So let's do the eye test where she's standing. So we're talking about feathering. Let's go ahead and feather this shot. So again, you know when you've done it correctly because you will see two catch lights in the person's eyes. So that's how you know you have it at the right height and the right angle. So now let's have her take a step this way and back up. Yeah, one in each eye. You want to have one in each eye. I actually want to go up a little higher. So when you're looking at images and you're trying to figure out what the lights are, look into the eyes. The eyes will tell you everything. Alright, so let's lift up a little bit. I'm going to add like you guys are not here and set up as if I was going to shoot if I'm shooting something. That looks more like my lighting. Beautiful light. And we're feathering the light. So if she takes a step back, take one more step back. That's a big old step. Come back up. Take a baby step. There we go. Now, to make this pop even more, because the light source is coming from this side, if we wanted to, it actually probably was already affecting it anyway, but let's just bring it in closer. Let me not hit you with it right. Am I close? I'm good. Can I come closer? I can't see. Alright, perfect. Are you shooting? I was shooting you from here up. But I was just the test. So when you add in a V-flat, so you can use a reflector. I light V-flats because one, they're huge. They can cover the whole body. So a V-flat is going to reflect light back onto your subject, but it's going to do it very softly and it's going to take up a lot of space. So it's going to make a big reflection of light back onto your subject, versus just being light kind of specular. I do a lot of use in bit reflectors too. So I'll use a 5 foot reflector or a 3 foot reflector or a little circle reflector depending on what I'm shooting. So now we're using the V-flat right next to her. Yeah, so you can make them. If you go to Home Depot, you can buy these big boards and just get some really good tape. Some of them already come black and white. Starting out, get a reflector because you're going to use that more often. I've never taken a V-flat on set outside. This is a lidty for studio only. For me, I'm not saying you can't, but you can see that V-flat is making it huge, they're friends. Beautiful, beautiful light. And again, you can see two catch lights in our eyes. That's how we know we did it correctly. All right. So now let's adjust that light again. Let's do clamshell. When you're doing clamshell, we want to come a little bit higher because I need to be able to get in there, you know, in front of her. So clamshell. Let me adjust my angle as well. So always remember, that's why we're a belt. Always remember that your light has angle in direction, it has angle and intensity. That's what I'm going to say. So right now, the light is hitting her straight on her face, but if our brain is down, it's going to look more like it's the sun. A lot of times in studio, you're trying to mimic the sun, put it that way. So angles that are coming down in your subject are actually a flattering. Now you do need to keep in mind shadows and what's going on, but a lot of times you're going to want to come down on them. Having stuff straight, F-nam is not like super flattering for what we're trying to accomplish. All right. Let's go up. I'm going to go a little bit higher. There we go. So now we can actually see her. I don't like being on this edge, so take two steps back. And let's rotate this so the thing goes in the back. In the way? The man, listen. So, the T-C has been working with me for a long time. Our first time doing a beauty shoot, it was in an apartment with a beauty dish. It was just, I got it done, but it was janky. It was very, very janky. So let's show you guys how to put this back in. So let's say you do have a reflector. Teach you like random stuff at this point. So let's say you do have a reflector. Huh? So you need three reflectors. Get you a big six foot one or five foot one. Get you a medium size and then get you a small circular one. So you need the big giant reflector for full body stuff. The mediums reflector can help with full body, but it's a little more easy to manage. And then you have your little one which is going to be used for head shots and that type of thing. Okay? So if you need to put your reflectors, I don't know what to call this. Your reflective material. Back until your reflector around your screen, you're going to grab this part. You're going to wrap around here. And again, I learned this from watching people on YouTube. I hate not knowing things. So you're going to wrap it around. There's a hole here. Stick that through the hole. Yeah, and everything goes this wraps around. So much easier, right? So if you don't use this, you're just going to be wrapping and pulling and yanking and especially by yourself. It's super, super hard now. As you can see, it's still kind of hard. Here we go. I don't know if I can't put this on here. I don't need to be out here. Let's go home. Play with my daughters. All right. So we're going to do clamshell lining. We're just talking about we're going to take out the V-flat. So I'm also going to stick to a lot of one light setups because a lot of times you don't need 19 lights. Now we have six in the studio. I'm going to go over those. We have like six in the studio because we're extra. And that is what it is. We never know what you got to do. But you can get a lot done with just one light. So let's test our light out. Again, I haven't checked any settings. After done anything, all I did was move my light. Let's see if I got it right. It looks good. It looks pretty good. Now we can see two catch lights, right? You can see the catch light from the V-flat octobox on this side. But you see the size of them. They're different. This one is a lot smaller than that one. But the reflectors is the right size. So that means I need to shift something over so I can balance these out. Because when they're not balanced, that's how you get the extra shadow that's over here. I'm going to shift it. I'm going to pull it towards this way. Actually, we're doing a rim brake. Not rim brake. Climbshell. So I actually need to do this. So this, take a baby step back and lift up. I don't know what a small, oh, I have a smaller reflector. In my car. That's fine. Just use that for now. So this is actually Climbshell light. So let's take a shot. So the only issue with this is that you see how that pole is right in the middle. So this is where the arms come in. So you can use either the arm that I showed you guys earlier. See that black one right there? This. That is a whole, it's called a boom arm. That's a baby boom arm. Take it out. Take the whole thing out real quick. So this one will allow you to do the same thing. But you can bring this over. So I can lift this down. It's going to come across. So what happens is on the head of it, which is right there, I'm pointing towards you guys, it can rotate. See how that's rotating? So that can move the whole modifier. Again, this is not something you have to have. This is not like, oh my God, if I don't have this, I'll never be anything. I didn't get this. We didn't get this until a year ago. So I had seen them before, but I didn't have one for a year and you guys have seen my portfolio. You can get away with it using the arm. I should sell that to you. What? You and a used phrase? Let's look at our light. Clam shell lighting. Scorges. So this is great for head shots as well. So anytime I'm doing head shots, I normally do one light over the top and a reflector. It's got me so much work. Because a lot of doctors, offices, or lawyers, or whatever, they're used to the just light. There's no style to it. So this incorporates that fashion feel to it to a head shot. That's still professional, still looks great.