All language subtitles for MWAL 03 - Lisa Dillon Reflectors P1

So now the sun of course is hitting

that pillar and I like the idea of

us using that reflected light but also getting

a backlight.

So I might get you guys off for

a moment.

Now Lisa, I want you to stand here

facing that column and we're going to get

some beautiful light on you actually.

Let me see if this way is even

better.

Oh yeah, wow.

Okay, so there's nice, there's pretty nice light

on Lisa but it's going to get a

lot better with one step backwards.

Now remember this is the column that we're

just photographing on.

Now if you look at her skin tone,

let's come nice and close so you can

actually see.

She's going to take a couple of steps

back.

Be very careful of the dress.

Look at the light on her, look at

the light on her.

Wow.

So now we're talking, now we're talking.

It's beautiful.

Why?

Because the sun is coming and reflecting off

this and coming back.

So now we have a backlight and we

have a front light.

So we've made two lights out of one.

So we're going to turn her body away

from the light source.

Now this has become the light source.

So that's where we've got that beautiful detail

there.

And then we're to get you to come

a touch closer.

Good.

And I want you to point your toe

that way.

Bend the knee a little bit.

Shift the weight back and lean forward.

Tilt the face.

Now you'll notice that I'm posing her feet

although I'm actually photographing up close.

Posing starts from the feet.

That makes her more engaged to the light

where I basically want it.

All right.

So now, yeah, that's beautiful.

Now we have to expect that if the

sun is shining on the back of her

and she is wearing a veil like that,

it's going to blow out if I expose

for her face.

You either have to accept that, you'd have

to crop it out or you take the

veil off.

One of those, one of those things.

Now close your eyes so you get used

to the light there.

Come right down with my exposure here.

All right.

Beautiful.

Now you can see by the way the

exposure meter, because I've got light skin, I've

got white in the shot and everything like

that, the camera says that I'm officially overexposing

this.

Well, that's what we said.

If we said something is bright, something is

white, the camera will look at it and

want to underexpose it.

Therefore, if even though I'm shooting on manual,

you can see how the correct exposure, which

is what I believe it is right now,

is actually saying that this is actually about

a stop overexpose, but it's exposed correctly.

Remember, if something is bright, you go bright,

lean towards the plus with either your ISO,

your aperture or your shutter speed.

If something is dark, you go dark, lean

towards the minus.

All right.

Let's not keep her stranded here because we've

got this gorgeous light on her.

Focus on the eye that's closest to the

camera.

All right.

I want a soft, very soft, subtle look

into the camera when you can.

Ready?

Very gently open up your eyes right at

me.

Gorgeous.

A little hint of a smile.

There you go.

Gorgeous.

Guys, have a look at that quality.

It's quite ridiculous.

We have a beautiful direction of light.

She's looking amazing.

We've isolated the white.

We've cropped into the actual veil.

Otherwise, I think if we included too much

veil, this would just be a little bit

too much in the sense that it would

be so bright and too distracting.

But right now, geographically, she covers so much

space.

I think we're totally cool.

Can we include two people in this environment?

Yes, we can.

So I want you to come nice and

close to me.

And I want you to come right around

over here and just turn your shoulder right

in.

I want you to bring your arm right

around.

Beautiful.

And then bring your face right over here,

Don.

That's awesome.

Turn your face more to the right.

And then, Dylan, chin forward.

Yeah, that's awesome.

And turn your face into hers.

Good.

Touch more towards me, Dylan.

There you go.

Now, both of you a little bit closer

towards that glorified reflector.

Turn, turn, turn.

And now turn that way.

Good.

Perfect.

So right now, we could very much just

twist the veil around.

So just arm off Dylan for a second.

We could just hold that veil tight and

then twist it around.

And then he could basically put that there.

And then we don't have any blown out

highlights on the actual veil.

Or if it's easy enough, make sure that

you are prepared here.

But if it's easy enough, you just take

it off.

So you can just hold the veil there,

mate.

Right behind.

So don't do it without asking the bride's

permission.

Let's get a beautiful little highlight there.

We're going to isolate the beauty, right?

So we're not going to show too much

context.

And I am going to shoot here now

at about 3.2. All right.

Guys, I want you to keep your eyes

closed and just with the warmth of your

faces touching, say I love you without saying

a single word.

That's beautiful.

Love that.

You better not be doing that with your

hands there, Dylan.

That's what I'm saying.

There we go.

We got the shot.

Isn't that beautiful, guys?

Have a look at that photograph.

Now, yes, is there a blown out highlight

on her shoulder?

It's okay.

I mean, this is the lesser of the

evils.

I'm basically cropping in nice and tight, doing

what I can.

Now, if I wanted to eliminate that and

crop in tighter, I can actually get her

right shoulder backwards.

He can come on the other side and

shield that light.