In this video I show you how to shoot
silhouettes on location, in the middle of
the day.
Hello I'm Gavin Hoey and you're
watching AdoramaTV brought to you by
Adorama the camera store that's got
everything for us photographers
and today we're going to do a shoot
on location and it's a little bit different.
It's going to be a silhouette shoot.
Now for silhouettes the key word is contrast
and the easiest way to get lots of
contrast on location is to shoot
at either end of the day.
So early in the morning,
if you're a morning person,
I'm not,
or at the end of the day
with a lovely sunset.
However it's not always
possible to do that
and today is one of those days.
It is in fact, early afternoon
the Sun is right overhead,
not ideal for shooting silhouettes
but we're going to do it anyway.
So let's get a model in.
Let's get shooting.
So my location today
is the Gatwick Aviation Museum
which is a wonderful
place for photography
but even more wonderfully
we've got Kerry who's going
to be the model for this.
So first thing to do is to find some shade.
So you want your subject,
your model to be in the deepest shade
you can and have a nice
bright background.
Now ideally that would
mean shooting into the Sun
but the Sun is right overhead,
so that's not really a possibility.
So I've got Kerry and I've got her standing
pretty much on the edge
of this line of shade
and then I'm going to shoot over in that direction
and that's going to be my background.
Okay let's take a shot like this
and see what the camera does.
So let's talk about the camera settings.
Now I'm going to shoot
in Aperture Priority Mode
and I'm just going to let the camera do its own thing.
So at f5.6, ISO 200 and we get a shot that
looks like this.
The camera has tried to average out the shade
and the bright parts of the image.
It's done a good job
at averaging it but that's not a
silhouette.
Now to start to take control
of the camera settings,
I'm going to use
the Exposure Compensation,
this little plus, minus button.
Now I'm going to change it
to -1 Exposure Compensation.
Now when I take this shot
this time Kerry is a little bit darker
but so is the sky,
basically everything
is a little bit darker.
I don't mind the
sky being too dark
because I think it
was too bright before,
so with that in mind
what if I use -2?
Well -2 will be even darker still.
Again the sky is darker
but now Kerry is that much darker as well
and now we're starting to get into the territory
of a good silhouette.
Now there's a couple of things
that we can do as photographers
with the camera to make it better
silhouette. There's also things you can
do with your subject
to improve your silhouettes.
The first one is what
they're wearing. So Kerry has dark
clothes on basically
and the darker the clothes,
the darker they're going to look in the picture,
the more it's going to look like a silhouette.
Now that kind of makes sense.
The other thing is props.
If you're going to use some props
in your pictures they need to be graphic
shapes that are easily identified
as a silhouette and with that in mind,
I've got something for you. Hold on.
There we go. That's for you.
So I borrowed this from the museum
it's one of their bicycles
and it has a fantastically graphic shape.
Bicycles, we can spot a silhouette
of a bicycle and know what it is
so let's take some shots like that.
So we're going to do exactly
the same as before. Let's start with the
zero setting. I know that's going to be
too bright but we might as well take it
anyway, just to be sure and then
I'm going to go down to -1
and then -2
on my Exposure Compensation.
So those are going to give me
a nice choice of images
and you could stop there but
there's one extra thing. that's going to
elevate this shoot to the next level.
One of my favorite things to include in
photography, it's a bit of smoke.
We've got Sam putting some smoke
in behind Kerry
and this works really nicely.
Again I'm going to use my Exposure Compensation,
to try and bag a few shots.
So smoke works really well
but it works even better if you can
backlight it. Now back lighting might be
the Sun coming in from behind
but then of course
we're back to beginning or end
of the day shots. I don't have that
luxury so I'm going to go and get a flash
and light it with flash.
So I've got my flash.
I'm going to point it at the back
of Kerry, facing where I'm shooting from
and just a little way behind,
something like that.
Let's turn it on
and let's take some shots like this.
So I've got to trigger the flash somehow
and to do it
I'm using the Flash point Zoom Mini "O"
Olympus which is the camera I'm using
here and the reason I'm using this
trigger, is it allows
me to do high-speed sync.
So I switched from Aperture Priority
to Manual Mode
and I've dialed in settings
that are giving me two stops
under exposure for the ambient light.
Now that's around about
1/4000 of a second at f/4.
It looks like this without smoke
but of course
it's the smoke that makes all the difference,
so let's add some smoke
into the scene
and we'll take some more pictures.
The key here is to keep taking pictures
because you don't know which one of these
smoke shots is going to be the best?
And we're going to Photoshop
together at the end. So keep snapping away,
as long as, your model doesn't move,
you should get a good series of pictures,
that can be photoshopped
together really easily
and we're going to do that right now.
This is one of those techniques
where you really could stop at almost any
point along the road
and still get a great picture
in its own right
and in this case well I'm going to combine
the smoke together but of course you don't
have to do that,
but have a look at my pictures
and perhaps you'll see why.
So these are the smokey pictures
I've chosen and they were all taken
from the same few minute or so of time,
so there's no real change
other than the smoke is in
a different position.
I had Sam wave the smoke machine up
and down to get that effect.
Now I need to get these five images
and join them together in one
single one, each one being its own layer
and the quickest and easiest way of
doing that, is to go to file
and then come down to scripts
and on scripts
you'll find something called
Load Files into Stack.
Now here it's a matter of
adding in the open files
and if you weren't using a tripod
you could try to automatically align them
but I was so I'll just click the okay button
and that'll take the five images
and make one new image
with five layers.
Now I can see that each of these layers
has a different type of smoke
and I want to combine this smoke
where we have lots on the left
with this one, where it's all behind Kerry.
Now I'm going to do that
using layer masks which I will find
under layer and then down to layer mask
and reveal all. Now that's one way of
doing it. The other way is going down
to the small layer mask icon on the layers
panel, which is how I'll be doing it
from now on. Now a layer mask is this white
rectangle right here
and the way it works is you paint
with the opposite color to cut through the layer.
So I've got the paintbrush,
I'm going to come down
and make sure my foreground color
is black. If yours isn't just press D
followed by X and then I can just paint
over this area where there's that smoke
that I need to add in
and we can just add that into the shot.
There you go.
Fantastic! Okay that's one layer done.
I think there was a bit there actually,
so yes there is, we'll add that in too.
I'm going to add in some more smoke
by first of all merging these
layers together. So let's go to layer
and then towards the bottom,
you'll find one called Merge Down,
not the other two its Merge Down that you want
and that will combine the top layer,
the active layer but the one directly below.
So now I'm down to four layers
and if I flip this off for a second
I can see that the next
layer adds smoke
over here on the right.
So let's do exactly the same thing.
I'll add a layer mask
and I'll just paint over that area
and that's just going to add that little layer
of smoke in as well.
Okay let's merge those down
by going to Layer
and then down to Merge Down
and repeat the process.
Flip it off for a second.
Okay this adds quite a bit of smoke
over here where I'm missing it.
That's lovely.
I'll add in a layer mask
and I'll just paint that in.
Now the joys of layer mask
is if you go wrong,
you can always go back again
by changing from black
as your foreground color
to white either little button
or press the X key to flip them around
and you can repair things really quickly.
Okay so layer Merge Down,
we're nearly there.
We've got one more to go.
That adds some smoke at the bottom
on the right. Lets add that in like so.
There you go, pretty good.
I'm happy with that.
Now I could stop here.
Again that was my plan when I took these pictures,
this is where I was going to stop but the
beautiful thing about photography
and post-processing
is well sometimes you
get ideas that you haven't thought of,
at the time of taking the pictures,
like this for example.
So let's make sure this is fully merged down
by going to layer
and then merge down again
and this time I'm going to add in some mist
and I'm going to add my own mist
by going to filter Camera Raw filter
so you need to be in Photoshop CC
or Lightroom CC
and when you do,
you go to the effects option
and here you'll find something called Dehaze
which is designed for cutting
through smoke and haze
and it actually looks quite good
but if you go into a negative
direction, you're going to add in some smoke
or at least haze of your own
and I think that adds to that misty morning feel
at the Aviation Museum.
I really like that and with a few other adjustments
there it is,
my final picture is completed.
Well that was a great fun shoot
to do and getting a silhouette in the middle
of the day sounds like it might be a challenge
and it was!
That's all part of the fun of photography.
Now if you've enjoyed this video
please leave me a comment below
but more importantly
if you've enjoyed it,
don't forget to click
on the subscribe button.
I'm Gavin Hoey. Thanks for watching.
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