Original subtitles

So the cool thing is guys, that all

we need is one light source behind her.

It's gonna hit the back of her.

We've got a hair light backlight, and then

we have the reflector, and I shoot through

the hole, and we're gonna get gorgeous, flawless

lighting on her, which is just gonna be

amazing.

So come a bit more this way.

Good, and now I want you to turn

your body this way.

Bit more.

Try the other way, let me see what

that looks like.

Yeah, let's do that.

And now lean forward towards me, and then

chin down.

Good, and tilt.

Good, okay, so as you can see, we've

got just the hair light only, and a

lot of photographers think that backlight is good

light.

Doesn't mean it's good light, it just means

it's backlight.

What about a direction of light coming in

from the front?

We can expose for her, but then there's

gonna be an issue in the background.

So let's have a look at the difference

now when we bring that light up.

She just looks incredible.

So it's wrapping around her.

It's really the combination of a beauty dish,

a ring light, and obviously a normal nature

of a reflector.

So let's do this.

I'm gonna shoot at F4.

And Lisa just has incredible eyes, so we're

gonna bring out the best in her.

And she does have beautiful skin too, but

when you combine this, it just makes everyone

look flawless.

I actually see a square composition here.

So I like the idea of square, and

a little bit of negative space.

Lisa, turn your face a touch to the

right.

That's it.

And then I'm gonna isolate that background there,

and just get this beautiful lighting on her.

Okay.

All right, Lisa, when you can, eyes at

me.

Really soft, really beautiful.

Okay.

Gorgeous.

Take a break for a second.

Ready?

One, two, three.

Gorgeous.

I think we got that one.

Yeah, how beautiful does that light look on

her?

That's straight at a camera.

Every time you do that, you gotta show

the bride, because she loves flawless skin, right?

She's got beautiful skin, but I'm telling you

now, this will bring out the best in

her.

So why do we use the white side

rather than the actual silver side?

Well, of course we can use silver as

well, but in this case, we've got a

very, very small, sharp, contrasty light.

If we liken that light to liquid, it's

a high-pressure hose.

And what we're doing is if we were

to reflect, or deflect off the silver, it's

like reflecting off stainless steel.

So it's gonna be harsher on her, which

is totally fine.

She could easily carry that look off, but

I'm actually reflecting off white because we already

have a sharp quality of light.

If it was hazy, if it was cloudy,

then I would do this side.

In fact, what we'll do now is we're

gonna use a mini reflector, which is actually

the hole in the donut, and we're gonna

actually photograph the groom using a mini reflector.

The cool thing about the glorified hole in

the donut, as I call it, you can

only illuminate a face and not the body.

In this case, he's wearing a dark suit.

It's not so obvious, but you can tell

if light was on his jacket.

I feel like if we get the light

only on his face, we can expose that

accordingly, as in we want detail in the

brightest highlight in his face, and then everything

will go dark and moody.

I wanna isolate him on this particular background,

so it's really, really dark.

And in fact, I might even get a

little, some of those specular highlights there in

the background that might be cool too.

So what we're gonna do is we're gonna

make sure that I can see the light

on his hair, so therefore we have the

hair light.

Yeah, that's really cool.

And now let's get the reflector.

Lean forward towards me, tilt this way.

Actually, turn your body more this way again.

Turn more, yeah, your whole body.

More, more, more.

Awesome, man.

I actually might get you to squat down.

Is that cool?

Yeah.

So same thing that we did a bit

earlier.

Yep.

Okay, so I wanna isolate that background.

I'm gonna shoot at 16 by nine format

because I can, and let's, just for the

sake of this argument here, why don't we

shoot, actually put that reflector down for a

moment and let me just expose for him

just without it.

Like, let's get the correct exposure for him.

Okay, there we go.

Oh, blink one more.

Okay, so as you can see in this

photograph, he's back lit, the light's okay on

him, but it's just a bit boring.

So now we'll get the reflector up, get

him to close his eyes, make sure that

he turns his face, which it already is,

to a point where both eye sockets are

completely lit, and that's why now we have

a shadow on this side, therefore the short

side.

And now, remember what we said, negative space

in front of the subject, it's more harmonious.

Behind, it's gonna be more mysterious.

Again, there's no right or wrong, it just

depends on what you're trying to say.

So Dylan, you're gonna look where your face

is pointing you.

So look up for a second.

You're gonna look here.

That's it, good.

Close your eyes.

Just need one split second.

Ready?

One, two, three.

Good.

Yep, perfectly sharp.

Life is good.

And usually I prefer negative space behind, but

I thought I'd do something in front.

And that looks amazing.

Beautiful direction of light.

And we've just made really two light sources

out of one.

So that's really cool.