Lessons

Lesson Info

Shoot: Utilizing the Veil

All right, so I'm just going to move up to the top over here now, shawn, can you please bring the veil with you and maybe maybe the two of you could come up with me over here whilst that's happening and then when we had done up there you can come down and take a couple of shots over there as well for me. All right, look, uh what is that the end? Is this a crops answer you might be a little tight with us. You might be a little bit too close to maybe bring the twenty four you can't all right. That's okay? Uh, yeah. Bring your camera. Okay, so let's, just go up on the back here, okay? So this could happen this could happen in the bathroom. Yesterday I showed you that there was a bathroom where I had created an image. We'll have a lot of backlighting and you can utilize that backlighting to create some beautiful shots as well. So, um, I'm just going to place this fail in the back of maya's head merely because we're using it as a problem using there's a demonstration. I think the dress desi...

gner who designed our gorgeous dress one of south africa's top fashion designers has told me that high end weddings and very fashionable people now are not really using veils as much as they used to so fails are not really a big thing but if you do have a bride of the vale I'm gonna teach you a couple of things that you need to know that's going to allow you to utilize the veil for for a great shot so right now I'm just gonna pop this in the back of your head here bearing in mind I don't want to mess up the uh thank you and being awaiting photographer you guys no so many times you doing so many different things you putting in veils your you know putting buttonholes on for the groomsmen just make yourself helpful make yourself indispensable if you see somebody looks thirsty asked him can I go and get you a glass of water you know are you feeling all right be aware you've got a con simply be aware ofthe all these emotions the emotion that you're looking at things from an objective point of view so let's have a look at this right now okay? So let's just uh sean I think I might have to use the twenty four seventy I'm a little closer okay, so we're in the bathroom were in the bathroom and what I would like to do is to ask maya to come over here turn your back to the window, go down ok so now open your legs up a little wider for me just so that she gets down into a lower space all right that's cool right right now if I had to take a shot we got a scrap that come here thank you if I had to take a shot I have when I fall off here, right? So if I had to take a shot without any compensation this is without any compensation two point eight aperture priority you can see that she's dark it's ah, a backlit shot there needs to be mohr illumination on her I can still see the bars off the windows behind her over there and then this is bothering me just a little bit here too. So what I need you to do please open up your legs a little wider so you go down a little bit lower and then if you could as well off the shoulder again so just write down to as low down as it can go without being too revealing as I said, she is wearing a bra so we're not too worried about that that's cool it's just help you out here, okay? A great tip to make somebody look athletic or toned or thinner then they are already I mean maya's absolutely gorgeous. But let me just show you this if you guys with the cameras they consume into this area here if you just stand up with just relax the shoulders, okay? What what you can do is you get her to push down on her shoulders so his shoulders are down and then she brings her shoulders forward and accentuates the collarbone over here. Now my is a beautifully thin girl so you might not have to do that with her but for girls who are bigger drop pushed tell it tell him to drop the shoulders and bring her there shoulder like roll their shoulders forward and you'll see that that collarbone pops out and it gives nice highlights onto that there so if I look at that shot over there that I took off my I'm going to need to overexpose probably by one stop let's have a look at this ok that's beautiful keep it just like that okay that's stunning move across this way just a little bit for me your whole body that's beautiful okay you see that no no like manipulation in camera there's nothing spectacular about that in terms of the lighting technique but it's a beautiful ethereal shot that just, you know just radiates romance and joy and all of that kind of thing right? So what I'm going to do here is just to bring in the veil over her shoulder okay that's just drop your chin a little bit look straight into the lens for me that's beautiful that's absolutely gorgeous stunning that's a turn up a little bit there we go that's nice I might I might want to do a landscape shots because that that might work quite nicely so from there to anybody's sideways so you facing that way okay and then bring your shoulders forward chin into your shoulder this way ok get your body down a little lower again up in the legs a little bit further away from me that's it that's cool bringing roll your whole body forward sorry I said landscapes let's go landscape that's nice. Uh chin up a little bit for me they regard hold it there. Okay, let's have a look at that. Okay? This hand over here your left hand bring it on bring it on to just take this. All right? Let's, bring this in over here onto your shoulder like that. In fact, it might be quite nice just to keep it soft at the back over there. Keep the fingers nice and soft for me and bring it behind your shoulder a little bit more. Okay, here we go. All right. That's stunning. Keep it there. Beautiful. Hold it just like that. That's it and okay, what another cool thing that you can do if you wanted to you could almost, shawn, can you come up here for me for a segment but you can always do here is almost make a tunnel with the veil so work this shoulder forward for me again chin in there okay so sean if you just stand right over here where I'm standing and you just hold us get rid of that hand and you just hold it just like that and then this hand here you can hold out just a sick for me over there okay that's perfect it's pop this in a movie here a little bit okay and I might have to just direct you as we're going along there shawn okay hold it there that's beautiful cash on your uh this can come in a little more okay hold it there stunning there it is all it your thing is just in the short shorts okay and here we go hold that uh this might work nicely as a landscape okay chin up a little bit for me oh yes uh there it is while you're working so nicely absolutely beautiful keep it like that all right there we go okay so I'm pretty stoked with what we've got up here if if the people who are you guys finished shooting down there you guys come up here you guys khun shoot over there and I will take some questions in the meantime okay in the meantime while we are taking those questions you guys going to shoot over here what I'm going to ask sean to do is to make sure that we get if we could get the dress here. Sean another bridesmaid kili you having your hair and makeup done if if one of the sisters or something call us if you are right over there just get the the dress there please call us if you could just bring the dress to me that would be cool. Okay, so I just wanted to show you that technique where um I shot the dress and it was like suspended in the air so, uh shawn okay, thank you so much absolutely gorgeous gown that we're dealing with here today okay, uh all right, shawn you're gonna come up here, just grab grab the apple box station, all right? If you put the apple box over there on then stand up on it. Okay, hold it up nice and high. So we've got that nice beautiful backlighting going on there. We might have to do this in two shots, which is not you guys shoot get this down a little lower for me. Hold it in front of hold it in front of this one. Nice to bring it down like that. We're gonna do it in two shots, okay? So I'm going to just jump down over here for a sec sorry about that, okay? And I'm going to shoot that dress in two parts they drop it down a little lower, alicia on even more okay, all that there just have a sorry call us and we just have a look at what's going on with interest okay it's two back it's not backlit enough enough someone over exposed a little more I'm going to go to three stops over right I'm gonna go to three showing a little low everybody just to get the detail in the dress that's going in the back there all right that's pretty cool I'm gonna shoot it in two shots so sean grab the top off the bodice just hold it in the middle yeah and lifted right up so I can get the bottom of the dress turn it sideways for me so it's facing towards me more this way this way twist this way no you're you're right hand twist oh here we go okay just let it go don't twist the dress sideways keep it as as it wass facing me because look at me we're gonna shoot like this we were shooting the front we shut the front now we just lifting up to shoot the bottom part okay so right so from there we're gonna lift up the whole dress up higher okay yeah hold it on the ages so that it's not bunched in the middle there you can hold on both sides yeah but hold the dress you know I'm not shooting up the top there yeah that's it yeah even higher right stop okay might even have to be three shots okay, that's, cool and go up again. Go, go! Going higher, higher and again. More, more, more, one more tiny, but right. Cool. Hey, I want to try and, well, I'm not going to do it, but I'm gonna try and get a re toucher to make one dress out of those three shots. So, do we have any questions from anybody right now? Will you do getting ready? Makeup photos and individual shots of each one of the brides maids. And how long do you spend with each one? Um, as you can see, I do shoot quite quickly. So, yeah, I would spend time doing the bridesmaids individually. You're talking about what? Once they're already made up. Correct? Yeah, definitely because I want to make money out of selling those reference. Yeah, definitely. So each bridesmaid, huh? Hair and makeup as well as, uh, once they are ready when you know, once they completely ready. I have, ah, pricing plan. We're talking about pricing plans tomorrow, right? At the end of the my super duper pricing plan that the most expensive option that I have, each bridesmaid gets their own album that is customized for their experience of the day, so I have to shoot. The I have to shoot the book with their l'd um in mind as well so what happened what their experience was so I would have a shot of all the bridesmaids getting ready and then a shot of her on the one side um and then as you're going and I do it for the for the guiza's well so you end up with you know, one of the winnings and I surely end with eighteen albums that you're giving to the client and it's a bright and on the dance floor the one bridesmaids dancing you take pictures of her make sure you get picked up every single bridesmaid every single groomsmen when you put that album together you then have sort of like your experience you were a bridesmaid this is your experience of the day and it's all about you you listening in the church you know if you're listening enduring the speeches all that kind of thing so yes sure choo chood that's brilliant any other questions? I think we're going to rule okay, so we good over here any difficulties of your w experienced anything that you need help with any challenges with a beautiful bottle this way all right, so it does it does make a big difference in terms ofthe you know your target market and you've got great hair, great makeup and you know it's it's that's that's hard work so devon thank you so much guys devon great make up artist yeah, I think it's utilize his services okay kelly could you please go and get ready? That would be really nice if you could go and do that for me please there's your dress I think this is your dress yeah, I can't take your dress and off you go so way have probably two or three minutes whilst maya gets dressed into oh my gosh that is absolutely stunning very very cool I'll be with you in a sick um okay, so any any questions from you guys with regards to what we just don't know when I started shooting I very quickly forgot to keep the album in mind yeah yeah I just kind of like that lost in the creative moment and I was like oh yeah I think in terms of vertical and horizontal storyline so that just come to practice I'm sure but you're teaching yourself to do that all the time that that is something that's going to come with experience and you have to see because you were just saying that I got lost in the creative moment I don't because I'm not creative so that that's an advantage to me that I've got his thing struck structurally so yeah it's it's a good observation but yes, you have to consistently t talk to yourself ok what I'm going to do with this picture no, that's. Why we nose up there and I shot the straight down shot where we shot the truck from the side. And you know, that's how we that's how we constructed that, um, we were kind of shooting when you were doing that. Any tips on that one in terms of you overexpose it one stop with the backlight. How'd you do it? Yes. Okay, if you if you remember those images, if we could please get those images just back up for me. That's. Fantastic. Can you get the one that's under exposed a little higher up. Keep going. Uh, that was the very first shot. Yeah, let's. Have a look at that. Yeah, that's cool. If you look at that image, you can see immediately that the camera has seen it as backlit. And you've got a lot of dark in the front and you put the light in the back and it's it's a very contrast image and I need to expose for the skin. I need to make sure that the skin is correctly exposed. So all that light coming from behind has fooled the camera into thinking there. Is it an abundance off light? I need teo you really on capitol priority on two point eight thinking I need to go up on my shutter speed to compensate for all that heavy backlighting so if we can can we look at the settings on that camera on that shot on what the shutter speed was doing and all and all of that thank you guys. This production side of things is amazing. Thank you so much. So if you look at that a sixtieth off a second at two point let's just go back to the shop before that if we can the shot that you see right there that's one hundred sixtieth off a second so the camera thought that there was so much light that they that the camera had to shoot it at one hundred sixtieth of of a second I was on two point eight I'm sitting the average because I wanted to to be too pointed the camera then set the shutter speed are well there's so much light I need to shoot a one hundred sixtieth and then I'm like no no no I'm gonna overrule that exposure value the plus minus button on top over exposed by one stop and off we go so yeah then you get to the second shot and then that was shot at a sixtieth off a second sixty three second is a little let's just go to the next day please a sixteenth of a second is a little bit risky in terms of uh being handheld but a great technique and this comes from my police days. Great technique. And this is also the advantage of having a camera with a group where you can shoot vertically elbows in. Keep your elbows in. It was like, this is like being at the firing range when you shooting your pistol at the firing range, elbows in. So you making yourself a human tripod, elbows in camera, there, take the shot. If you're shooting with the camera, that only has a button at the top, you're a little bit unstable, so their advantages is very cool to have this in focus with your thumb, bang, bang, bang, you firing from the front.