Fashion Photography: Using Natural Light For a DIY Shoot

1. Introduction: Hi, I'm Martin. If I'm ah, photographer based here in the Philippines and welcome to my first skill share video, I did publishing for a good number of years here in the Philippines, and I'm still a provision photographer. I enjoy shooting people. I enjoyed shooting pork. It's I enjoy working with people more than anything for this project in skill share, we're going to be doing fashion photography as a focus and to make it more basic. This is a D. I. Y. Shoot, and we'll be using natural life as our source of light. We won't be using any studio lights. Nothing, just not your life and a few diffusers are a few things that can make the natural life work for model compliment, her looks and whatnot in fashion. It's not just about advertising something. It's not just about showcasing a particular clothing where a particular brand, it's about making the connection off something personal, with brand. Being able to create a feeling create an emotion that people would get when they see the photograph. I'm very happy to share this project with you guys, and I hope that you guys enjoy what we're gonna 2. Project Overview: So this class and skill share we're going to be shooting one model, one female model using only natural life of the reason why I want to explain this are the reason why we're goingto do only natural like this. Hopefully that we do more skill share videos with you guys and with the students with you guys. And if you guys enjoy, if you enjoy, the video will do more. And hopefully if we do more, we can apply the more complicated lighting setups. But for now, you have to get the basics, which is lighting with only the natural, like the concept of the day. Shoot ISS. We're going to be shooting a female model in a sort of grassy wheat field of sorts that will, we're doing gorilla, um, and will be in terms of clothing. The highlight is actually men's clothing. We're gonna be putting men's attire on Ah, female model. Classy sued class. He had a gentleman's kind of outfit, but we're going to make it work in such a manner where the model will not look like a common fledge guy or anything like that. We're actually going to make no female model obvious and make the men's that I work well and hurt the outcome of the projects to Kate just to get shots that are that work with natural light but look very professional at the same time, working with the field. The objective is to highlight the men's clothing for us while using natural light for you. Your assignment is going to be working with natural light. You can do it. You can produce whatever shoot for you. But that is your assignment. Using natural light and the diffusers that go with the that the equipment that I was presenting you can make it. You can use it, you can buy it. It's easy to make and what not. I will be presenting that that you in a bit you know, of course, have to shoot during the day. What time of day Doesn't matter. You produce your own shoot. Um, you will see in the project details below What the what specifics you have to do for the assignment but basically used natural light and it has to be a shoot. Not not one not candid photo, not a street shot. You Do you have to produce a shoe to have. Suppose your model doesn't matter who your model is. It can be a friend. It can be anyone. But objective is to direct your model to make, to create a connection, to be able to set them up properly. And to be ableto light it according to the lesson city, When you're done, you will be posting your best three shots from your shoot. This is not supposed to be a perfect shoot. This is supposed to be a D. I Y figure it out kind of shoot. And together we're going to be able to figure this out. Um, us, the audience. I hope you get to learn, and I'm sure you will encounter these kinds of problems Were at least while watching this, you will know what you can anticipate and you can't really anticipate a perfect shoot if it were perfect. If it were perfect, there must be something wrong. So expect imperfections, problems and what not? But as we go through the shoot, we're going to figure everything out and get everything done. When we're done with the shoot today, I'll be bringing you toe my my studio work to to my post processing work where we'll figure out what works with Look what works in the theme The post processing with editing applications I use. I'll be explaining all of that after the shoot and the when we're done will have the will have a photo and we'll have a photo off the whole thing off. The whole shoot will have the best top three shots and hopefully you like it. I'm sure I'm sure my thing will. 3. Where I Find Inspiration: you know, as a photographer, there's you can get inspiration from almost everything. The job of a photographer's being. It's a very visual job. Wish was anaesthetics. It works Panin and same time getting the energy, getting the getting, the feel of people, good communication. You know, great and great relationships. You can get inspiration from that. So for me personally, what inspires me is treating people. I'm around. But aside from that, you know, photographers can't just be people with a person with the camera and just shoot without any prior knowledge of the craft. You kind of have to know who who's out there and who sort of is in the same wavelength. It's us off a doctor, for when I look for inspiration. I always look into books, Um, and one of the photographers that tend to follow a lot. This photographer goes by the name of Joey L, which is short for Joey Lawrence. He's more known as a photographer who shot the twilight posters, but he actually is one who photographs the tribes and different ethnic people and around the world. So from from India to Africa, he's gone all around the world, photographing professional looking portrait of these people with studio lights. So it's a mix of using studio equipment in House Studio Coop and bring it outside, working with with people who don't even who might not even know what in the world Joey's doing. And I think there's so much beating that. But other than Julia, I really like reading into old photographers like Robert Capa. Um, he he has this coat. He has his coat, which says, I'm not sure if it's I don't think I'm seeing it in verbatim. But he says, If you're not, if the photo is not good enough, you were in close enough. And I like that idea where it means you have to go. You know, it's really about creating a certain connection. Your subject. He was a war photographer, and I feel like the intensity off those photographs can be achieved in all aspects. If you ask the photographer, do that, it's your it's your job. I still photographer to do that, um, off more often than not that you find me going through Instagram going through magazines going through books off that are photography related, Um, going through online tutorials online only. Not ever. I read a lot of better pics. I listen to one of your one of the teachers and skills skill share Chris Burke hard. Um, I get inspiration from all of these people. I listen to all of them. Um, I think I think that tips and everything like that. Um so in separate bottom line, this inspiration can be got from memory everywhere and everywhere and anywhere. Um, I love I love what I do. And I think that's the most important thing about being a photographer in particular. You have to love what you're photographing it. Because if you're not, then it kind of shows in the photographs. You have to really love what, exactly what you doing at that exact moment? It's all about being connected with that particular moment. Be it something very corporate or B. It's something very so for whatever the case, it's your job as a photographer to treat it like it's the most poetic thing. Every 4. Equipment: So now we're now we're in the equipment part if everything. Um now, since we're shooting in daylight and we're using natural life, we don't actually need that much equipment, but percent you what? We can use his options. So the whole idea of using sunlight is you can let it be harsh in your skin and kind of create shadows lines. Or sometimes you want to soft in light or or amplify it through reflections, diffuses and what not? And that's what I'm gonna explain. So we'll start to the lighting equipment before my equipment's up. So the first thing I can use this is the i y. This is the Styrofoam board. I would not actually recommend this just for environmental sick. But if you have nothing and you have, like, you find scrap, um, Styrofoam boards, you can still use it. So, what I've done years have, um I have duct tape, the back so that you can pull it. That's affordable thing. And what you should do is you put it like this under the model so that the face gets lit up . I'm not sure I'm not under the sunlight right now, but if you use this, it will reflect. It will fill the shadows down here. So the problem when you usually shooting with natural light is that the shadows car strong under Because the sun's coming from up. It's pretty strong down here. So what this does is it kind of balances that out. So if we go here where the sun is, you'll see that the moment I put this under it reflects on it. So you see the difference. So this is this is the difference. It makes the the white you're flexing it, so it becomes a more balanced kind of shop. This is the first head up that we can do. All right, So the next set of that we can do is the the The Reflector. Set up these air, these air photography, these air equipment for photographers. You can get them in any photography shop that focuses on lighting equipment, not just cameras. Um, the one will be using most probably today is this big giant reflector. When I say big, it's no joke, no joke. Big, um, this thing inside of like my go to reflect when it comes to natural, they like because, um, it's big. Therefore, the spread is nicer all around. It's soft, and what usually use this one for the translucent one is for shooting through. So basically, if I carry this, it creates some kind of white softness doing. And if I put it under the life you can see it's much softer than the usual set up off like this, where it hurts and it's a lot. So this is the set of the dust. It softens me. It makes me makes things actually look much better in the simplest terms. This thing is, it's it's a white. It's basically a white sheet that you can carry. And what makes this really handy is that is the frame outside. Um, usually it. You can use other things that they're white, but because of the sturdiness of it and how easy it is to carry, setting it up anywhere is the whole practicality and convenience of this one being is. It's just great. So this is probably what will be using today. All right, so this big giant reflector has, uh, blank cover of sorts, and this cover is a silver reflector and the in a black reflector. Inside is a gold one. That's why it's golden white. That's why it's called five and one. You have the transparent, a different solution. You have the white reflector, which serves the same purpose as the Styrofoam board, which I explained earlier The Gold Reflector, which kind of gives some gold effect. I can show you, and there's a silver. There's a black reflector black accessory reflector, also not just dark and things, but it also reflects black, which gives shadows and gives drama to certain shots, especially when you're shooting in studio. Now this one is the silvery reflector. Now for in my personal, in terms of personal face, I'm not really a fine of using gold and silver reflectors when it comes today that big. Sometimes it comes out too harsh that all that also very much depends on where you are here in the Philippines and the sun is quite hard, so it hurts. It hurts a lot, and using a very reflective thing kind of glares in the model, and the same time creates a harsh light, unless that is the look you're going for. So I'm not sure if you can see, but if I put the gold near me. I get the sort of gold gold tinge on my skin. Same with the same way. If I used the silver, it just reflects the sun, which kind of harsh and it hurts the modern. And I don't want to get that all the time, but not to bring it down. It serves its purpose. Great. Just for today. Shoot. I'm going to have this with me. But most probably will be using the translucent reflector If you don't have this, which I would understand, you don't. If you don't, there's always an alternative way. But you will need an extra set of hands, unlike this one, where you can just prop it almost anywhere and let it lie down like any kind of table. Um, this thing serves the same purpose. And what is it? It's a white sheet of paper of off. Basically, this thing, this exact same thing it's wiped its translucent. And if this exact same thing is this except it's, you know, it's full did and all that. So you can't just leave this on top of your model because no matter what you do, it is going to get in the way and what it serves this exact same purpose. So what, you will need to do it National. My assistant will help me. You have to get the end. And when it comes to afford to shoot. If you have friends, all you have to do is do this and put your model inside in the middle, and it serves the same purpose. But the problem, miss, it's not the most convenient, and you need an extra set of hands. But if you're on a budget and you just want to do a shoot randomly and you're not in the mood to spend, you can always just go to your bedroom, your home's bedroom and find some white sheet and use that this is the probably the second . The cheapest way to use it Got the Styrofoam and we have these, um, these. They serve the same purpose, and the D I Y is great. So it's always a question off. Are you willing to spend for convenience and practicality, or will you just use some D I wise? But the whole concept off the I Y equipment for lighting is to understand the concept behind it. The hunt, the science we handed? Why this do? The same effect is that you have to understand what it does. So these stool, the white reflector, the white turn Susan affected what? Thus it the whole point of being translucent is that light shoots through and the color color being white, it's often softens the oil on the skin. And this is always very complimented to the model. So today we have that set up. We either have. We're gonna pick between this, this or the Styrofoam. Worst case, Not the worst case scenario. But if we decide to go for a different look with what this we put the the cover off the Big reflector over the reflector. And we do this and we use either silver ago, depending on what we see later in the shoot. Yeah, that's our equipment for lighting. Now we're going to jump into our gear, are shooting here. All right, so this is my camera back. Um, I bring this everywhere I go, um, it has everything I need for quick shoots. Um, all my important lenses, My flashes, it's all there. So But today, since we're not using any flashes will be using just my camera, which is a kind and 60. Um, it's the reason why I got this camera is actually because it was the cheapest full frame camera in the market back then, And honestly, despite me being quite cheap in that aspect, it really served this purpose. And it's been my favorite camera. Um, I use it all the time, and it's actually my only camera body, so I'm very happy with this. What will be pairing that with is an option of three lenses. The first option is this is the 24 to 70 Canon lens, and it's an L lens that runs in 2.8 aperture Clinton 2.8 this one this lens will be using if I want a great variety between wides and sharp and close ups more often during fashion shoots. I don't like using these this lens. It's more like an emergency. Lance. The reason why I have this around this, like I said, emergencies. But in terms of getting a look, I prefer prime lenses I brought prefer fix lenses, but it's always good to have a number of New Zealand's around the next will be right. Next is the young war 35 millimeter. One point I think this is. I know this is the 2.0 lens. Um, I found this. This is supposed to be the alternative 35 millimeters with cannon and other lenses. Is your noise the Chinese brand? And a lot of people say it's a cheap, fake brand, but, you know, it's still does really well. I'm very, very happy with it for the price I got, Um, if I don't If I remember, right it This was our around $100. Eso. This was really perfect for me. Um, it's called back to small. It's it's 35. You can't go wrong with 35. So this is probably what will be having in case I want to jump the whites. But what will be running most probably with the day it's my 51 point for 1.4 lens. The reason why I bought the 1.4 against the 1.8 is just because of the weight. I actually don't shoot at the one point for a lot because I don't like losing too much detail. But what I love about the 50 is that it's not too wide toe. Get the distortion on people. And it's not too short, Not too tight either to get to lose out on particular elements of the shot. So this 50 millimeters, probably the combination that we're gonna be using. So this is my set up for the day. More often, you know, I can pull out all my other year, but when I introduce that, we're not going to use any of that. But this will probably music most important thing in a shoot music. But since we're doing a really shoot, I think the music will have to stay in the car. So we're gonna figure that out. So, yeah, that's my set of today. Very little compact, as discreet as possible. 5. Introduction to the Team: Okay, so we're here. We're going to interview rare species off makeup artistry. Her name's mix with eggs. And you were gonna go introduce everyone. Okay, so So this is Lisa. It is their water wave. Never worked before, but we met in this same spot almost two years ago, and we never got to work together, But I'm super happy. We're gonna work together that day. He's gonna pull off this military going look super good, but she plays the role of the model, and right beside her, working right now is the rare species of Nicole. Makeup artist. Cynical. What? What's the What's the look we're going for today? We're going for grandest up version of Taylor Swift. So no red lips, no pale skin, Just lots of browns strong. My nice good. Their species technical. Pretty good make up artist. It's I re age anyway. OK, so we're gonna introduce you to our stylist, Meg. This is right, Meg. See high again. Okay, So can you explain that looks We're going. Okay. Let's Can you show? Okay, So we're going for going with a mix of like seventies and marching band aesthetic. So we have for coats the best. We have a lot of velvet with a lot of texture. Also, because I'm usually when you shoot in an empty field, people go for the machine and you're gonna want to play around with that sort of elevated face, More importantly than the whole theme is actually this everyone will not do well without food without good food. Good, unhealthy stuff. But our model releases a very healthy living person. She so she has to have a living. But for the rest of us were kind of bigs or Bob boy Infinite Beato. So I thought, This is Carla. Carla, Say hi. Carla is the assistant stylist of Meg. And Carly can explain what you do stuff like that. Well, what's employ? OK, why is it important, too? Steamed foods? Well, you don't want models wearing comfort and bad photo. So percent Thank niceness, then, um so thanks like a think Scala. And I'm gonna grab this and introduce our video. Gay. This is just score. He has the arms of it. Just gonna be taking the videos s just any what? You tips on taking good videos for something like shoots like this. Like, what are you going to be focusing? Getting well, honestly, for me, I think with shoots like this and highlight everything, um, you need to focus more on the details of the person like close ups. And, you know, even the far shots are also nice. But I think when you focus on the details, that short shows more essence to the actual street itself. So for this shoot, I think I'm gonna focus more on close ups and no mid shots and everything and maybe some long shots and most importantly, for photo shoots for me, I wouldn't be able to do it to this day. This is a nasha. He's my assistant. He's been with me forever from day one of shooting for publishing are further. When my career kind of stepped up a bit, I started needing help, and I got him to help me out. I taught him everything from the basics of setting up, and now it's super helpful to work with him because it makes things more efficient. We I'm ableto talk to the client and everything while he sets up all the lights. So that really, really works out for me. So today gosh will be helping me by holding all the light diffusers that I'll be presented to you in a bit 6. Preparing for the Shoot: 7. During the Shoot: were the first spot. All green. What? The plan was actually to have it all Brown. Um uh, we didn't expect to the plants to be healthy again, So we're a bit behind schedule, but our models really goods gonna be big quick in post process. These this green is gonna turn into brown toe warmer field so it's not allowed to. We're waiting any moment for some security, say were off limits. We'll make things work. So let's get cited. So at least they're super way to diffuse the light. It's basically going to Sunday, so I think it makes sense, Right? Um makes just fixing some stuff with bins. Basically, what this is doing is softening her skin. It's so fitting everything that falls on and at same time also making it look a bit natural from its stance. Because if you put it to close and everything else is ready, it's obviously there's something just focusing the face. You gotta soften everything around. So far, no secure. Okay, so our next spot gonna be someone here and the sun sounds being covered by cloud right now . But this guy's pretty clear. Just gonna be slightly heart. I have. Ah, I'm using Golden. Reflect. As I mentioned, I wasn't sure Uses today, but perfect that I brought it. If you see Russia, if you can see. But gold is kind of reflecting off. Its what? I'm gonna have to get a warm You do it, but rich and expensive. So I'm gonna start shooting. It's very orange. Forced move by then to make the orange A list and then green to orange. Okay, I think I mentioned you're supposed to make I decided that we begin to five. So gonna try guns five. I think we're going to shoot here a few more here. We're gonna figure out how to work on vacation, making different. But right now I'm very happy without coming out. Um, I think we're getting the objective on way That looking away. Same clothes. So we were driving and we found this nice, nice billboard. Thank you. Either abandoned or not anymore functioning. So it's perfect for the shoot and time of day is really good right now. It's in Manila time. And because of all the trees, the sun is setting behind behind the camera and coming off a good way don't need anymore. Any of the life of users. Lightest balance. Every once in a while, we throw in a short while, ago way used the reflector and we created a bit of lines face just so that wouldn't be fully illuminated. So it would be a bit more control. Where were about shooter last and right now, shoot. Perhaps, you know, it's coming out. Last one last one. Oh, um 8. Wrapping Up the Shoot: shoot super duper good. We were actually really can't believe I made a mistake in the timing. You know what I said? You always have to anticipate problems with time is the worst problem, especially using natural life. Waded through our last one sunset. Look out, there's no more like So I had to boost my settings just a bit. Did not need any diffuses anymore because snow more sunlight diffused. It's a softest you can get in a couple of minutes. It's going to be dark, so there's no way we can fit in another layout. So the shoots perfectly managed to fit five less, at least of the soothe. I'm actually happy everything. Makeup was great. Styling was fantastic. And Alisa was excellent. So everything came on three. Well, shots were going out to the editing process, going to review everything. We're gonna pick our favorites edited the way that we want to get the feel. I hope you I hope you were able to see what how it goes. How stressful Get how scary sometimes get. Luckily, there was no security so good there, but now we're gonna head back, and we're gonna cite the editing process so 9. Reviewing Final Selects: Hi, everyone. So we're done with the shoot and it went really well. I'm actually very happy without it. Turned out despite actually the number off problems we encountered. Luckily for us, we had no security, but I was actually hope not hoping. But if there was, there was security. I would have wanted to show you guys how difficult it is to shoot around Philippines, at least when it comes to security problems. But luckily for us, there's no security people. The people who passed by had seemed to have no problem. And now we're in the editing process and I'm going to show you shots raw, edited and selected. So now, with like like who opened, you can see that these air, the raw shots and these are somewhere slightly edited. I got a bit excited before recording anything edited a few, but these were the selections we've made. Um, I took a total of 444 photos, and, uh, from the first selection, I've cut it down to 60 76. But that, of course, is going to go much, much less usually drink submission of files. You give our own, maybe 50 photos, but they'll always just pick one or do or maybe three or 41 per layout. It really depends on what the client wants. But since this is a personal shoot with the with a make believe client, then we get the biggest, many as you want. So these that are shots you can see. Um, we're going to go through it. But a few notes before we start editing is that during the shoot, the first problem that we encountered was that the first feel that we were going for a sort of awful wheat field dry a dry wheat field, kind of feel with brown grass, brown leaves round everything. But when we got there, to my surprise, it was already fresh. Um, my fault there said I didn't do enough research. My ocular wasn't, um, wasn't close enough to the shooting date that in between, I did not foresee the the new plants growing. So that post it's a big problem, but nothing that post processing can't fix. Now. The reason why I still want to stick to going Brown. It's because one, the model that we chose was sort is a foreigner, and she's she has a nice golden hair and her skin matches a more brown tone. Now, leaving the green around would kind of take out focus and one where what their subject is, which would be the clothes on their model. Same thing with this guy, I personally not I'm not a fine of blue skies for four the shoots just because it takes out again the focus on the model. So that is the first objectives to take out the greens. Now, everything seemed to have worked out the great. The sun was very, very cooperative. Um, the materials that I used to work properly and we found really good locations without having to travel too far between them. So we were able to fit in the total of five layouts and compassion to the original three that we had in mind. So that came out really great. So now we're going to jump into anything. Now I have a photo here that I've already slightly edited just in comparison. So this is this is the before and after I see See the greens, we've eliminated most of the greens, the blues in the top. We've we've eliminated that putting more focus, really on our model now, in terms of my settings, I shot this at 1.4 on the reason why I shot with 1.4. So I wanted to sit and softness to the whole thing. And I actually did not want people to focus at all at the location. But more in the model that the colors of the location is just supposed to make. The subject is supposed to amplify the look off the subject to complement their. So the reason why I chose 1.4 again It's for the softness for soft edges and to have this certain feel off, um, being kind of based on, uh, not really confused. But the daisy feel and sort of like letting the models ice really speak to you. So going to the editing were now in developed mode. Um, stick up in that. And so let me go show you what I did. So first. Of course, it was the original shot of the greens and blues and clothes were not that focused. The models, not that strong just yet. Um, what I did was I use I always use VSE. Oh, filters, um or not. Maybe the word is not always but more often than not, that it's almost always used. Be issue purpose. Why do I use this? A lot of photographers, I'm sure, will criticized me for not being really. But I beg to different a sense that via CEO has always been around. And they provided an excellent filters that kind of replicate not only the look but also the feel and the theme off certain films. No, me, I'm sure I'm sort of like a film loving kind of gay, and with that, I like seeing photographs that have a certain personality to it. So for me, Greene is something that I love to see. Not too much, of course, the personality, the loss of certain elements because of the flaws of film. I love that look. So for me, I have a list of favorite VSE or films. I have all the fear of BSE or films with me, but I don't use all of them. I pick my favorites and transfer them to another folder, and I used to read it now. This way. I know a lot of people would be like to Why why are you teaching or Why Why do you claim yourself as a photographer because you're using via so VSE or filters that doesn't make you through from the ground. And I'm sorry, but I don't think that's that's a strong case to stand back because the S e o felt there's a very good and the only thing that you have to make sure you do when you use VSE or village is to put your own touch to it. 10. Editing Process: now what I've done is first I went through black and white filters to see what it looks like us. If you've read before in other photography tutorials one of the editing techniques that a lot of big photographers uses that they convert their photos first to black and white. And then from there they edit. And then they converted back colored. The reason why they do this is to watch the highlights and the shadows only just to make sure that the contrast not too much the balance is just right for the personality. So there. So what I did first was I converted it the black and white to see what it would look like personally the moment that clicked the black and one filters from VSE. Oh, I was actually very, very happy. Now, of course, though, feel off off the shoot was, and the theme wasn't relocated to black and white. But if you so happen to have a client who is very willing to use black and white shots for their clothes, for whatever the advertising and great for you and if you like it in black and white, then that's even better. But for now we're going to stick to college. So I chose a preset that was Ah, yes, you'll feel they're called Kodak Elite 50. And the reason why I chose is because the models, the color and the model really worked up and the color of her hair, she seems to be vibrant and all that. So what that had to do was just changed what I didn't like, and something and decent things that via CEO, can't do. So being able to point out what you don't like, it's very important when anything you can just click or filter and be like, Oh, this is it. This is how it's going to be. You have to understand how each of the tools and light room works. If you're running a light on or Photoshopped, you have to understand how to change these things. So colors the clutter, the color bar or the basic tools. You have to understand that all of those work and why they work the way I actually learned this, I would do this. I'd get the meat they had hold it down, and I go back and forth, see what the difference isn't and go gradual so I can see exactly what it's doing to the shot and how it's ruining it or how it's making it better every time we done command Z. If you're using a Mac or control Z to go back to the original, which right now is untouched zero, you have to wonder. You have to understand how each thing works now, with the precepts set had I have not changed colors that I don't like. So first the green you ship So the greens to caught the greens by putting it down. As you can see here we have the green meter all the way down to nine days that can even put it all the way down to 100. Um, Then we jumped to the AFC West, which we can click this little tool here and what this tool does. Yes, you can click on a certain color that you see an image and I get up or down. So if see, I'm going to zoom in and I'm gonna hold space. And you see this green here? I'm going to try to bring that down. You can see it turns out Yellen, what went down, what in town is actually Bakwa, So aqua is a bit of blue in a bit of green. So what you want to do is actually put down oil forms of green so that it doesn't look faker. It looks like a natural thing that happened, or it's the natural color of things. Now, in my opinion, this and cheating together. Look, I think in my opinion, if there was legitimate photo manipulation like reshaping, that is when you're faking up on image but colors, I think that's an open ground for anything. So now that I'm happy that I'm happy with the colors of the the plants were going to jump to what the next thing I don't like, which is the blue. So I'm just click on this little ball here of saturation and go to the blue side and just drag on a bit slightly so we don't have much blue. No, you can see and edit the end of the pool and write about it down to 82. That's quite a lot, but police. It gets image now now that I'm happy with the colors, I'm going to play around with a temperature and see what happens if I move it down or up since I shot in raw, which by the way, if I did not mention in in the early ways you have to shoot and raw. The reason why you shooting rice because caller is very edible in raw and the shot is basically just a plain canvas, and you just have the encoded image in it. But you have all the tools to change everything, and that makes it very, very helpful and post processing. So I'm going to play around right now. It's at 5150 in the temperature, and I'm going to bring it down. All the dance we can see the certain effects that does. So you see, this is the coldest temperature and as he slowly move up, you can see that go people warmer and warmer and warmer. The very hot Kamanzi. I think I see that 1 50 and I'm going to try to go slightly down to see if it comes out nice. But honestly, I'm actually very happy would want 1 5150 in terms of exposure. I'm going to boost it just a bit up just to put a bit off. More focus here on the model. And now, for those who don't know what highlights and shadows do, highlights are the bright spots in the bright spots in the photo. Um, in the more simple, simplest terms, the highlights are the bright spots. So, as you can see, if I put the highlights up and down, if I put it down, you see a bit of this kind where you see the cloud up there in the left. If I put it back up, then you kind of lose this guy. So if what I want to do for this particular image is, I want to bring the highlights a bit up just so that the model seems to be a little bit more. At the same time, we lose a bit of the detail, this guy. So we're going to bring it all the way to maybe year. No, let's bring this 65. No, for me that that works for shadows. It works the same way, except it's in dark spots for image. So anything that is close to the black So this is black. This is the black arm. This the close air black and that may not be considered us a shadow. But in food in light room, it will be considered a shadow. So this, in reality, are the shadows, and I want to think about. But this will get affected because the computer and did the editing software will register it as a shadow, too. If you see if I move it all the way down, she clothes getting darker and darker. Also move it up clothes with what kind of shame? This is something I don't want to do, but I will. I want to make a little bit of violence, but putting a bit of brightness here and just slightly and after not really affect clothes . And she I'm moving only up to 35 and that is already good enough for me now. In terms of contrast, contrast tends to be a tricky thing, because sometimes an image looks nice when it's a bid loss and contrast, but sometimes looks good with a strong Congress. But the rule for contracts is not to put it so higher, so low because you don't want a new image two flat, nor do you want them image way to contrast it like this. This is sort the flag, those cheap filters that you that you find online or that that you find And it mitt might have looked good. I don't know how many years ago, but now it doesn't going back. And for this I think I'm going to bring it up 18 just a bit Now for clarity, coyotes a certain sharpness to it. I can show you. It's hard to explain, but you can see if I put clarity the negative 100 completely the races, all the details. I feel close, like everything's kind of gone now, and it glows. And for me, this is a cheap look. And I don't like that when, of course, who wants to push all the clarity it out. And if you put it all the way to 100 this is an overkill. It sort of looks like you're trying to replicate, um, 300 the movie 300 look of the Spartans. So what I'm going to do is going back to zero, and I'm gonna push it up just a bit to get a better together, maybe 10. There you go. Now, in terms of saturation, the preset that you put that I chose automatically brought the saturation down. But then we'll bring it back to zero and see what it looks like. Now I am actually not a fan off it being a bit too saturated, so I'm actually gonna bring it back down to 10 or even maybe 13. Now, you can see that this is sort of the look. This is the field that I wanted from the start of the difference. This is the local originally had. Now this is the look now closer and are good and faces good. Everything that's good. The feel is great. So now we're going to go down and go. But it'll close to show you what sharpening us. Now Scharping right now is a 25. Go bring it down. You see that base like change. So as I move sharpening up to 2025 for me, it's my favorite number for sharpening. Just gives enough sharpness to the shot. It looks like it's crispier and cleaner For me 25. It's inevitable now when it comes to green, that's up to you. You Can I you can erase green If it's not the look that you like, But me personally, I love green. So I don't love too much grain. Of course. So right now we're at 10 and we're gonna bring it up 18. And this is the This is the image that time happy with this is the look we're gonna go for . So we're going to be doing this with all the shots, this certain field, and there's an easy way of doing that. But it it will also depend on the layout because each shot has a different tipping each lea others were intending. So if I play this look and I just copy the settings to this, it might not work. For example, all you have to do is click this and then select this one with it. So these two images is selected and keep on the image that's edited breast sink, and then you can choose what you want to go with it for me. I'm gonna I'm going to pick everything and breast synchronize, except for crop in spot removal, of course, synchronize. And if it works in, Great if it doesn't, it doesn't. So I hear you can see that it's a little bit too bright. A bit of detail is lost. The original feel of the shot is gone, so obviously I can't do that. So if you look in a comparison, this is original shot. And this is what became so actually like that in the original shot, there was a direction of flight. There's a certain field. So the look only works with this shot for that particular lights set up and all. So we're going to edit everything in that layout accordingly to that shot. So what I can do. And if it works, they select this again and select under there another set of images from the same layup resting and do that and it could work. Philip, Let's wait for it load and their this. It actually works. But of course, your savings could be different for shot or the sun could have moved only a bit slightly, or you're lighting set up could have changed. So even if you apply the edit, you still have to edit them one at a time. So, like for this one, I don't want to be too bright that can bring it down and everything like that. So it's all everything that has to be gone through. If you don't like the shot, even after edited, you can always just unflagging and it will cut down on your selection. And that's fine, because if you have a shot that you're very happy with, you don't need that many other shots from the same selection. So so there in. And when you're done, all you have to do this press export and you exported to the way he wanted to go. So this it's the shot that this is one of my favorite child from the shoot and will be going through everything. I'll be editing everything and you'll be seeing all the shots in the end. And I hope this short like room trip helped you out, and I'm excited to see all your photos. 11. Takeaways: some notes that I'd like to share regarding the shoot, and the whole process of this whole project that can make that can help your shoot better is the first thing that you have to do is make sure that your time is right if you notice in. If you remember in the video and heard during the shoot, I had a bit of a problem with the time Um we took a bit longer in in pre production and preparing for the shoot that when we got there, it was already around four o'clock and meaning would for with it, meaning that if it was already four o'clock, we didn't have that much sun, we would probably have only maybe two hours max off sunlight. So that was the first big problem. But lucky our model Lisa was a super power power pushing model that she actually got to finish all five layouts in less than maybe less than two hours. So the first rule is timing is everything to the next is no matter what, no matter what situations you fall under, remember to stick to the theme that he wanted by changing the theme completely on the spot completely changes every single aspect of fit, from makeup to lighting colors. Too close. You can't change the theme last minute. You can change small aspects last minute, such as clothes make up and lighting and all that. But when it comes to the team, you have to have the theme set any of the street. So in terms of colors, if the place, if the situation doesn't allow you to get the colors, then you can do that in post or you can find something else or you can go shoot in black and white. That's up to you, so make sure that you always stick to the field. That is the most important part of the whole thing. 12. Final Thoughts: Hey, guys. So you hit the end of the project and I hope you really enjoy it. I hope you learn something about this whole using natural light and a photo shoot. As I mentioned earlier that this is really the most basic style of photography you can do in compassion or the the starting point Anywhere. From here, you'll be able to understand the technicality and how to play with the natural life eventually will jump into studio light. But for now, I do hope that you enjoyed. I do hope that you learned a lot from the whole process of using natural light to make complement your model to complement the clothes photographs. So now, jumping to the assignment part your assignment is to produce your own photo shoot, you sing the lessons that I placed in this in this project and toe will basically apply your learning. So you have to produce a photo shoot by having a model. You don't need to get a professional model. You don't even need to get someone who practises modeling. You can get a friend. You can get a sibling, a family, a family, a family friend. Get someone from your family, anyone? Um, get them toe, give them clothes. Give them something that you want them toe where, according to your theme, um, you can actually even higher. Or if you don't have the budget for it, which eyes much better to practice on. You can actually get a friend to collaborate with someone who has a good sense of fashion styles. Get them to get clothes, their clothes, barcodes from here and there. Put it on your model, and then you can hire again. Or contact or collaborate to the makeup artist hair stylist and let them do the makeup and hair, according to the team that you have. Or you can always just do it all yourself. But I do know that it makes it. It off course makes it a bit more difficult for you because you'll have to distributed time more. You'll have to be there 100% from the start and dreaded and being able to prepare for the shoot while your other team members get to get to prep the model so it's ready to you on how you want to make this. But the the rule here is to only use natural light. Um, please feel free to use any of the diffusers that I mentioned or even make your own diffuser something that you feel like. We'll even make a better effect or have a better assault on what I used. And, um, when you submit assignment, if you something new that that made the shoot look really good. Please mention it so we can all learn from it. Um, I'm really happy that this project worked out. I'm really happy with their assaults. Um, just remember that when it comes to producing a photo shoot that it is very important to one stick to your theme by sticking to your theme. You get to be consistent all the way through, and you don't get confused in the process of doing that. Shoot. To stick to your theme to a collaboration is always a good idea. So when I say collaboration, if you have people to work with, you have a model to work with, get their ideas to they might have a good idea that you can mix with yours. Don't be a closed book about it. Listen to what they have to say. Listen to, especially the model if she, she or he has their angles for their poses that they like trying to work with that, um three. Remember that lighting is key toe. Really good shoot to complement the looks off a model or whatever Subject your photographing lighting is very important and forth. It's all about atmosphere, soul energy, about how you really get to have a good environment. If your model isn't happy, then you might get bad results. If you aren't happy, then you won't get better. Source. If you're if anyone in teams unhappy and that can result, can that can have bad results? One good gs I mentioned earlier is toe have food. Food makes everyone happy, So make your mortal have me make everyone up. You'll get good photos. Of course, with this, this whole project couldn't have been done without the help of skill. Share the theme from skills shared. I'm so grateful for that. And also I'd like to think with this shooted of impossible without the help off everyone in the team so that Meg Manzano was the stylist. Carla Del a serious who was the assistant stylist Nicole Sebelius, who was the makeup and hair Justin Bashara, who was our video and all around helpful guy Big National Lador, who was my photography assistant, and Alisa what? Who was our muse in our model? As I said, it's all about teamwork nowadays, and the photo is the result of a bunch of people's minds. So this was the photographs that you see either assaults. Is there a sort off all the hard work that was placed by the whole team? So thanks again. And I'm really looking forward to the next video to the next project source. Please. Um, give me suggestions and what you want. And I am so excited to make you another project and to have more lessons and to make more complicated lighting setups for you. We're going to jump to studio eventually. But let's start to the basics. Thanks. I'm Martina from Santa and looking forward to seeing you again