 Hey, everybody, it's Craig Matthew here, and in this video, I'm going to show you how to improve your photos, regardless of the camera you're using, just by thinking of complementary colors. Now make sure you stick around to the end of the video, and I'll walk you through step-by-step how we created this shot. All right, let's get started. Anyway, here we are looking at the color wheel. So one thing that you might want to consider is working with complementary colors when you're taking your images. So for example, skin tones are made up of reds and oranges and yellows. So sometimes by adding blues to the background, you can really cover the whole color spectrum. So you could see here, you've got orange and you've got red, and then you see you've got your blue and your violets. So I was looking at this color wheel and I came up with an idea. So we did a behind-the-scenes shoot of it, and I'll show you the image right at a camera here. I'm just going to close this. Now we went to a cave. So I live in Halifax, and there's an old British fort downtown, but at the mouth of the harbor, there's an outpost where they used to store ammo. So there was some caves. So we went to these caves and we looked around and I thought, wouldn't it be cool if we did like a blue gel on a speedlight and made like an ice-like cave? And then you've got this Amazon kind of greenery outside. And I kind of had this concept. I didn't know if it was going to work. So we're going to take you behind the scenes. And this was meant to be a behind-the-scenes without professional audio. So I'm going to do a bit of a voiceover and then I'll let you hear some of the audio as we try to get to this shot. And it's not the greatest audio, but bear with me through that. But I'll take you through showing up on the scene and walking around and then you'll see how this looks as we set this up. So we basically had a speedlight, Canon 600 EXRT speedlight, with a blue gel in the cave. And then I had a zappelin. You'll see that in the shot. That was our key light. And so you'll see how it'll come together. Look at all that crappies carrying. All right, so here's a shot of Brittany and I walking down. You can see I have quite a bit of gear. I brought the 35 inch zappelin, a light stand. I also brought a beauty dish with me. I had a couple of think tank bags because I was shooting video as well. And then I also had my glide cam. So I had way too much gear. And it was about a 10, 15 minute walk from the parking lot down to this cave. Now this is an old British outpost where they used to store ammo. And sometimes I go on little adventures looking for interesting places to shoot. And I saw this and you can see there's the cave there. So I came up with the idea of using complimentary colors and using the blue gel to make it look like an ice cave. So there's Josh right there and he's shooting some video and there's Brittany fighting off some bugs. So there's a bit of water and it was kind of a swampy area. But I thought what a cool location for a shoot. So you're gonna see some behind the scenes. We'll have some live audio. Like I said before, it's not the greatest standing audio. We just sort of meant to do it as behind the scenes and so the audio is not professional. So here I am shooting some video. This was for the YouTube intro for this behind the scenes. So I'm using the glide cam and I'm using my Canon 5D Mark III with the 24 to 70. And then I just had Brittany pretend she was in a modeling shoot. So she's going through some reposals. And what's great is she's got a lot of expressions. So it's fun if you can find someone that you can work with that's really good with the facial expressions. And then here I am, I'm setting up the Zeppelin and it takes a bit of work. There's a little bit of a speed ring and then you've got to put it all in. I think there's 16 different points you have to put in the speed ring. And then we're just using the internal baffle. We weren't using two layers of diffusion, just one and here's Josh climbing around. He can't lift it, he's not strong enough. He's not strong as me. And there he is, that's one of his great poses. And then here I am, I'm metering the light and we're shooting at f5.6. So first I'm metering this light and then I'm metering the speed light in the cave. Just trying to see how much light is bouncing back. And if I could do this again, I'd probably take the speed light down in the cave just a little bit, it's a little bit bright. You'll see some shots in a second. And that's pretty much it. So we're gonna switch to the live audio now and it's not the greatest quality, but anyway, just check out this. No pressure. No pressure. So I had to totally nail this or else. Yeah. So yeah, I'm gonna shoot at about 70 now. No lights for you. Come back next year. I'll just shoot from here and then I'll look at the light and see what it looks. I was trying to get higher, I just wanna get it. Okay, perfect, hold that actually. What's my turn again, Ronald? Hm? Okay, hold it. Let's go get those lights. Just gonna say, oh, hang on, that's cool. I almost have to get taller. Okay, right there, hold it. I might as well just go back and do full light. It's pretty cool. I almost got to shoot it from over here. Get that right position at that light. Oh, here we go, shoot it. We're getting it. Couple of strokes, brush strokes, keep moving too, as you move. So how about we do two? You get a pose, I'll take the picture then I'll see where I have to move and you keep that pose. Okay. That way I can nail that for blueish behind you. That's pretty good, actually. Hold that right there. Oh, cool, I like that. Hold that, let me just look. Oh, that's almost made me taller. Oh, you'll see that. Yeah, that's pretty cool. Hey, it's great to hear again. If you found this tip helpful, give me a thumbs up for this video and if you're not already a subscriber, just click on that subscribe button. And if you have any comments or tips that you think will help other photographers, you can leave them in the comments section below. All right, thanks for watching this video and I'll see you in the next one.