:12:52,710 --> 00:12:53,370
Love that.
474
00:12:56,430 --> 00:12:56,790
Beautiful.
475
00:12:58,270 --> 00:13:01,250
Now, Lisa, I want you to look at
476
00:13:01,250 --> 00:13:01,630
me.
477
00:13:02,650 --> 00:13:03,010
Gorgeous.
478
00:13:03,110 --> 00:13:03,810
Close your eyes for a second.
479
00:13:03,970 --> 00:13:05,810
Just give yourself a break a little bit.
480
00:13:05,890 --> 00:13:06,930
Turn your face a touch to the right,
481
00:13:09,990 --> 00:13:12,270
and then come back a little bit.
482
00:13:12,630 --> 00:13:13,090
That's just there.
483
00:13:13,310 --> 00:13:13,590
Good.
484
00:13:14,810 --> 00:13:15,170
Ready?
485
00:13:16,150 --> 00:13:17,510
One, two, three.
486
00:13:18,710 --> 00:13:19,150
Beautiful.
487
00:13:22,380 --> 00:13:23,800
Oh man, that looks so good.
488
00:13:24,500 --> 00:13:26,240
Guys, we have not even...
489
00:13:27,880 --> 00:13:30,460
We've literally walked three steps, and I could
490
00:13:30,460 --> 00:13:33,080
literally photograph in this column for the next
491
00:13:33,080 --> 00:13:34,940
couple of hours and just play with it.
492
00:13:35,500 --> 00:13:38,880
Half the battle with creativity is, I think
493
00:13:38,880 --> 00:13:40,260
many of us are not short of ideas.
494
00:13:40,780 --> 00:13:42,160
It's just executing one of them.
495
00:13:42,260 --> 00:13:43,600
It's picking one of them and then just
496
00:13:43,600 --> 00:13:45,340
going for it, because now I could make
497
00:13:45,340 --> 00:13:46,620
them laugh and have some fun, but it
498
00:13:46,620 --> 00:13:48,120
wouldn't really suit that area, I feel.
499
00:13:49,000 --> 00:13:49,720
It's dramatic.
500
00:13:49,840 --> 00:13:50,760
The shadow is telling me that.
501
00:13:50,920 --> 00:13:53,300
So I just love that we can create
502
00:13:53,300 --> 00:13:54,180
something out of nothing.
31216
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