Okay now, we’ve just come outside where in the warehouse area district with this a lot of dumpsters, but we just put up a background, my favorite background the black more and it’s up right behind the Amber and we’re getting that last little poke light coming through the sky. You know its swing the camera around Ben and show them where do we are, we see that little sunlight there. It’s just set in there. Can you zoom right in on that? That’s the setting sun right there.
So now, swing your back around and we’re just going to use that setting sun in to Amber’s eyes. The light is gorgeous; there is nothing but daylight. I've wide balance the camera. I feel like I need just a little punch of light in here, but you know what? The sun is getting brighter. The clouds are disappearing.
Now one thing I always learned about the photography is if I raise my camera, and get up above eye level. I'm going to draw more attention to Amber his face. So, I'm up high using a posing stool from Danny. I can actually lower you down. Now, I'm shooting down drawing my attention right to the face. And here comes that sun, is it perfect it is.
One of my favorite studios is close. That’s the garage door here I guess I left early for today, but I love to work in a garage because the light is forced in and it’s beautiful. But guess what? So is the side of the garage. Look at this old brick building here with all that has the author with this patch worker. You know reds, and sender black.
Now, I'm seeing the light just being a little bit dead now. I think the street light has kind of going away. I'm looking at the picture that you're not too bad, let’s play around. Now, I don’t know if that’s destructing with that little color right here. I'm kin of thinking that looks a little bit destructing to me. Now, the lighting is very flat. I’m wondering if I were to come over here, now that lighting is directional. The light’s over here and I'm going to work just like this. But, I’m looking at the pictures and I’m seeing things I'm not happy with. One thing I'm not happy with the brick pattern over there it’s just too busy.
I'm a background kind of guy because you know with the background, there’s nothing to be objectionable. With the backgrounds, you're just working with the face. I'm just trying to remove destructions. I want to come in to the going to come into the beauty here. But I'm also into that sweet light time where there’s really not a lot of lights. So we’re going to bring out our own window. Believe it or not, I've got a window that I can turn on anytime of the day. So, let’s get that out and the studio and we’ll do that.
Okay, we’re just bringing an Amber right out on the background and look what Ben has. Ben has a spider light and that’s the SJ Westcott day fluorescent, daylight fluorescent bulbs, so we have our own window right outside and is it making a difference. Let me zoom it right on to the face and Ben can you turn that off and can you turn it on, Wow! love it, I love it!
So Ben, we’re going to take this on to automatic exposure because we want to expose for the light coming through the Expodisc, mode AV, while I’m still at 1600 ISO. I forgot I'm going to take it down to 800, plenty of light here.
Now, I'm going to take it off auto focus and manual focus and I'm going to take a picture. And I have this kind of neutral gray image in my view finder, then I’ll go to menu, custom WB registration and I’ll click yes and it says number one and I say okay. I’ll go with that, that’s number one. The camera is on white balance. Now, were going to get proper flesh tones. The only thing wrong with this Expodisc is I didn’t think of it first. I would love to have the pattern for that. That’s the best way to work.
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