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1
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All right, so we are going to try
2
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and do a backlit shot and you can
3
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really find great spots for doing backlit shits,
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shits, shots, shots, anywhere.
5
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It's, it's kind of fitting that I said
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shit because we're right by an outhouse.
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You got some, you got some toilet paper
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coming out.
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Okay, uh, so yeah, we're right by an
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outhouse, but we've got this nice little stand
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of trees here.
12
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It's in the fall.
13
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I really like these yellow trees.
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I want to feature them.
15
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Now, when we were talking about silhouettes, we
16
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were always chatting about where's the brightest spot,
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right?
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Where's the brightest spot and can I put
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my couple there?
20
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Now we're kind of doing the opposite here.
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Now I'm asking myself, where's the darkest spot?
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And the reason I'm looking for the darkest
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spot now is because I'm looking for the
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area of highest contrast, right?
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So where's darkest spot and can I light
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my couple in there?
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So I found a dark spot right in
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there.
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The reason I'm drawn to it is because
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A, it's dark.
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B, it's framed by all these yellow trees
32
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and green trees.
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So we got green, we got yellow, we
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got this nice dark spot.
35
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And within that dark spot, I'm going to
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try and backflash Satchian Florian.
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We'll see how it goes.
38
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All right, I'm going to send Satchian Florian
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into this dark spot here and you guys
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can keep all your layers on until I'm
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ready to take the shot so you can
42
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stay nice and warm.
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Lani's going to head in with them too.
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He's going to hold the flash.
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This could easily be done with a light
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stand.
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Our light stands in the car right now.
48
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I didn't want to run and get it.
49
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And plus Lani makes a really good light
50
00:01:47,270 --> 00:01:47,570
stand.
51
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So he's going to be my light stand
52
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for this one.
53
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But literally he's going to be standing holding
54
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the light.
55
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So nothing fancy.
56
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Okay, so head on in guys.
57
00:02:00,720 --> 00:02:03,800
And I've chosen the 50 millimeter lens in
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this case because as much as possible I'm
59
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trying to fill the frame with what I
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find interesting.
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So I find the yellow trees interesting.
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I find the green trees interesting.
63
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The sky I'm thinking is going to take
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away from the shot more than it's going
65
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to add to the shot.
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The reason being is I'm going to very
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intentionally place my highlight as a rim light
68
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around the couple.
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And if I have the sky in the
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photo that's going to be a competing highlight.
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And so the people that are looking at
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the photo their eyes are going to, you
73
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know, they will see the backlight but they'll
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be distracted by the sky whether they realize
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it or not.
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So I'm choosing a 50 so that I
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can sort of really just zero in and
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eliminate the sky.
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You guys can come in front of the
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stump I think.
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I think so.
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Okay.
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No, just where they were.
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Yeah.
85
00:03:01,720 --> 00:03:05,560
And so when you're ready you can take
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your layers off.
87
00:03:09,260 --> 00:03:12,320
I know I'm using a backflash so I'm
88
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going to go 1 200th of a second.
89
00:03:14,220 --> 00:03:17,000
Right now I'm at f4 and I'm quite
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liking that ambient exposure.
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I've got f4 1 200th of a second
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iso 100.
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00:03:23,180 --> 00:03:25,420
We're going to see if Linus just got
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one speed light 1a1.
95
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We're going to see if that's strong enough
96
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to get the light wrapped around our couple
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to give them that nice rim light.
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So basically I set my exposure for these
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yellow trees which of course the yellow trees
100
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have the natural light on them.
101
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Right where they are in the darkness has
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a very different lighting scenario.
103
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So that's why I'm using the flash to
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make them pop.
105
00:03:51,940 --> 00:03:54,800
Okay so together at the hips guys and
106
00:03:54,800 --> 00:03:56,160
this will just be a test shot this
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first one.
108
00:03:58,760 --> 00:04:01,920
Okay Lani will probably be about four to
109
00:04:01,920 --> 00:04:04,140
five feet behind the couple with the flash
110
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aimed right at them and we're going to
111
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see what that looks like.
112
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This is just basically trial and error here.
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I'm looking at each other.
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00:04:17,220 --> 00:04:21,840
Okay so already I'm seeing the couple really
115
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don't pop that much because my exposure is
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just a bit too bright on the yellow
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leaves out here.
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So I'm going to darken my exposure and
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I'm going to do that by upping my
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f-stop.
121
00:04:32,060 --> 00:04:33,960
So I'm going to go from f4 to
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f5 and let's see that.
123
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Is that flash at full power?
124
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Yeah or we could just try the b10
125
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but I think the flash is powerful enough.
126
00:04:45,520 --> 00:04:47,280
Just try and keep it off the branches.
127
00:04:55,060 --> 00:04:56,120
No I don't want a grid.
128
00:04:56,460 --> 00:04:58,800
No okay so looking at each other there
129
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and together at the hips.
130
00:05:02,860 --> 00:05:05,040
Okay let's see what that looks like.
131
00:05:07,680 --> 00:05:10,600
I'm just zooming in because they're quite small
132
00:05:10,600 --> 00:05:11,980
in the frame so I'm just zooming in
133
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to see.
134
00:05:13,940 --> 00:05:16,460
Okay that's that's not bad.
135
00:05:17,640 --> 00:05:21,800
The backlight is wrapping around satchie really well.
136
00:05:22,080 --> 00:05:24,900
It's not wrapping around florian really well.
137
00:05:25,160 --> 00:05:27,480
So I'm going to have Lani maybe take
138
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a step back and I'm going to have
139
00:05:29,560 --> 00:05:31,780
him just slightly point the flash a little
140
00:05:31,780 --> 00:05:34,320
bit more towards Florian than then satchie.
141
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Just these tiny little micro adjustments can make
142
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all the difference.
143
00:05:38,720 --> 00:05:42,420
Okay perfect looking at each other there.
144
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Awesome.
145
00:05:47,380 --> 00:05:49,380
Okay let's see here.
146
00:05:53,920 --> 00:05:55,820
Oh Florian could you take off your hat
147
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for one?
148
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The reason I'm doing that is he's got
149
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this great rim light around his face and
150
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I noticed the rim light ceased to exist
151
00:06:05,160 --> 00:06:06,500
around where his hat was.
152
00:06:06,900 --> 00:06:08,840
He's got nice blonde hair so I think
153
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his hair is going to pick up the
154
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rim light more than his hat is.
155
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Satchie's tooth picks up the rim light really
156
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well because it's quite fibrous.
157
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It's a it's a wool toque.
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Okay okay okay oh that's
159
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way better.
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00:06:31,090 --> 00:06:32,590
Okay perfect and now what I'm going to
161
00:06:32,590 --> 00:06:33,870
do is I'm just going to try one
162
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with the 85 because you guys are really
163
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small in this one and I just want
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to just want to see what it looks
165
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like really.
166
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They're very very small in the 50 frame
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and I want them small because it's more
168
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of an environmental picture as opposed to one
169
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that's about them.
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It's them in the environment but I'm just
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thinking they might be a bit too small.
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So I just want to keep my options
173
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open for later on.
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But everything else is staying the same.
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I'm still at f5.
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I'm still at 1 200th of a second.
177
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I'm centering them right in the frame.
178
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Let me zoom in.
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I'm just going to try I'm just going
180
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to try one where I go really really
181
00:07:15,090 --> 00:07:18,630
dark with my ambient because I'm still even
182
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though I've got this backlight around them I
183
00:07:21,450 --> 00:07:22,950
was hoping they'd be more of a silhouette
184
00:07:22,950 --> 00:07:24,990
in the front with a backlight whereas I
185
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still see quite a bit of detail on
186
00:07:26,510 --> 00:07:26,870
their front.
187
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So I'm just gonna kill my ambient even
188
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more.
189
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I'm gonna go up to like f7 point
190
00:07:32,890 --> 00:07:35,790
maybe I'll even try f8 which means my
191
00:07:35,790 --> 00:07:39,330
flash probably won't be strong enough but I
192
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might bring out something stronger.
193
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Oh yeah this is way better this is
194
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way better the darker because then they're really
195
00:07:46,610 --> 00:07:48,130
in a dark spot and they just pop
196
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a lot more with that rim light.
197
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You're at full power with that flash though
198
00:07:52,590 --> 00:07:52,870
right?
199
00:07:55,490 --> 00:07:59,650
Actually it's fine it's it's it's fine even
200
00:07:59,650 --> 00:08:01,570
though that even though I've lost quite a
201
00:08:01,570 --> 00:08:03,150
bit of power with my flash going from
202
00:08:03,150 --> 00:08:07,150
f5 to f8 they actually pop more just
203
00:08:07,150 --> 00:08:09,050
because I've darkened my ambient so much so
204
00:08:09,050 --> 00:08:12,350
my ambient's really dark now and they they
205
00:08:12,350 --> 00:08:14,530
just pop it's just because there's it's more
206
00:08:14,530 --> 00:08:15,350
contrasty.
207
00:08:15,510 --> 00:08:17,570
Okay so one more and then we're good.
208
00:08:23,820 --> 00:08:27,160
Okay we're good and so I just want
209
00:08:27,160 --> 00:08:30,200
you to notice the number of steps and
210
00:08:30,200 --> 00:08:32,539
little problems that I was trying to solve
211
00:08:32,539 --> 00:08:33,380
along that way right?
212
00:08:33,480 --> 00:08:36,080
So I started with a 50 I started
213
00:08:36,080 --> 00:08:38,840
way too bright then I darkened it then
214
00:08:38,840 --> 00:08:40,700
I went to the 85 then I realized
215
00:08:40,700 --> 00:08:42,539
that maybe I should go a little darker
216
00:08:42,539 --> 00:08:44,400
so then it went a little darker and
217
00:08:44,400 --> 00:08:46,580
then it took you know that whole process
218
00:08:46,580 --> 00:08:48,820
to get to the result that I'm somewhat
219
00:08:48,820 --> 00:08:52,600
happy with so although I'm never really totally
220
00:08:52,600 --> 00:08:54,160
happy but that's just the life of a
221
00:08:54,160 --> 00:08:54,600
photographer.
222
00:09:01,480 --> 00:09:03,480
This seems to be about the sweet spot
223
00:09:03,480 --> 00:09:06,900
when we're backlighting about six feet but again
224
00:09:06,900 --> 00:09:09,500
it's like tasting the soup do we need
225
00:09:09,500 --> 00:09:12,160
to adjust closer further back but this seems
226
00:09:12,160 --> 00:09:14,300
to be the sweet spot and generally I'm
227
00:09:14,300 --> 00:09:16,320
I'm holding the flash I want to shoot
228
00:09:16,320 --> 00:09:18,540
straight line of fire straight through the couple
229
00:09:18,540 --> 00:09:21,600
towards Erica's camera and so I generally want
230
00:09:21,600 --> 00:09:23,200
to go as high as I can before
231
00:09:23,200 --> 00:09:25,420
her camera sees it in between them because
232
00:09:25,420 --> 00:09:27,160
then she gets a big flare right and
233
00:09:27,160 --> 00:09:29,640
that tends to give us the best full
234
00:09:29,640 --> 00:09:31,380
wraparound rim light results.
235
00:09:32,380 --> 00:09:34,560
Communication so Eric and I basically just communicate
236
00:09:34,560 --> 00:09:36,400
back and forth with each other if you're
237
00:09:36,400 --> 00:09:38,680
by yourself obviously you look at the shot
238
00:09:38,680 --> 00:09:40,060
you go and you make your adjustments on
239
00:09:40,060 --> 00:09:41,840
the light stand but if you've got a
240
00:09:41,840 --> 00:09:43,620
voice activated light stand like we do in
241
00:09:43,620 --> 00:09:45,620
this case Erica can just tell me higher
242
00:09:45,620 --> 00:09:46,500
lower left right.
243
00:09:47,420 --> 00:09:49,180
I can kind of eyeball it by looking
244
00:09:49,180 --> 00:09:51,380
at the at the at the couple and
245
00:09:51,380 --> 00:09:54,480
seeing how the light falls but really it's
246
00:09:54,480 --> 00:09:55,740
kind of a shot in the dark Erica's
247
00:09:55,740 --> 00:09:57,100
can be the best judge of it because
248
00:09:57,100 --> 00:09:58,340
she can see it on her camera.
249
00:10:02,080 --> 00:10:05,160
Often we think as photographers we have to
250
00:10:05,160 --> 00:10:06,900
move quick right we have to move super
251
00:10:06,900 --> 00:10:09,380
fast our clients are waiting waiting for us
252
00:10:09,380 --> 00:10:10,980
to tell them what to do next but
253
00:10:10,980 --> 00:10:13,100
you can slow it down especially in these
254
00:10:13,100 --> 00:10:16,180
portrait shoots especially on these engagement shoots right
255
00:10:16,180 --> 00:10:18,380
you can you can just slow it down
256
00:10:18,380 --> 00:10:21,440
slow it down take your time look at
257
00:10:21,440 --> 00:10:24,880
your photo analyze the adjustments that you need
258
00:10:24,880 --> 00:10:28,080
to make and make them right and that's
259
00:10:28,080 --> 00:10:30,120
how you get better and that's how you
260
00:10:30,120 --> 00:10:32,540
make an image that you're happy with at
261
00:10:32,540 --> 00:10:34,280
the end as opposed to getting back to
262
00:10:34,280 --> 00:10:36,180
the studio and wishing you'd done something else.
263
00:10:36,500 --> 00:10:42,080
So that is backlight with a flash outdoors.
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