So far, we’ve been working in situations where I’m working with window light and available light just open shade that’s soft and dimensional.

Now we’re going to get into something a little bit more complex what we’re going to actually have to add flash to balance the image. It’s not too hard just look at it and kind of break down step by step.

This first exposure of what do you see I’ve exposed only for the background. Only to get that established just to what my exposure is going to be. So in this case I was working at 250 and F14. Now what I mean to do here just going to become my exposure and have to add flash and bring that level of light and the shadows off to match the highlight itself that’s outside created by the sun.

There’s a number of different ways that I can do this. In this first photograph where we actually had to see in his face, I also did some direct flash form off camera 45 degrees away put the flashes onto fuse so it’s kind of harsh. You see the hard lines that it created going from the highlights to the shadow.

I want o soften that a little bit. One of the things I have to do to it is introduce a light modifier. It might be an umbrella as in this case just working with the silver umbrella, so it’s starting to diffuse it, but there are still some secular highlights.

I’m going to go for a little bit deeper into that. We’ll going to add another light modifier in front of the umbrella where it’s now a 1:26 translucent material. So we’re starting to work with this off light and actually make it softer yet, and as you probably know the larger the lights, softer the light. So I’m working with this 36 inch reflector that is now it’s translucent so it’s allowing light to pass through it. My original flash is just the few inches of three or four inches light. It’s not a big light. I broaden it by having the umbrella, and I’ve taken that step further by adding the translucent diffuser.

Okay, what I’m adding we talked about all the dissection of what the light is actually made of how I’ve diffused this light, but I think a really important element is when we put the flash where I put it, and the first and foremost element because I want the light about 45 degrees to the bride. I want the light coming across like we did with the window light before, but I can’t do that for on camera. On camera or any place enclose is going to give me this flat perspective of light. And I want to see that her cheek falls off for there’s a shadow over there.

So because of that I turned to put my equipment my flash equipment about 45 degrees to the bride, so with the light come across I create a beautiful light pattern on here face because our job is fortunate wedding photographers is to ill straight and illuminate the plate of the face. So I have a kind of heavier face just like you’re looking at now it falls into shadow over here. I want to make sure Anna has a very thin face it’s not a problem, but a majority of my clients tend to be a little heavier I think we all are little heavier than we want to be. Working with this complimentary or short light I like shooting in to the shadow side of the face it allows me to just bring the attention right to the main part of the plate of the place. Such so I position the light 45 degrees over.