All language subtitles for MWAL 04 - Lisa Dillon Reflectors P2

Start recognising what's around you because it won't

always be obvious.

So right now, of course, the sun is

falling right on my face.

It's quite harsh and, you know, we've shown

you a couple of ways that you can

use the sun and remember how we closed

our eyes and we said one, two, three,

open, or we're looking down, looking away.

All those things are really good, but now

right behind us right now, right behind, right

in front of me is a building, right?

That's basically where the barbecue area is, but

I know that if the sun is hitting

a building, chances are there's going to be

a glow of light on the other side

of it.

So, right, the fence is very flat, right?

There's nothing going on, but I guarantee if

we start walking around this way, the sun

going on there, you have to recognise and

know that rather than just stumbling across it.

So let's have a look.

Alright guys, as you can see, it's exactly

what I thought.

I knew that the sun was hitting the

building, so that beautiful glow of light was

going to happen, even though that this was

very flat.

So just remember, remember to always understand that,

anticipate that.

Once you walk past and see it, you

should know any building that's illuminated by the

sun, chances are the opposite side is going

to be really cool.

Change my lens to an 85 1.8,

that's the native S-series lens for the

Z7, but look at this light, it's so

nice.

Look at the iridescence, look at the direction.

Why?

Because it's actually bouncing off this wall and

coming back this way.

So we've got a perfect place to shoot.

So we've got the sun hitting this building,

causing a beautiful glow this way, and let's

just make use of it.

Alright, so now in this case, she's actually

facing the light source, but it still works

for her.

As we said, that if you're slimmer, you

can get away with facing the light source.

She can certainly turn her body, which we

might even try, but I actually quite like

what you're doing already, to be honest, and

that was really beautiful.

But what we'll do, I'm going to get

you a little bit further back if we

can.

Yeah, that's beautiful, look at the light on

her face, that's stunning, oh my god, and

like what you're doing with your hands there,

it's beautiful.

And now I want you to bring this

toe out and just give me a bit

of form of the leg, that's it, bit

of shape there as well, in case I

go a little bit more three-quarter or

so on, and bring the shoulders back and

the arms off a little bit, there we

go, gorgeous.

Now because we've got this beautiful texture of

the wall, now shooting at 1.8 is

going to be amazing, it just depends on

what you're looking for.

I love the idea of having that texture

sort of just just drift off and get

all milky in the background, so I might

sort of start at maybe shooting at 2

.2, I'm at 100 ISO, and let me

go right here, wow, that's so beautiful.

Now I'm at 1250 speed at 2.2

at 100 ISO, I'm isolating that background, and

gorgeous.

Okay, Lisa, eyes at me, beautiful, eyes right

over here, beautiful, gorgeous, hold it there, let

me just get that focus point right on

your eye again, so relax a little bit,

okay, eyes up, who's your favourite Australian?

There we go, there we go, yeah, awesome,

let's have a look, isn't that beautiful, that's

perfect.

Now I'm going to get a bit closer

now, and I am going to shoot at

1.8 this time, so I did something

a little bit more traditional, but I love

the fact that light is falling on her

beautifully, we've got a shadow on this side

of the face, why?

Because the sun is hitting from here to

here, this, although it is reflective, it's cutting

away light from her face, so what we'll

do, I might actually get you, your body

a bit more flat to the wall, and

then just sink in a little bit lower

if you can, and now turn your face

towards me, other way like this, there we

go, chin up a little bit, okay, let

me see, stunning, love that, look at that

beautiful milkiness at 1.8, it's stunning, eyes

at me, beautiful, you can see how I'm

cropping just underneath the bust and just above

the elbow, it's a really important thing to

know, why would I, if I'm going to

crop into her bust, I'll either crop above

or below, I want that curve, also if

I include the elbow, I must include the

whole hand, otherwise it looks weird, remember the

likes of Michelangelo, for example, who created these

beautiful sculptures and busts, a bust would mean

there's a sculpture, head and shoulders, that represents

a portrait, the minute you show the elbow,

you must show the whole hand, so in

this respect, this is going to work really

well for us, so we've got this gorgeous

shot, I'll zoom up, yep, her eye is

perfectly sharp and I love the way we've

got this, you know, it's out of focus

and then it becomes sharp on the plane

of focus where her eye is as well,

this time I want you to just turn

your face that way, so we're shooting a

profile and look how different we can make

this location look just by that, and I

love the fact that we've also got the

background there as well, I love that, let

me see if I can get just below

her bust, there we go, now Lisa, your

face is pointing straight, right, I want your

eyes up and a bit to the left

when you can, just there, okay, close your

eyes, ready, one, two, three, gorgeous, let me

have a look, wow, look at how sharp

that is, difference between that and that is

crazy in that one as well, we've got

three looks without really changing much direction, now

of course, do not waste your environment here,

I've got the bride, I've taken the shot

with her, before I take a shot of

the groom, I'm going to get the groom

involved as well, so over here mate, let's

get you to cuddle from behind, got to

be careful that the sun doesn't hit any

side of his face, which means we have

to sink in a little bit, because he's

got brunette hair, the sun on the top

of his hair might not be a problem,

but we'll see, in fact, they've already given

me an idea here, I like the idea

of shooting at 1.8, but getting him

out of focus, so stay exactly where you

are, Dylan, chin forward, and then tilt more,

and then eyes into her, that's it, and

Lisa eyes at me, wow, so again, if

you need a bit of a break, you

can close your eyes, so I'm cropping into

their hairline, as you can see, and let

me just have a look at my composition

here, yeah, that's beautiful, shooting at 1.8,

100 ISO, 2000 speed, Dylan, chin up a

little bit there mate, good, love this, gorgeous,

Lisa eyes at me, really soft, beautiful, awesome,

now Dylan, with your left hand, squeeze her

butt, make her laugh a little bit, and

then Lisa sort of look over that way

a little bit, that's gorgeous, that's it, in

fact, he's probably already doing it, you're just

being a poker face, beautiful, that's awesome, relax,

let's have a look, all right, that's slightly

out, okay, let's see, all right, we got

that first one, see, when you're photographing at

1.8, when there's motion, you might get

a little bit out of focus, but I

got that first one, which I'm happy with,

and got that beautiful expression, and of course,

that really soft one as well, let's not

waste this moment, in fact, what we'll do,

I'm going to shoot more front on here,

and I'm going to use the actual building

as a gobo, as in, it's going to

cut out some light for me, so it

doesn't cause a flare, so you guys, same

thing, but over here for me, so put

that, bring your arm right out for me,

that one, and then bring it closer to

me, that's it, and then I want you

to just hold that there very gently, yep,

and just around there for me, that's it,

good, and then this hand sort of over

the top like that, yeah, perfect, that beautiful

hands, sort of, yeah, gorgeous, perfect, okay, guys,

if you can, it's going to be a

pain in the butt for you, but if

you can, sink in a bit lower, I'm

just getting a bit of a highlight on

top of Dylan's head, there you go, that's

gorgeous, so I've got a great quality of

light, a little bit standard more here, in

terms of standard as in more front on,

and I'm not going to play with fire,

I'm actually going to give myself a little

bit more depth of field, even though they're

against the wall, now, he's got his eye

right in her, he's got his nose right

in her eyeball, so we want to be

careful of that, chin up a little bit,

there you go, good, now, what I want

you to do, guys, hear me out here

for a second, you're just going to sound

funny, I want you to pretend your faces

are like cats, you know when your cat,

you have a cat, when your cat sort

of walks up and rubs its body on

your leg, I want you to pretend your

faces are the cats, that's it, there you

go, beautiful, love that, come on Dylan, let's

do it, mingling a little bit, there we

go, good, and every so often, Lisa's looking

at me, giggling a little bit, there we

go, that's perfect, drop the hands now a

little bit, so drop all that one down

and now bring your arm, your right arm,

right around him, that's it, yeah, that's good,

I like that, that's good, sometimes I don't

want the hands too perfect, because sometimes the

perfection sort of breaks the feeling, but that

being said, something doesn't feel right, so we'll

do this pose that we talked about, that

sort of, that really soft pose where your

arm is up, so bring it up a

little bit more higher, yeah, there you go,

that's beautiful, that's better, that's gorgeous, yes, all

right, remember, faces like cats, giggling away a

little bit there guys, that's it, beautiful, gorgeous,

very nice, that's it, every so often Dylan

look at me and say, how on earth

did I get this girl, awesome, we got

it, that's fantastic, beautiful guys, relax.