Transcripts
1. Off Camera Flash Introduction: So off camera flash is often thought of as
being very complicated. And in the end, why would you? Well, in this class, we're
going to show you some ideas, we're going to show
you some techniques for getting it right
really quickly, for understanding the process, and then creating some
beautiful images, whether it's just for
flattering portraiture or a little bit of
theater and drama. I'm Paul Wilkinson,
an award winning portrait photographer based in the heart of the
English countryside. And for the past
couple of decades, my team and I have run an
exclusive portrait studio just 20 minutes from the
stunning city of Oxford. And we've created
portraits, well, pretty much in every
corner of the world. Well as being a full time
portrait photographer, I'm also the host of the long running mastering portrait
photography podcast, an expose of everything
we love and, well, hate about life in
the photography industry. In this class,
we're going to step through using off camera flash. We're going to give
you some techniques. We're going to give
you a bag load of ideas, and at the end of it, we would love you to use
off camera flash to create stunning images of your own and share them with us
as projects below. We really hope you
enjoy this video.
2. Off Camera Flash Basics: So with all of the things you have available to
you when you're shooting outdoors or shooting in a room that already
has light in it, why would you bother
using off camera flash? Well, it's really simple is
that you can have glorious, beautiful light anywhere you go. As long as you're
willing to carry a light in a stand or
have an assistant, it means you can
create the same light you'd expect to
have in the studio. Well, right here
in the outdoors. So let's just have a quick
think about how it works. And off camera flash is, in some senses
quite complicated, but in others, is really simple. So let's just deal
with the simple idea is you have a certain amount of light coming from your scene. That's your background normally, and then you're going to use
off camera flash or a strobe or something similar to throw
light onto your subject. You've got background light. That's your first set of light. And then when you're
happy with that, you're going to throw
a little bit of extra light in to
light up your subject. So let me talk it through
with a real scene. For this scene, we took Loretta, and we just popped
her in front of one of our walls in the garden, and I set the camera
at about ISO 100. I set it up at about
125th of a second. And when I say about, of course, I set it at exactly 125th
or second IO 100 at F four. And that gave me a nice,
dark ish background. I'm still getting
daylight through. And then once I was happy, I got the tonality of that overall, we brought in the strobe and lit Loretta so that she
was lit independently. So in broad terms, if you change the aperture, or if you change the
IO, it's going to change the brightness of
absolutely everything. If you change your
shutter speed, it's really only going
to affect the background or the bits of your scene that
are not lit by the strobe. If you watch me go
through this process as gradually I increase the shutter speed,
and by doing that, I'm reducing the amount of
background light coming in, you can see that as I step up through these shutter speeds, the background gets darker, but the strobe is
continuing to light Loretta absolutely perfectly until I get to somewhere up around
250th of a second, which is the shutter sink
speed, in which case, for all sorts of
technical reasons, the light starts to work
slightly differently, and you can see now it's
going gradually darker. And eventually, it's so dark that I have to
just lean round, turn the power up on my
strobe and pop it back in, and you can see now
that the background is incredibly dark, almost black. But Loretta is still
lit beautifully. And that's how you approach it. So the why for this
video is you do it so that you have beautiful
lighting wherever you are. The how is set your
background up first, get that about right, and then gradually just
dial in your strobe or your flash until it's exactly
the lighting that you want. Now, if you start with
something like 122nd, it's not a bad shout
because it means if I decide I want the
background slightly lighter, I can open up by a
little click or two. If you want it's
slightly darker, I can close it down
by a click or. I have a little bit of
control, a little bit of latitude left, but
that's how you do it. Set your background
without the strobe. Get it how you want it, ish, bring in your strobe,
get that how you want it to balance,
and then you're done. Then you can be creative. Take the shots exactly as
if you were in the studio. And in this video,
we're going to show you some ideas about how to do that, how to do that creatively. So you're not just taking a studio shot using Mother
Nature as your backdrop, but you're doing some
interesting things. And throughout the video,
we'll explore lots of ways of being creative
with off camera flash.
3. Using Off-Camera Flash to replicate 'natural' daylight: So for this first shot, all I'm going to do is use
the world as my studio. So I'm trying to create an image where it's
beautifully lit, but it's lit in a way
that I don't know that you'd see that we're
using off camera flash. The idea is to take a picture that looks natural,
it's beautiful. And I'm using off camera
flash because I've deliberately placed our
model, and this is milli. I've deliberately placed
her in a spot where I know the light is really bad. Behind me, there's a huge tree. There's not a lot of
light coming through, and that's going to
create terrible light on her face and her figure. So we've brought
in our lighting, and for this particular video, we're using an amazing
off camera flash called an Ellen Crom three. Which is just big
enough to give you a ton of power and small
enough to be portable. And that's our chosen
light for today. So I've got bad light behind me, so we're definitely going to
use light from the strobe. We've placed Mily where I want to the backgrounds
a long way away, and I've done that
so that it throws out of focus so
it's just blurred. So it's not really
part of the shot, but I love the colors and it's autumn and there's greens
and golds and reds. And I just thought it'd
be really, really nice. I've set my first exposure. I've set that background
exposure to be how I want it. So it's just toned
down a little bit. It's a little bit
darker. Possibly it would be if I was creating a daylight photograph out here. And that just riches
enriches the collars. It just saturates them
up ever so slightly. Then we've brought the strobe
in with a small softbox. It's a 30 by 100
centimeter softbox, which is it's a nice strip size. So it's 100 centimeter on
its long edge which means I can use it like a big
light in the studio. But because it's narrow,
it's also really light. It's not a heavy box
to carry around. And I prefer, for me, a rectangular light source. Lots of photographers
like round or octagons. I just happen to like
square light sources because they look
more natural to me. For this shot, I'm using the
strip box set horizontally. So I've got 1 meter wide light wrapping
light around Milli, which is beautiful, gives
soft edges to the shadows, gives a very even light
in that direction. I've got it set, though, with 30 centimeters on
the vertical plane. It means that light
is going to fall off, roll off really quickly. So it'll just go darker
down her figure. So I've got this beautiful
light wrapping around, but it'll go darker as I get lower to the floor. And I
like working like that. I think it looks natural.
The cat's lights in the eyes look very similar to what you'd see in a skylight. So I'm just set up. I've got my exposure of the background. Bring the light in, more
or less where I want it. And then we're just dialing
in the power until I get it exactly as I feel.
It feels natural. You could use a light meter for this, if you
want to, I don't. I do it using the camera and the histograms and the displays, the
gauge, how I want it. If I want to make the
background slightly darker, I just increase the
shutter speed ever so slightly. I want
to make it lighter. Similarly, I just open the shutter speed
ever so slightly. Just as I said in
the earlier chapter, that's how you control
the relative settings. I've played the angles. One thing that doesn't
work outdoors like this is the modeling light
really is ineffective. I can use it if I just want
to spot the catch lights, but it's not good
for anything else. So you can put the modeling
light on if you want to, but broadly speaking, I'll turn that off simply because it saves battery power
and it's not any good. Once I've got that right,
taking a few shots, absolutely beautiful. And
then we've brought Matt. So Matt is Millie's boyfriend, and I've brought
the light back in. But this time, I've moved
it so it's vertical. And that just gives me
lighting down the body, but gives me much quicker roll off across the face, a
different way of doing it. Lots of people have
different ways, and you can use either. And that's the joy
of using a strip box is they're incredibly versatile. So again, I've just set everything as I want
it, but this time, I've got that background
just that little bit darker, and I've brought the
light in quite close. So you get this beautiful
catch light in the eye. Nice wrapped light,
beautiful shape and form. Background is nearly black.
Matt looks brilliant. What an easy way to create natural looking
photographs outside when frankly, the
light is awful.
4. Using Off-Camera Flash to pick out the subject and create a dramatic portrait: Stunt. So, as we've seen, both in the introduction and
in our first shot, we're lighting our
subject who's in the foreground and then using daylight to light
the background. But of course, you
could adapt that. So you're just lighting
a pocket of light with the strobe and your
foregrounds dark, and your background is dark. Now, I will happily admit
the only reason we've done this in this particular
video is because it rained. It always rains.
We try and film. Down comes the rain, so we had
to move everything inside. Now, I don't mind
working in the rain, but one thing about
strobes is there are some fairly high
voltages involved, and so I don't really
like having them outside unless they're
really weather tight. I've got them bagged. We've got waterproofing on them,
and today we haven't. So we've moved everything
inside or into this sort of barn area
just for a moment. And for this shot, what we've done is we've put
Milli into a gap. I say, we've put
millions of gap. We've cleared a gap in our barn so that there's
space between some stuff in the foreground and some stuff in the background that
makes a nice location for Milli to lean nonsensly like the supermodel,
that she is, of course. And then we've brought the
strobe in it still with its 1 meter by 30
centimeter box on it, and we've just maneuvered the light around saying process. Okay? We've set the scene, the whole light for the
scene with the strobe off, and we've just darkened
it to where I want it, and then brought the strobe
in and turn its power up until we've got it exactly
the way we'd like it. We're using texture and form. We're using the sort of layers between the front
and back and then popping right into the middle
to create the subject. Now, the thing about
lighting and the thing about using focus differential, out of focus regions
or vignettes, they're really all designed
to do the same thing, which is to draw the viewers attention to the bit
of the story you want. That's it. That's our
job. Obviously, the light has to flatter the subject, but what you're trying to do is figure out what's the story. The story here is Millie. And I want the light
to pop through. I want everything
else to be slightly darker so that the viewer
is drawn to Millie's face. That's my job as a
portrait photographer. So what we've done is
just make sure that the background and
the foreground are a little bit darker. Poured light in from the softbox into the gap as if it was, I don't know, light from just a single window in the space, so that you're automatically
drawn in to Milli, who's the subject, which is
exactly the way it should be. So, okay, in the end, we were forced into doing
this because of the weather, but that is the job of a
portrait photographer, is to make the best of
everything you have around you. And one of the great luxuries
of off camera flash, if you can get your head
around it is you can now work anywhere when
anything is thrown at you. So with that beautiful result, let's move on to
idea number three.
5. Using Off-Camera Flash to create hairlight: So for the introduction
and the first two shots, we've used our studio lighting
or studio type lighting. As our key light,
we've used it as beautiful, soft,
flattering light. But what happens
if you've already got flattering light outdoors? And here we have
actually a moment in between the clouds and
the showers where we do have some beautiful
light coming in and lighting Millie's face. So in this instance, you don't necessarily need
off camera flash. I could just take
a daylight shot, but you can see that the
shadows around her are pretty you see sort of
drifting into the background. And actually, for
me, that's a style of photography I really like. But a Kaz, let's say I'm doing something specific, or I
want the effect of it, or maybe I'm working
with a hair salon where they want things
like hair to shine, you can add a second
light source, a kiss light to separate your subject away
from your background. And if you remember what I
said in the previous idea, a lot of what we're
doing is trying to draw attention to
our subject so, using a kiss like
using a kicker, these kind of light tricks are great for bringing
your subject forward. So we've lit Milli first. I've just got her
set in the scene. The light on her face
is pretty much perfect. You can see there's
great catch sights in her eyes and her skin, the texture looks great. Big soft light coming from those clouds behind
then what we've done is popped a flash in behind and just turn the power down
as low as I can get it. Now, not every
strobe will do that. These threes will
do it pretty well, just so I've got this tiny
amount of kiss lighting in. Then it's a little bit of a
trick of balancing the two. So initially, although
I'd get everything right, when I brought that
second light source in when I brought
the kiss light in, the kiss light was too bright, so I've had to then
knock down my eo. Just drop everything down. To compensate for
that, I've opened up the shutter speed a
little bit to brighten the whole scene back up and then just dropped in the
strobe in behind. And you can see it gives this beautiful shine
to Millie's hair. It separates her
from a background. It adds a level of
sophistication to the image that's
almost invisible. People won't really notice it, but it just adds quality. And then we've done exactly
the same thing with Matt. We've just brought
him into the scene. But this time, I've brought that kiss in a
little bit tighter, so it's a little bit brighter, a little bit I suppose, harsher the way I've lit it, because with a guy, you can use the angles in a
slightly different way. Of course, I'm not trying
to make his hair shine. I'm just trying to
define his jawline, his figure and the coat
that he's wearing. Both are very simple
techniques to do. Just moving the
flash around, and of course, it's
an obvious point. But if you want a flash
to be less bright, you don't just have
to turn the power down or you could just
turn the power down. But you want it even darker
than that, move it away. If you want it brighter,
you can just move it in. Of course, it changes
the shape of the light, but it's a different way of changing its impact
on the scene. And with that, let's go
on to the next idea.
6. Using Off-Camera Flash as artificial sunlight: Stunts. So for this idea,
why not try and use your off camera flash in a way that replicates
maybe sunlight? So we've gone for
the natural skylight with the big soft
boxes, but this time, we're going to try and use it in a way that makes it look like our subject is in sunshine
rippling through the leaves. Now, our courtyard here is a great location for
it, but it's not huge. So we battled it out. It took me a minute or two or
three or four or ten. To find a location for
the light where when it struck the wall and
struck our models, it looked like it
could be sunlight. Now, of course, it can't
quite be sunlight. For a start, the shadows
that are cast by the sun are for all intents and
purposes, absolutely parallel. Whereas the light or the
shadows rather cast by a point light source within
2 meters or 3 meters, they're going to be divergent. The shadows are going to get
bigger as they move away. And you see this very often in drama programs.
It's a big thing. If you see shadows
cast on a back wall, even the lighting cast
on wall behind us here, if the light is diverging, that's not from the sun. It is from a light
source much closer. But it took me a while
to find that spot where all of the light
hung together and it felt reasonably natural. Now, the thing with
this, if you're doing this kind of shot
is you're going to need almost certainly your
strobe set to full power. It doesn't matter what
light you're using, whack it up to full
because we want that to be almost all of the light source. So
we'll balance that out. That's fine. It doesn't
really matter if bits of the scene go
into the shadows, but it has to look like your
key light is a sunlight. And to that end, we've
set the powder fall. We've taken all of
the modifiers off. It's just a bare hedtrobe
slung on a strobe, high in the air, as high as I can get it on this
particular light stand. Anyway, we found a spot where
it's behind some leaves. So some of the light is now
coming through those leaves. It's lighting our doorway
in the courtyard. We've used Matt to stage it because by this point,
it's really cold. It wasn't the warmest
of days to be doing outdoor off camera flash. Millie's cold, so we've
used Matt for a little bit, and it's great
because it gives us a chance to try things
out, and he's pretty game. Now, when I've got
all of that set, we've switched Matt
out for Milli and just adjusted it a little
tiny adjustments so the light striking her and the pose
that she's gonna pull creates a flattering light across her face and
down her figure, because in the end, I'm
still doing the same job. Just because we're replicating sunlight doesn't mean it
shouldn't be flattering. And, of course, if you've
worked in sunlight, you know that some angles
work better than others. There's no point having
Milli dip ahead too much because it's
going to create dark shadows in the eyes. So we've posed Milli in sympathy with the
lighting, again, quite a lot of trial and error going on because we can't use the modeling light to its extent that you might expect
in the studio. But here you go.
What beautiful shot. The light comes in. It looks like it's lit by the sunshine. Yeah, right, we get
a little bit of roll off as we go across
the scene because, of course, the
inverse square law, if you double the distance,
you quarter the light, of course every photographer
has brought up with that, but here it is in
absolute illustration. The further away you
get across the frame, ever so slightly
it's getting darker, but it's still a beautiful shot. It's a neat idea. And with that, we go on to idea number five.
7. Using Off-Camera Flash to create the effect of window-light: Stops. So for this last idea, what we're going to
do is punch light out through one of the little barn doors we have in our studio. So we've taken the
barn door out. We've put the light source
inside our studio shining out. And this is a similar
idea you could use if you have a strong light source just coming out of
somebody's windows. Here we're using off camera flash to do
it because by now, the light levels
are pretty gloomy. And I just thought it'd make
a really interesting scene because we have this little
corridor with some steps, and next to it is where
the barn door is, and that's going to
be our light source. And then if we crop
it and frame it in the right way, we've
got this brick wall, this really
interesting stone and brick wall to offset and create this sort of structure within a structure,
frame within a frame. So all of this is going
on. Now, throughout this session and throughout
most of our videos, I've shot everything
horizontally because it looks
better in the video. It makes Katie's job when she's editing that
little bit easier. But of course, a shot like this, I would also shoot in portrait, and you can see a few of
those have been done in a vertical format because I think that's probably
how the shot should be. Now, in terms of creating the image and framing
image, the same technique. I've set my background levels, then dialed in the
power on the flash. The trigger wasn't
quite reaching it, so we've had to do this a little bit by shouting at each other. So someone's inside the
studio controlling the power, and I'm shouting the
levels I want through it. God bless brick walls. You can't get necessarily all of the Wi Fi
signals through it. Well, that's fine. We got to
where we needed to get to. And then there's some decisions about how I wanted it to look. Now, if I just move
left and right, parts of the wall
appear or disappear. If I move up and down, parts of the sky behind Milli
appear and disappear. I have to make decisions
as I go as to what I want. When the sky appears
in the scene, it's kind of nice and it shows that it's
an outdoor scene, but sort of it also draws
your eye up and away. So I've tended to
shoot with that sky out of most of the shots. I've tried a few with it in to see what it
would look like. Also, the light is bouncing off, so that it's coming
out of the barn door, it's striking across the stairs, hitting Milli, and then
bouncing back off an orange, red brick wall that's to
her left of camera left. And that's creating this
beautiful warm glow. I'll admit, not necessarily
an expected warm glow. I expected a kicked light, but I hadn't really factored in the color, but I really like it. It has this warmth.
It has this sort of autumnal glow about it. It feels you know, the same kind of lighting you'd get if you had a log fire. It's that beautiful warmth
against the coolness and the greens and the blues and the grays of the background. A simple image to do once you get your head around what
you're trying to achieve. Soft flattering light on Milli. The posing is done in a way that tries to make
it nice and compact, but also just moves
her face around towards the light so that
the light is striking across the mask of her face exactly as if I was
working in the studio. And that's idea number five. But of course, it
wouldn't be one of our five ideas if it
didn't have a sixth idea. And so with that, let's
head on to a bonus. And
8. Bonus Idea 1 - using Off-Camera Flash with fog and a romantic silhouette: So for this bonus
idea, what do you do? Well, of course, use all of
the tools at your disposal. I've got Matt, I've got Millie. I've got the strobe, and,
well, we've added in. A smoke machine, this
particular machine is a PMI smoke genie. Fantastic bit of kit,
and we will do a video dedicated to the art, the craft, and the isolated
your smoke alarms of using smoke machines
at a later date. I just thought it'd be fun. I just thought it'd
be entertaining. Now, I've taken
plenty of wedding photographs on misty days, sometimes just
using normal light, sometimes punching light
in the background. And if you look through any wedding
photographer's portfolio, there's going to be at least one shot where the couple are just romantically posed and
their backlt using a stroke. That's another use
for off camera flash. But here we wanted
at a little bit of theater because we don't
have a wedding dress. We don't have all of the drama that naturally
goes with that. What we've got is
just Millie and Matt who just are adorable.
They're a lovely couple. And we've tried to find
a spot where firstly, I can control the
light, and secondly, I can drift smoke
through the scene. So we've ended up
back in our barn. We tried a couple of
different places, but the wind direction
sort of governs it. It's not a windy
day, particularly, but there's a limit to
the controllability when you're starting
to drift smoke around. So we've popped the
strobe in the background. I've posed the guys in a
way where it tells a story. Now, when you're doing
this kind of shot, whether it's just a
straight silhouette or using mist or smoke, is you need to sort of
tell a shadow play story. If you watch Asian
shadow puppetry, this is the kind of trick they
do with just silhouettes, outlines of characters, and we're trying to
do the same thing. So we want it to look romantic, we want it to look
close and intimate. We want to add some theater and drama using the
mist and the light. But the first bit to get right, is the narrative in the posing. So we've got them
really close together, but then I've got them
to lean back and pitch their heads in ever
so slightly as if they're going to kiss and hand positioning
and their faces, it's all done so that
there's a gap between them. It's really important.
There's just that little bit of space that allows the
light to come through. If you just clamp them
together in the silhouette, it doesn't look really it just
doesn't look quite right. So we've very
carefully posed it, and we've had quite a few
goes at getting that right. Obviously there's a lot
of laughter involved, 'cause you're trying
to say to someone, I'll be intimate, be romantic. Pretend that there's
not three people around you filming you, smoking you out, and taking pictures all at the same time. Pretend we're not here is
a trick in and of itself. However, we did it. Once I've got the pose and I've got
the light where I want it, so it just pokes through the
gap between their torsos, then we've added in the smoke. Now, the great thing
about the smoke Genie and its remote control and the fan on it is I can fog
it really, quite quickly. So we just keep punching
the remote control, drifting the smoke in, the wind directions, carrying that fog towards the camera. So all of that mist is
going to come round. Which gives you
that iridescence, that little bit of flare
as the rays of light from the strobe sort
of hit the smoke, sort of off the edges, and it softens all of
those edges for you. It's a really simple trick. You could do this
on a misty night. The strobe is
placed where it is. I've got it whacked up
to full power because really the I'm not balancing
against daylight here. I've got a little bit
of light around it, but that's not the objective. I'm just using as
much light as I can to darken everything down. Then it's just a case of
hoping that the smoke's in the right place when the couple are in the perfect position, firing a flash, and there it is. It's a piece of theater.
It's a little bit of drama. It's a lot of fun to do, and we'll explore some of
these ideas in a later video. So if you think that's dramatic, have a look at this next bonus, where we take Jess
who's 6-years-old and do something even
more theatrical.
9. Bonus Idea 2 - using Off-Camera Flash to create a haunting halloween image: So if you think off
camera flash isn't something you'd use on a
client shoot, think again. So for this shot,
genuinely genuinely, we weren't supposed
to be doing this, but Jess, who's
Lette's daughter, Settas one of our regular
models or clients, Jess is 6-years-old
and is brilliant, full of attitude,
full of confidence, and we're close to Halloween, and she's turned up,
and she's wearing this great red coat
and these boots. And she's just rocking the
and at the end of the shot, I looked out into the
courtyard and thought, you know what would
be fun is if we set Jess out there in a
red coat at the time, I was thinking like
red riding hoods, sort of those kind
of dark fairy tales and thought it
might just be fun. So we popped her outside,
lit from the background, we popped one of the lights into the doorway of one
of the barns here, so it's flooding forwards. We put a second
off camera flash. This time we're
using two lights. I'm using an off camera flash behind her with
just a dish on it, so that's throwing light
towards the camera. And then we've got
another light, which is lighting
up Jess's face. Simple lighting
technique. Split into two. You're lighting her face. You're lighting forward.
So now I Daylight, I've got an off camera flash to the back and an off
camera flash to the side, so I'm using it to
its full extent. But that hasn't
finished the job. Of course. What do you do when it's
close to Halloween and you've got all of this
lighting going on, you fill it with smoke. And that's a lot of fun. We've got all the
smoke machines out. We're just now
playing with toys. We've got the smoke Jeanie
and two smoke ninjas all pouring smoke in because we needed as much
as we could get. And there's a slight
breeze and we wanted to create as much theater
and drama as we can. You just the light,
the height of the light in the background up and down to left and right. So it's completely behind Jess. But it's wrapping light
through the smoke around her. We place the gridded softbox. It's a 30 centimeter by
1 meter, small softbox. Again, it's got an Ellncrom three and with a grid on it
just to isolate the light. So it's only going towards Jess. It's not lighting the
rest of the scene at all because I want
the theater to be in the smoke and the background and the way that's kind
of darkened, gloomy. Jess just brilliant. We're laughing our heads
off, moving things around. And the first few shots, we
didn't have colored lights. And I'm looking at the scene, and it feels like it
needs something else. And I said to the
guys, I think maybe a blue but as always, it's best to listen to your team because they see
things that you don't. And Katie quite simply said, No, it's got to be red because
it's Halloween and she's wearing a red dress and a whole lot all tied together. Now, I hate to credit other people when I
get a great shot. But in this instance, Katie
was bang on the money. We lit it with a bright red gel. Tons of smoke, tons of light. Jess just rock the look, and there we have theater in its finest form
for Halloween. To finish the shot, I admit
I've used a little bit of AI, just to pop a pumpkin into
the bottom right corner, but it looked just
as good without. I just felt like for Halloween, when we released the real
as we did in the end, that would just catch people's
eye a little bit more. Not a huge fan of using
AI for all these things, but in this instance, it's
only a supporting act. I could have dragged a
stock photo in there. And it just goes to show if you have imagination and if you have optimism and you have
just a little bit of kit and just go for it, it's amazing what
you can create. What a beautiful way to
finish this video off. A
10. THANK YOU: It So thank you for reaching
the end of this class. We have covered using off
camera flash in its raw form. We've covered using off camera flash as a
flattering light. We've used it as an isolation light to pick out your subject. We've used it as a kiss light. We've used it to
create sunshine. We've used it to create
sort of light as if it came out of a window,
and we've used it, of course, to create theater and drama where otherwise,
there might not be some. We would love to see your work. Please do create some projects of your own using some
of the techniques, whether it's
isolating, flattering, drama, theatrics, whatever you like. We
would love to see it. Please upload your projects
using the links down below. If you like us, have a love of everything to do with
portrait photography, then please do head over to mastering portrait
photography.com, which is all about the
craft, the artistry, the business, and
basically the love of portrait photography. It is also, of course, the home of the Mastering
portrait photography podcast. But until next time,
whatever else, be coin to yourself. Take care. I'm gonna get a much
quicker roll light of light much, much much. Ah, M C I say roll off. Apparently, I'm now in the zone. According to Sharp A, someone
or other, it isn't working. That was perfect.
Did you see that? That was perfect.
Go me. Straight up. Uh, Auto meistetic
exactly what you said. Auto Auto mestetic. We're working with Milli. Yeah. Set setting
looking at Katie's face. Cookie. D. Think about that cookie. Alright, I'm thinking
about that cookie. Not a child. Do your homework.
You'll get a cookie. Alright, I'm doing
it. I'm doing it. Honestly, Mum, I'm doing it. What What point do my people that work for
me become my parents? Paul, concentrate or you're
not getting your breakfast. We're gonna cook. You're not. You're not gonna Scene six, ID Vive, take one. Vive. V. Iidea vi. Automastatic. Sos do that again. Scene six, ID vive. What the **** is going
wrong? Hi there. Five, five. I want my cookie. Give me my cookie.
I want my cookie. It's my reward,
ladies and gentlemen, my reward. I get a cookie. Um, um, um, um, um, um, um, um, no. Mum, um, um, um. Turn it off. Your body
language says it's not fine. There's a clapperboard
without your name on it, and you're like twitching. Alright. No, I rubbed
out. Do not rub. It just says do not. Sorry. I'm trying to hold
it in the corner now. Whatever else, do not,
Katie. Where are we? As you got your
head in your hands. Sugar. I think I
earned a cookie. You cookie. Damn it.
Paul Wilkinson, Portrait Photographer
