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Bring Light to Street Photography

Lesson 6 of 9

Shoot: Male Model with Dusk City Traffic Background

 

Bring Light to Street Photography

Lesson 6 of 9

Shoot: Male Model with Dusk City Traffic Background

 

Lesson Info

Shoot: Male Model with Dusk City Traffic Background

spread your stance out. Kind of super here are sort of stuff. Okay, Cool. That's nice. That's nice. All right. Callie, can you come drift towards me and light? I'm kind of hard from a distance, all right? A little weak on the flash, but that's predictable. The other problem I've created I tell you what. Kelly, can you switch out to the fabric grid, please? Yeah, Thank you. Reason I'm switching to the fabric grid. As you can see, I heated up the telephone pole or the you know, the lights Tansi in there because I'm crossing it with light. Hopefully, I can control most of that by introducing the fabric grid so it won't spill onto the light. Also have toe amp up the light a little bit. Now the other solution obviously forget about that. Just flip the light to the other side, which we can do. We can wait for a traffic light and Callie and I can drift out there on. We'll figure it out. You want to still far back here? The trouble I'm having is this. Uh, yeah, it's cutting. Right? Well, yeah.

Let me frame up for a second. All right, Now, I got the pole out of the frame. I feel better. Okay? Yeah, Much better. That's where we'll start. Okay. All right. So now I'm gonna take control back from the camera because I want to go to normal synchronization, get myself out of the high speed area that I'm in. High speed sink enables you obviously to synchronize your flash with shutter speeds that are extremely high up to an eight thousands of a second. I don't need that right now. It's more important for me to get the most juice out of that light. And as has been said many times, Okay, in the course of lessons air, you know about flash, When you go into the realm of high speed sink, you start to lose flash power. So what I'm gonna do because the shutter speed is floating on me, right? That's the nature of aperture priority. You prioritize your f stop, your shutter speed floats around, so I'm going to get out of that mode. I'm gonna go into manual a to 50 which is the ceiling for normal synchronization. I'm gonna go to Let's call it F four. That's a dart at the wall. You know, we'll see what happens. And I'm on manual now in the light. So I've made significant changes here. It's still a wireless flash solution, but I've gotten out of the realm of T t l. I've singled to the flash that it's now manual, which means that its power level is not going to vary the way it does in t TL mode. So now I have the most power. The flash will give me reason being I put that fabric grid on it. The fabric grid is gonna chew up some lights, so I need to kind of double back and power. That light up is hard as I possibly can. Also, if you look, you'll see the light is quite a distance from my subject. So I'm asking a lot of this small battery operated unit. All right, here we go. Way to go, Andre. Cool. Callie, come back Just about a foot. Thank you. Nice. Good pose, Andre. Fantastic. That's a That's a marvelous hat that woman was wearing. We gotta we just blew that stop light, so we have to wait for another stoplight. Oh, perfect. That was like that was like I was shooting a Seascape and a large boat just went like this right in front of my picture. All right, here we go, gang. Nice. Way to go, Andre. Perfect. There's there's some amazing people out here tonight on Park Avenue. Just anyway. Here we go. Nice. Okay, we're getting there. That's as much as I'll allow myself right now. I need to get tighter to him because I still got a bit of the poll. I still got a bit of stuff in there that I don't need exposure. Basically pretty good. Um, I'm getting to the point now, though. I'm gonna have Teoh What I'm gonna do. I'm gonna open up to 2.8, make my background brighter. So let's do the math here. I just went one stop open. That means I'm no longer in T T l. What I have to do is signal my flash to come down by one full stop and maybe 1/3 because it was a little bright before it's manual. I could do that. It's now roughly half power, half power minus a little bit. All right, here we go. He's kind of a tall, rangy guy, so I'm just trying to emphasize his graphic nature. You know, he's got the good chiselled looks and all that sort of stuff. I'm using the egg crates. So the lights sort of collecting her up up around his face and torso. Not so much translating to his legs. So I'm trying to pop him out of that environment. All right, here we go again. Take a little light out of this. This is all right. Still, Yeah, You're OK. Here we go again. Nice. Good luck. Good luck. It's amazing what color does for a photograph. Pretty simplistic thing to observe. But when the lights change and it goes to the red tail lights, a whole different picture, let me see if I can get this one more time. Get something decent school. Good luck. Way to go, Callie. Flip sides. Quick. Nice way to go under it. Cool. Cool. Cool. Cool. Now look towards that light, Andre. Okay, cause I feel no bright, but all right. Yeah, right now. All right. We're gonna move pretty soon because Park Avenue is going to start to get a little on the dark side. But I haven't given up yet. Will probably spend a few more minutes here. I've got a nice profile of Andre looking down the avenue with the red lights of the city behind him. I'm going to get a little theatrical. I'm gonna throw kind of a hard rim because he's got a great profile. So I'm thinking, like putting a hard rim off of him that has a different color. Might be too much. Might be ridiculous. But your job on location like this is to experiment. So that's my next step is See what a rim light looks with this attitude and direction of my model. So we'll take a look here before we abandon this location. All right, here we go. Got to go there. Any three. Court three, Quick. No, you're fine where you are. And any go back up on their Yep. Yeah. Three quarterback. There you go. Great. Okay. Yep. Go. Okay. Um, kind of move this way a bit Any. There you go. A little steeper. Great. Great. Cool. In a little bit of flair off of that. True. See what happens. Um, could we fix up a gaffer tape gobo on that on camera side, please get a little bit of flair off of that lens because it's very strong. And it's kind of getting into the realm of my what the front element of lens might see. So we're going to do a quick field fix on it and slap some gaffer tape on the camera side of things. Shut it down, and it should eliminate the the potential flair. Cool. Nice. It's also very stylish. All right, cool. Nice. Cool. Good. Better. Better. Better perfect. Way to go. Way to go. Nice, Andre. Nice. Okay. And he go more directly behind the pole. Okay? Just Yeah. Come on out of there. I just want to test the backlight. Okay? Just look that way, please, Andre. Thank you. That's where you need to be. That's it. Yep. So we'll give this a try. It's actually not looking so bad. Um, you know. All right, look perfect. Way to go. Nice. Nice. Nice. Cool. Perfect. Good. Look under a good luck. Way to go. Way to go. Even more rotated. This way, please. Any? Yep. There you go. Nice core. Good. Now go directly behind his head with the light. There you go. Right there. Let me just see how that looks. Okay. all right. Good. Could you guys switch? Could you give that to Annie? Can you go behind Andre, or can you get down any and okay, just gonna get the light, okay? I just want the light to curl around even a little bit more. I mean, it's pretty good. So you want to get to kind of I want to come around and really, really rim him. You know his back of his head. All right, here we go. Let's give this a try. Joe. Do you want to go? Not 85. Zoom. Maybe on instead of sure. Yep. We're gonna widen out the zoom on that light. Spread it out a little bit. All right. Here we go. Good. Good. Nice, cool. Nice. Andre, Look. More tours there. There you go. Nice. We'll give that one more. Try everybody. Stay where they are. Remember their position? That was a really good look, Andre. So I got a lot of circles of confusion. The way what's currently referred to is Boca Orb. Okay, WAY. Used to kind of call circles of confusion out of focus, Stuff in the background. Lots of kind of concentric circles from various traffic lights and brake lights. Makes for a nice pattern. Always does. Got it, city feel to it. And I introduced this other color, which could be plausible in the context of the big city. All right, here we go. Ready? Good. Good. Look good. Look good. Look nice. Okay, We're done with this location. Nice job. All right, so that's what we ended up with. It's not bad, you know? Right. Got some color, you know? Nice job, Andre.

Class Description

In this exclusive class, join legend Joe McNally, on the streets of New York to see how to bring light to one of the busiest and most dynamic backgrounds. He'll walk through how to prep your gear, scout for locations, direct your models, and incorporate flash to make your subject stand out on the city streets. He'll discuss how to set your exposure and plan your shot to achieve the "bokeh" look of the city glow behind your model. Learn tips for planning your shoot so you're within the city regulations as well as techniques to help work through any troubles you may have while on location. Gain the confidence and know-how to photograph your subjects with flash in what can seem like an impossible environment.

Reviews

Sevana
 

It's reeeeeally a fabulous course to lead me through the entire photo shooting process, getting to know how a professional team operate and especially how the photographer prepare for and sort of work like a director to make things done. Great course! I'd love to share it with my friends~~