图片编辑及摄影、视频学习笔记 2022

gzhjb

好久没有更新了，这一段时间忙飞了。

今天是 Melbourne Cup Day，白天去一位同学家 House Warming 聚餐。晚上回来赶紧抽时间搞搞PS。

gzhjb

白天工作，晚上要还能有时间用用PS，真是不容易。

gzhjb

What’s the Best Way to Share Photos with Clients

https://expertphotography.com/be ... hotos-with-clients/

gzhjb

DaVinci Resolve 16

gzhjb

DR16

I / O: cut in and cut out, better no longer than 4~5 seconds per clips.

L and multi L key: speed up playback.

B: Blade tool

T: Trim tool

Del: Ripple Delete

Look at Audio Scope for beats.

Shift-Del: delete and pull the rest up to the place.


Workflow:

0. Set project timeline resolutions and fps.
1. Import all videos and BGM.
2. Rough cut.
3. Import BGM.
4. Add title.
5. T- Trim Edit mode: adjust clips length to the beats.
6. Fade in and Fade out.
7. Cut or speed up the clips in order to hit the beats.
8. Playback-Render Cache-User: in order to get the playback smooth.
9. Colour Grade the entire timeline.
10. Deliver.

gzhjb

Free Music

https://www.bensound.com/

gzhjb

To get a perfect white background

Camera Settings: F11, ISO 200, 1/125 (Turn on Histogram)

1. Take a photo of the white background in order to get a perfectly white background.

2. Increase ISO to remove any shadows. (For example ISO 200 -> ISO 400)
    F11, ISO 400, 1/125

3. Increase ISO to light up the face from shadows to mid-tones. (For example ISO 400 -> ISO 800)
    F11, ISO 800, 1/125

Now, you have created a perfectly white background for a portrait.

gzhjb

Flash photography for beginners

Your shutter speed is much slower than the duration of the flash, so think of it as just controlling your ambient light. This is because no matter how slow or fast the shutter speed is up to the sync speed of course, it won't be as fast as the flash, so whenever the shutter is open, it'll take in all of the flash light.
But the longer you leave your exposure, the more ambient light you'll let into the camera.

Your ISO and aperture controlled both flash and ambient light. This is because with the aperture you're increasing or decreasing the size of the hole that the light can get through and with the ISO you're changing the application of the signal from the sensor, so these control the overall exposure of your photograph.

And then we have the flash power setting, this comes in fractions one over one being full power, one over two being half power, one over four being quarter power and so on and so forth, right down to one over 128th.

The lower the power, the longer the batteries will last in your flash, and also the quicker the recycle time.

One other thing to take into consideration is that for each fraction change that you make in the power on the flash, this changes the flash brightness by one stop. So one quarter to one half would be the same as F5.6 to F4, or ISO 100 to ISO 200. And one quarter to one eighth on the flash would be the same as F5.6 to F8, or ISO 100 to ISO 50.

You might be wondering why I haven't included shutter speed and the reason for this is that the really short duration of the flash, no matter how long or short the shutter speed is, as long as you're below the sync speed, it'll take in all of the power of the flash. So it doesn't matter what shutter speed you're at, the flash power will be exactly the same. And for now this is all you need to know about your flash. You can have it in manual mode and you're gonna change the fraction of power that you're going to use. So as long as you understand stops of the light and you know how aperture, shutter speed and ISO work together, thhis fractional change should be seem quite familiar.

One other thing to take into consideration is the flash duration, especially if you have things moving fast through your frame, the closer to full power that you are on your flash unit, the longer the duration of the flash. So if something's moving fast through your shot, it's more likely to blur. Just know that if your subject starts blurring due to motion when you're using a flashing, you may have to reduce the power, which will reduce the duration of the flash, more likely freezing your subject. And do remember to increase your aperture or ISO to compensate for this decrease in flash power.

Those flashes do have a zoom function, they tend to go from about 24 mm right through to around about 100 to 105 mm. All this is doing is widening or focusing that light. You don't have to worry too much about this for now, just make sure that the zoom follows what zoom you're using on your camera.

I start off with the following settings. I put the shutter speed at around about 1/100 of a second, my ISO at 100, aperture at F5.6 and I set the flash to manual and 1/4 of the power, I set my white balance to flash. If you're using a mirrorless camera, you'll have to turn the live view display off to see what you're shooting. Once you've done this, take a test shot.

One quick tip to get much better light from your flash instantly is to tip the head of the light up towards the ceiling, as long as you've got a white ceiling, it'll give you a really nice light. This will bounce the flash off the ceiling, making the flash a much bigger light source and making the light a lot softer. It will dissipate the intensity, so you may have to increase the flash power if needed.

Then you want to play around with your shutter speed and flash power to get the right ratio between the two sources of light, once you've got this you can adjust your aperture to get a good overall exposure and this is where personal taste comes into play.

You might like more flash or you may prefer more ambient light. But knowing how to change each light source is critical to get what you want. If I want more ambient light, I'll lower my shutter speed. If I want less ambient light, I'll increase my shutter speed. You just need to make sure when increasing your shutter speed, you don't go faster than the sync speed. If I want just the flash to be brighter, I'll increase the flash power. If I want the flash to be darker, I'll decrease its power. So very quickly, you can dial in your settings by just thinking of shutter speed for ambient lights and flash power for flash.
I try to keep my ISO at 100 and when you're using a flash, this is pretty easy to do, because there are lots of lights about. And obviously the lower the ISO, the less noise in your photographs.

So when dialing in my settings, if I want there to be very little ambient light and all flash lights, I'll have my shutter speed at the max sync speed of the flash, for example, 1/200 second, then I'll increase the power of the flash and then control the overall exposure with aperture.

If I want to blend ambient and flash light, what I'll do is I'll decrease my shutter speed and then play around with both shutter speed and aperture. If I then need to increase or decrease the flash compared to the ambient light, what I'll do is change the power on the flash. At last, I'll change my aperture to change my overall exposure because I've balanced the ambient light and the flash light together to where I want them to be. It does take a while to get your head around this, but once you do, you'll be able to dial in those settings really quickly and then you'll have ultimate control over your flash and ambient light. You'll also be able to get really consistent results that you wouldn't do in auto mode or TTL mode.

gzhjb

White Balance Setting

Daylight 5600 K
Sunset 2500~3500 K
Tungsten 3200 K
Twilight / Blue hour 8000~10000 K
Florescent 4000 K
Shade 7000 K
Cloud / Overcast 6000 K
Flash 6000 K

Australia: PAL


Exposure:

1. Histogram
2. Waveform
3. Zebras
4. Exposure Assist (False Colour)


Aspect Ratio:

16:9

1920 x 1080
3840 x 2160

1.89: 1

4096 x 2160

gzhjb

10 RULES OF COMPOSITION

1. FILL THE FRAME
2. RULE OF THIRDS
3. SYMMETRY
4. CREATING DEPTH
5. LEADING LINES
6. DIAGONALS
7. PATTERNS
8. FRAMING
9. DOMINANCE
10. FOCUS

gzhjb

CAMERA ANGLES

- WIDE SHOT
- TIGHT SHOT
- MEDIUM SHOT
- LONG SHOT
- EXTREME TIGHT
- DUTCH ANGLE
- HIGH SHOT
- LOW SHOT
- CUTAWAY SHOT
- COWBOY SHOT
- POV
- OVER THE SHOULDER

gzhjb

Cinematic Glidecam shots


1.        Push in – using a wide scope lens 24mm, keep something in the foreground. Used as intro shot.
2.        Pull Out – start in tighter on subject gradually pull out, ending the scene.
3.        Parallax – moving the glidecam around the subject, keeping subject in same point everything else around her moves.
4.        Rise up – you can combine with parallax, start really low and move high
5.        Reveal
6.        Tilt down reveal – start facing the sky or trees and then reveal to subject
7.        Tilt up reveal – start from ground or a rock
8.        Focus shot – mimic subject walking keeping safe distance where focus remains, can also use the parallax, memorize where focus is set image is blurred and then move glidecam into focus (music video alex boyet)
9.        Moving continuous focus
10.        Tracking – three types lead tracking the subject walks in front of you and you lead them in front, follow tracking subject leads the way you track from behind, side track maintain good head space and more space towards where the subject is looking.
11.        A) Transition moves – lead tracking to whip, when whipping how you end the whip to right, left, top or bottom the next scene follows likewise ie whipped right following scene goes from left to right whip out of subject to right whip into subject left to right.
B) Reveal shot using masking using the tree to mask out and the pole to mask in
12.        Low Mode – same principles used catching the feet or lower to ground.

gzhjb

Audio Level:

Low End: -18 DB ~ -12 DB
PARK: -6 DB

gzhjb

PRE-PRODUCTION PROCESS

1. IDEA CONCEPTION
2. ROUGH SHOT LIST
3. AVAILABLE RESOURCES
4. MUSIC CHOICE
5. FINAL SHOT LIST

gzhjb

FACEBOOK VIDEO MARKETING

1. Upload to FaceBook Directly.

2. Short Captions, No External Links. (Short and Enticing)

3. The 3 Second Rule.

4. Mute Friendly.

5. Square Video.

gzhjb

10 Tips to 10x Productivity

1. PERFORM HIGHEST VALUE ACTIVITIES

2. DELEGATE / OUTSOURCE LOW VALUE ACTIVITIES

3. SET A SCHEDULE OR TIME LIMIT

4. FOLLOW THE 80/20 RULE

5. GET IN THE MOMENTUM ZONE

6. TAKE RECHARGE BREAKS

7. ELIMINATE DISTRACTIONS (TURN OFF SOCIAL MEDIA NOTIFICATIONS)

8. STAY ORGANIZED

9. LEARN HOW TO SAY NO

10. REDUCE TECHNOLOGICAL BOTTLENECKS

gzhjb

7 HABITS THAT ARE DESTROYING YOUR MOTIVATION

1. PERFECTIONISM

2. COMPARING

3. WAITING TO WORK

4. MULTITASKING

5. ALLOWING DISTRACTIONS

6. SAYING YES

7. INDECISIVENESS

gzhjb

3 Point Lighting Set

1. Key Light: 45°
2. Fill Light: 50% of key light
3. Back Light: 50% of key light

gzhjb

WEDDINGS

1. SHOOT TO EDIT: KNOW WHAT YOU NEED FOR EDITING BEFORE YOUR SHOOT.

2. 2ND SHOOTER: FOOTAGE BACKUP AND COVER MULTIPLE ANGLES, REACTIONS AND SO ON.

3. FOCAL LENGTHS: 70-200, 50 AND 85 FOR 2ND SHOOTER, 24 FOR WIDE SHOOT.

4. LIGHTING: IS EVERYTHING.

5. AUDIO: ELEVATES YOUR STORY.

6. VENDORS: WEDDING PLANNER, GOOD RELATIONSHIP TO REFERRALS, PHOTOGRAPHER, DJ

7. POSING COUPLES: FIRST LOOK, CEREMONY AND BRIDALS.

gzhjb

Camera Settings for Shooting

1. FRAME RATE: 24 FPS FOR SPEAKING AND DANCING PART, 60 FPS FOR SLOW MOTION PART.

2. SHUTTER SPEED: 1/DOUBLE OF FPS.

3. APERTURE: DEPTH OF FIELD.

4. ISO: QUALITY OF IMAGE, AS LOW AS POSSIBLE.

5. WHITE BALANCE: MANUAL.

gzhjb

BASE PACKAGE

- 5 minutes film, delivered in 4K
- 8 Hours of Coverage
- 2nd Videographer
- 4K digital download of Final Film and 1080P digital download for Mobile
- Drone coverage (Coverage depends on venue and weather)
- Vows and Speeches will be recorded and intertwined into the final video
- Final Video will be edited and delivered within 6 weeks.

- 7 minutes film

- 10 minutes film

- 15~20 minutes film

gzhjb

Sharpness 0

Contrast 0

Saturation -2

Colour Tone 0

gzhjb

1. SNAP ZOOMS

2. PUTTING ELEMENTS IN FRONT OF THE LENS

3. SHOOT AT A HIGH FRAME RATE & SPEED THE MUSIC UP

4. CREATIVE CAMERA MOVEMENTS

4.1 FRONT TO BACK SHOT
4.2 THE BARREL ROLL
4.3 THE HALF-CIRCLE
4.4 THE TILTED HALF-CIRCLE
4.5 THE FRONT TO BACK HALF-CIRCLE

gzhjb

How To Interview Someone for a Documentary


Prepare your questions
Think ahead about the type of questions you want to ask your interviewee. What kind of information are you looking for from this particular person and what are the type of questions that will best get them to give you the information you’re looking for? No need to go crazy. 5-10 questions is usually enough.

Avoid “yes” or “no” answers
Your questions should be asked in such a way that you won’t get “yes” or “no” answers. You need your documentary interviewees to give you substantive answers that you can use in your video edits. Instead of “Are you happy with the outcome of the court case?” Ask, “What is your response to the outcome of today’s court case?”

Prepare, but be spontaneous
Even though you have prepared questions in advance, allow yourself to veer off from questions if the interviewee says something interesting or unexpected that you’d like to explore further. Sometimes the unplanned “spontaneous” questions & answers create the best moments.

Get the interviewee comfortable
When the video camera rolls, ask easy questions to warm them up. Ask them what they had for breakfast, where they are from, how many kids in their family.. anything to get them talking and comfortable. This is a key interviewing tip!

Don’t give out specific questions in advance
I cannot stress this point strongly enough. It’s perfectly acceptable to give someone a general idea of what the interview will be about, but do not give them your list of questions. If you do, they will try to memorize their answers in advance and you will lose spontaneity and freshness. Your interview will end up feeling stale, unauthentic and rehearsed.

Have them repeat your question
This is a great idea, especially if you plan to have no narration for your documentary. Get the person to repeat back your question in their answer. This will help you with the video editing and storytelling later during the editing process. For example, you ask, “How are you feeling?” The interviewee says, “How am I feeling? I’m feeling excited!”

Proper positioning of interviewee
If you are the person both shooting AND interviewing, the person may end up looking into the video camera, which gives the feeling of a personal and direct connection with the person talking. However, the off-camera approach is most common. The interviewer sits or stands right next to the camera so that the interviewee is looking just off camera. You get your best results if the interviewer (you) is standing right next to the camera, that way you can see the full face of the person you’re interviewing and not a profile, which can be unattractive and distracting to the viewer because you can’t see their eyes and facial expressions very well.

Keep your mouth shut
Stay quiet when the other person is talking. You don’t want to hear yourself in the background. (Watch out for the “hmmmm”, “Oh right..”) Just ask the question and then keep quiet. It’s good to nod, and make gentle facial expressions, just no sound. Unless of course, YOU are part of the story and the camera has both of you in the shot.

Ask for final comment
Here's a great video interviewing tip: at the end of the interview, always ask the person if they have any final thoughts. Ask them if there was anything you missed. This can sometimes bring out some great information you hadn’t thought to ask about.

Don’t stop filming when the interview is “over”
Especially when you have someone who is nervous and never got quite comfortable with the interview. When you’re done with your official questions, say “OK, that’s the end of the interview.” Make sure the camera continues to roll at this point because often the conversation will continue. Psychologically, the person no longer feels the “pressure” of the interview and will loosen up. This is the time I have often gotten the best quotes of the interview!

gzhjb

How to Ask Good Documentary Interview Questions


1. Avoid Yes or No Answers
The first rule of documentary filmmaking questions is to avoid yes or no answers. Just as the rules of good conversation, asking yes or no answers provides no insights. And it can also quickly work you into a corner. Here are two examples:

Q: Where you watching TV when man landed on the moon?

A: Yes

As compared to…

Q: What were you thinking the moment you saw the moon landing on TV?

A: I was in amazement, it never seemed real until that moment…

You not only want to avoid yes or no questions, but you really want to push for open-ended questions with a “tell us more” or “tell us in your own words” style approach to encourage the telling of a story.

2. Repeat the Question in the Answer
For those perhaps more interested in television or digital news style documentary content, this is a cardinal rule of the trade. In many instances, the documentarian or the person asking the questions won’t be included in the shot or on video camera.

As such, the audience won’t always know what the question is being asked. So, it will require for you to explain upfront, and remind your interview subject, to repeat the question in their answers. You can give an example like this:

Q: What were you thinking the moment you saw the moon landing on TV?

A: In the moment I saw the moon landing on TV, I was in amazement, it never seemed real until that moment…

This will also often help the interview subject stay on topic and focused on the actual purpose of the question as it pertains to the documentary and the story that you are building.

3. Assume You Know Nothing
Many documentarians and interviewers can be guilty of this simply because they know too much – and want to appear knowledgeable in their questions. However, at the end of the day, unless you’re making something for a highly informed niche audience, most documentaries will need to at least cover the basics of any subject before they get too in-depth.

Therefore, you’ll always need interview quotes that explain things in the most basic terms and without all the insider language and terms. To do this, it can be helpful to ask simple, easy questions at the beginning of an interview. From there, you can ask more nuanced follow ups, but always try to remind your interviewee to speak as if they were talking to someone who knows no more than the average person on the street.

4. Let the Answers Develop
Another mistake many documentary filmmakers may make early on in their careers is an overzealous approach to asking question after question looking to rush through a shoot. A good documentary interviewer knows to let answers breathe and develop.

People talk and think at different paces and speeds. Sometimes, if you let an answer hang there and give the subject a moment to think over what they just said, they often will continue on in a new approach and with a little more direction than before.

5. Explain Why Your Asking
Unless you’re working in some sort of expose-style of documentary filmmaking, your interview subjects are most likely going to be your best sources and biggest allies in helping you develop your project and tell the story. The more you can explain to your subject about the documentary project, it’s message and why you’re interviewing them (and what you’re looking for out of the interview), the better they will be able to help.

If you’re asking a long questions or sense that the interviewee is struggling to understand the question, take the time to backtrack and explain why you’re asking the question in the first place. Their ultimate goal is the same as yours – to tell a great documentary story.

gzhjb

Shot List Plan

Title: Shot Description

Subject:

        What to shot.

Camera:

        Cam A, Cam B, Cam C...


Shot Size:

- Close-ups
        Close-up
        Medium Close-up
        Extreme Close-up
        Wide Close-up

- Medium Shots
        Medium Shot
        Close Shot
        Medium Close Shot

- Long Shots
        Wide Shot
        Extreme Wide Shot
        Full Shot
        Medium Full Shot
        Long Shot
        Extreme Long Shot

Shot Type:

- Camera Height
        Eye Level
        Low Angle
        High Angle
        Overhead
        Shoulder Level
        Hip Level
        Knee Level
        Ground Level

- Framing
        Single
        Two Shot
        Three Shot
        Over-the-Shoulder
        Over-the Hip
        Point of View

- Dutch Angle
        Dutch (left)
        Dutch (right)

- Focus / DOF
        Rack Focus
        Shallow Focus
        Deep Focus
        Tilt-Shift
        Zoom

Camera Movement

- Static
- Pan
- Tilt
- Swish Pan
- Swish Tilt
- Tracking

Equipment

- Mechanism
        Sticks
        Hand Held
        Gimbal
        Slider
        Jib
        Drone
        Dolly
        Steadicam
        Crane

- Direction
        Forward
        Backward
        Left
        Right
        Up
        Down

- Tracks
        Straight
        Circular

Lens

- Angle of View
        Normal
        Telephoto
        Wide Angle
        Fish-Eye
        Zoom

- Primes

        10, 12, 14, 16, 18, 20, 24, 25, 28, 30, 32, ... 135, 150, 180, 200


Frame Rate

        24, 23.98, 25, 30, 29.97, 48, ... 240

Sound



Lighting



Location



~

gzhjb

Storytelling

1. Know your ending.
2. Create a character with a need.
3. Write an outline.
4. Divide into 3 acts.
        Act1 (Set up), Plot Point 1 (Turn of events into unexpected),
        Act 2 (Solve the problem), Plot Point 2 (Another twist),
        Act 3 (Conclusion).
5. Write a dialogue with emotion.

gzhjb

Flash Basic

Shutter speed is much slower than the duration of the flash, so think of it as just controlling your ambient light, this is because no matter how slow or fast the shutter speed is, up to the sync speed (normally 1/200 second), of course, it won't be as fast as the flash. So whenever the shutter is open, it'll take in all of the flash lightings, but the longer you leave your exposure, the more ambient light you'll let into the camera.
Your ISO and aperture controlled both flash and ambient light. This is because, with aperture, you're increasing or decreasing the size of the hole that the light can get through, and with ISO, you're changing the application of the signal from the sensor. So these control the overall exposure of your photograph. And then we have the flash power setting, this comes as fractions, 1/1 being full power, 1/2 being half power, 1/4 being quarter power, and so on and so forth, right down to 1/128. The lower the power, the longer the batteries will last in your flash, and also the quicker the recycle time.

One other thing to take into consideration is that for each fraction change that you make in the power on the flash, this changes the flash brightness by one stop. So 1/4 to 1/2, would be the same as F5.6 to F4, or ISO 100 to ISO 200, and 1/4 to 1/8 on the flash would be the same as F5.6 to F8, or ISO 100 to ISO 50.

Now you might be wondering why I haven't included shutter speed and the reason for this is that really short duration of the flash, no matter how long or short the shutter speed is, as long as you're below the sync speed (normally 1/200 second), it'll take in all the power of the flash, so it doesn't matter what shutter speed you're at, the flash power will be exactly the same. And for now, this is all you need to know about your flash. You can have it in manual mode and you're gonna change the fraction of power that you're going to use, so as long as you understand stops of light, and you know how aperture, shutter speed, and ISO work together, this fractional change should seem quite familiar.

One other thing to take into consideration is the flash duration, especially if you have things moving fast through your frame the closer to full power that you are on your flash unit, the longer the duration of the flash, so if something's moving fast through your shot, it's more likely to blur. If your subject starts blurring due to motion when you're using a flash, you may have to reduce the power, which will reduce the duration of the flash, more likely freezing your subject, and do remember to increase your aperture or ISO to compensate for this decrease in flash power.

I start off with the following settings. I put the shutter speed at around 1/100 second, my ISO at 100, aperture at F5.6 and I set the flash to manual and 1/4 of the power, I set my white balance to Flash. If you're using a mirrorless camera, you'll have to turn the live view display off to see what you're shooting. Once you've done this, take a test shot, one quick tip to get much better light from your flash instantly is to tip the head of the light-up towards the ceiling, as long as you got a white ceiling, it'll give you a really nice light. This will bounce the flash off the ceiling, making the flash a much bigger light source and making the light a lot softer. It will dissipate the intensity, so you may have to increase the flash power if needed, then you want to play around with your shutter speed and flash power to get the right ratio between the two sources of light, once you've got this, you can adjust your aperture to get good overall exposure and this is where personal taste comes into play. You might like more flash or you may prefer more ambient light, but knowing how to change each light source is critical to get what you want. If I want more ambient light, I'll lower my shutter speed, if I want less ambient light, I'll increase my shutter speed. You just need to make sure when increasing your shutter speed, you don't go faster than the sync speed (normally 1/200 second). If I want just the flash to be brighter, I'll increase the flash power, if I want the flash to be darker, I'll decrease its power. So very quickly you can dial in your settings by just thinking of shutter speed for ambient lights and flash power for flash.


When dialing in my settings, if I want there to be very little ambient light, and all flashlights, I'll have my shutter speed set at the max sync speed which is 1/200, then I'll increase the power of the flash and then control the overall exposure with aperture.

If I want to blend ambient and flashlight, what I'll do is I'll decrease my shutter speed (so getting more ambient light) and then play around with both shutter speed and aperture. If I then need to increase or decrease the flash compared to the ambient light, what I'll do is change the power on the flash. All I need to do now is change my aperture to change my overall exposure because I've balanced the ambient light outside and the flashlight inside together to where I want them to be. It does take a while to get your head around this but once you do, you'll be able to dial in those settings really quickly and then you have ultimate control over your flash and ambient light. You'll also be able to get really consistent results that you wouldn't do in maybe an auto mode or TTL mode.

The next thing to think about is how you use the flash head to disperse that light. If you have it pointing directly at your subject, it'll be a really harsh hard light, because that light source is really small. If you have one of these flash units with a moveable head, what you want to try and do is bounce it off different surfaces in the room that you're in, as long as the surfaces aren't black, they will bounce that light back and they'll normally create a much bigger light source, so in using the basic principles that I've just taught you, try tilting the head of the flash towards to a big wall or a big ceiling, just to see how the light changes, you can grab a family member and use them as a subject or if you have a remote shutter, you can take photos of yourself.

gzhjb

F-Stop Chart Infographic

gzhjb

8 STEPS TO CINEMATIC LIGHTING

1. SHOT SHADOW SIDE

2. LIGHTING DIRECTION (45 DEGREES ANGLE, REMBRANDT LIGHTING)

3. DEPTH (LOW APERTURE, AWAY FROM BACKGROUND, COLOUR DIFFERENCE - ORANGE AND TEAL, MAKE BACKGROUND DARKER, BRIGHTER SHIRT - DARKER BACKGROUND, DARKER SHIRT - BRIGHTER BACKGROUND)

4. MOTIVATED LIGHTING (NATURAL MOTIVATED LIGHT)

5. BACKGROUND LIGHTING

6. TIME OF DAY (GOLDEN HOUR)

7. CATCH LIGHT / EYE LIGHT

8. TEXTURE (FOG OR HAZE)