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Zone two in this room is going to be the bed. I'm going to shoot onto this bed, now because
I want to keep the shots quite tight and exclude the background. I'm going to work on the 100mm lens
because the tighter the lens the less background you see in the shot. Really handy. Let's have
a look at what I am going to do. I'm going to shoot from here, now what I am going to
have is this window and i've got the light coming through the window. Of course windows
themselves aren't light sources they are just apertures that the light comes through, the
light source itself is the sky so i've got to be careful not to block too much of that,
so if I get down low, the light from that sky will come over my head and into Stina's
eyes. Stina's head is going to be at this end and maybe her feet in the background which
I think will look great. I will work quite tight so there is a nice beautiful soft light,
like having a softbox just over the top of the camera, but I want the light
to feel like we are in summer so I am going to put another light over here.
I am going to put a Lupo (Lupolux) which is a daylight balanced HMI light here and create a sort of shaft
of sunlight as if it's coming through another window. Because it's dull, it's January, it's
dark, I don't think I've ever seen a darker day, I want everything to come alive.
This is the sort of thing I would shoot anywhere, any time of year.
Now to start with we need to address the scene, I don't think this bed spread is what we need
so I am going to strip the bed down to a white zone and... scatter cushions, I never have worked out what
scatter cushions are for but perhaps that's a bloke thing! I will get these out of the
way I will move these over to here where they are not in the way of where I am going to
put my light. Let's strip this off, we have some white, that's good, we might whip
down the pillows a bit but those will be alright. I will just pop that down over here.
It's also worth knowing that when I am shooting from that side I've got these elements here
in the back of shot, I've got the potential to see a radiator which I'm not fussed about,
they don't do anything for me so I am going to try to shoot so that I have got from here
across this way. When you get little pieces of furniture like this it's the contrast that
makes them stand out in the background so if we reduce the contrast of the background
it will be fine, I am going to take this out of the way. This screen as well, this old
fireplace here, I think this will be fine so if I have this as an area of background
on a 100mm lens that should look fine. I've got to get the light in, then we will get Stina in,
and we are ready to go.
Here is my Lupo. It's an HMI light it's quite chunky but it's not heavy.
I am going to rig it over here and just pop that bit of sunlight onto there.
I'm going to plug it in. I tend to use extension leads when working in a house because what
I can do then is I can move it around the room without having to unplug it and plug
it in again it's just quite easy.
OK, it takes a moment for the light to come up and get up to speed,
but while it's doing that let me quickly show it to you. It has concentric rings here
that I can flood and spot the light to create different effects so it is like a Maglite
you can spot it up and zoom out with barn doors as well. I am going to use these barn
doors to create a slash of light across the bed which is going to simulate that sunlight,
lets get the light a little higher, I think that will work well there. I've also got the
opportunity to dim the light too with a 1 stop dimmer, I am going to leave it here and
once Stina is in we can fine tune the light as we need.
If you look at the bed here you can see that I am not letting the light run over this side
of the bed because I want the rest of the room and everything to be as dark as I can
and just let the sunlight come across there, Stina's head will be here so we can get lovely
rim light around her hair and it will be enough to make the picture look like it's a summer's day.
Stina, would you like to come in? You're ready. OK, what I would like you to
do is come around the other side and I'm going to reverse it, I would like your head to be
this end here and your feet to be here so you are diagonally across the bed, upside
down if that makes sense, I am going to shoot into this zone here. Could you lie on your
side for me as I'm going to adjust this side I'm going to adjust this light, but looking
out the window, yes that's about it there.
The light is in a good position but if I bring it back this way just that little bit I will
make sure that I haven't got the stand in the shot. I don't want to deal with Photoshop
to edit out stands, we don't want to use Photoshop at all if we can avoid it, just working in
Lightroom would be fantastic. OK, that's good. Now I am shooting a lot of
these pictures in colour but the chances are that I will print in black & white I love
black an white for Boudoir type of photography, for the purposes of this video I am going to shoot
in colour but maybe in post production we will see the black an white option.
OK, let's have a little look.
I am going to shoot from here and with the 100mm lens I need to get back beyond here
and I am going to use this chair because if I get down into this chair then I am not blocking
that sky. Great, OK. Got the horizontal. Exposure, this is a good question it's probably pretty
close to where we were it's window light, we've gone in another metre into the room
from the sequence I did earlier so I think I might open the lens another stop.
Actually I am going to leave it at f/2.8 I'm going to take the shutter speed down to 1/80th,
I'm on 800 ISO, let's have a little look and see where we go to.
Occasionally I look through the camera and I can see the linear, the analogue scale in the camera
and decide where the camera is going to set the exposure and then I have a look at that.
We've got beautiful skin tone and it is bright enough, this white top that Stina has on is
white here, I can still see a bit of detail, occasionally it's worth zooming in and checking
that you can see that it looks like white cotton, it does, Ive got all that detail which
is fine and i've got the skin tone looking beautiful, nice light in Stina's eyes, we're
good to go! That's a nice exposure, it's 80th of a second f/2.8 at 800 ISO and it's beautiful
rim light here, It looks like a sunny day.
I am going to start shooting, it looks fantastic. Look straight to camera for me, drop your
chin down a little bit and open your eyes up to me, lovely.
Look straight to camera, beautiful.
Just bring your arm down and rest your head onto your arm, no the other arm.
Does it fold underneath or is it going to snap?
Yeah that's quite nice. Love that.
You look a little worried, yes, just dip your chin and bring your head down to there, bring
your hand across so you rest your head onto there, lovely. That's beautiful.
Hold that there. Let me get down because I am aware that I am blocking the light, the pictures
are looking fantastic.
Just extend those fingers for me, lovely.
Straight into the camera, a little warmer.
Just give your hands and fingers a little curl, just rest them on your arm, the finger
tips onto the top there. That's nice, beautiful.
Bring both hands down in front of you and just rest your head down onto your hands,
That's it there, just hold that there. Lovely. That is fantastic, close your eyes.
These pictures are looking fantastic. Brilliant. Have a look at this.