Cost-Effective Creative Shoots

Lesson 9/10 - Shoot: Constant/Strobe Mix

 

Cost-Effective Creative Shoots

 

Lesson Info

Shoot: Constant/Strobe Mix

Was this is constant lights and studio strobes mixed together and so there's air the pictures you see where the models face will be flashed and then maybe she had sparkly makeup on it's kind of st street to the side or they've got sparkly jewelry or something like that. So what you d'oh is you need to have at least two lights, so keep a kind of simple you have two lights, one of these lights is going to freeze your subject in place and that's going to be a strobe. The second light that you have is going to be a constant light source will not flash and you're going to use a long exposure and that long exposure is going to give you a cool blur in the area hit by the constantly so that's the feel of it and there are several ways you can do this I've done ones where I did constant light on the background and then blurt it so that they kind of go sit over the background or on a dress or on jewelry or whatever sometimes it does sometimes without my point is uses as the basis and build on it ...

to try something different so I will bring you out here as a test and I will get this set up thank you no it's fine, we could definitely do on black all right, so I need to have one of those back lights up front and you know I'm gonna I passed it off to you so it's she stand there yeah bending in a dress that's gonna stay away from it okay, so I'm going to do is I'm going to create one light for her face and another light adds filled from below and thie thought is I haven't tested it with this dress or with this light set up but we're gonna talk out my thought process you can see my failures and how they turn into a wonderful results thie idea will be the bottom half of her dress kind of blurred and streaks and then the top half her face will be frozen in place in the end to get this to work we will have to turn off the overhead lights again because their constant so it'll mess it up. So when talked this step by step all right? Yes. So what? We're going to dio and john was just saying that we're going to put this modeling light or this this strobe so that it will not flash this is going to be our constant light, so we switched the channel so that it won't fire just trying to sleep, but depending on what you have are your whole wants different things the next thing depending on the stroke that you have for depending on the head that you have you want to turn the modeling led all the way up different ones do that like check to see if your button you khun do freer proportional to turn the modeling light up to one hundred percent because you want it to be bright enough because if you're trying to mix that light with studio strobe if it's really dim you're going to have a really hard time ever getting it to show up even if you do like seconds long exposure you're going to want it really bright um yeah beauty should be fine I'll bring you a little bit closer okay now this light I am going to want to restrict the light because right now that constant light can you see in my hand it's going to hit the bottom of her face and if I want a face to be in focus that I can't have this constant light showing up there so the first thing I'm going to dio is zoom so this is going to focus the beam so it didn't it didn't completely get away fix the problem but from there to there is a difference here's out and then here zoomed in so we definitely did help so I put that on the end here and then this is another perfect opportunity for sent a foil because cinna foil we're going to create a flag or go boat something that will tape on the top and just try to block a little bit of light off so is any of that around oil? I think you just wanted just one piece, another room? We're going to take that on top to block it off and then I'm going to check to see what kind of aperture I can get for that because when I checked my exposure, I'm going to see what kind of blur I can get it's going to be I need to see what aperture and then match this aperture we'll talk this all out, all right? So we've got that let me grab my camera for a second, and for this I'm going to start. We're fine. Thank you. All right, you put a camera on like normal studio settings, so I'm gonna put it at s o two hundred, okay? And I'm going to put it at one two hundredth of a second start off with we're gonna work from here and, like, you know, for something like that will give it a test and let's just see, when I take this picture nothing should stroke what it looks like, okay, not bad. There actually is some light here. Ok, so you are seeing a little bit of light, which is good, I want to see the bottom half of her body lit and I could back it out feeling to be a little more even the ambient light above won't beyond you won't be able to see her face but I know I want to I want to be ableto wiggle I want to be able to move my camera because that is what we'll do a cool blur so right now one one twenty fifth of a second even if I wiggle it's not long enough for anything to happen so it's going to be frozen in place so I'm going to want teo figure out another exposure that gives me a longer shutter speed so let's try like f eight one one twenty eight twenty fifth of a second okay what is love? Well see I'm starting to get like the blur on the bottom so I'll get some cool effect I think I want even longer so I'm gonna pass this to just know stroh but the moment so let's go even longer let's go to a sixth of a second and maybe eleven so basically I'm just trying to do is balance out I want a longer exposure when I go longer exposure I need to close down the aperture of it and then I'll match that aperture so let's see I'm going to zoom and wiggle ready who good right cool like I like it this is way more dramatic this is with a sixth of the second go shorter if you want less and so I did altogether I wiggled zoomed and lunged that's my signature technique okay, copyright notice getting not at all okay, so what it ended up being is that I'm at eleven so if I want her frozen in place and matching that exposure you would use a light meter to get that b f eleven do we would have won if not I'm all for getting thanks six point seven okay, we're going to get it up there thank that feel like that's pointing at you the center of the disk brighter let's go just like ate a little bit more good test and then maybe move in a little bit that's pretty good. Okay, I like it I approve okay, so work and I'm just going to move this out of my frame just a bit as I lunge and stuff because you know, I can't control the lunging at all times so all right, so let's get I'm gonna be across that knee over actually the other one because that has a slit okay, I won't get your black okay good perfect and I would have you are chiller back cross it over even more I'm going for super curvy perfect hand soft their little lower good his hand to the side of your neck good incheon little bit more neutral and soft fingers all right, so let's see and I might need to go the other way from more sparkles, okay I like it when you go the other way because the leg doesn't have sparkles you know I like the leg like wait I'm going for blur not until I get doing how's my tether did it fall out it's heather fell out I re plugged it in guys thank you yeah totally okay so let's do the same pose same thing archer back good when a super lunge and everything here we go oh yeah I told you it's a signature style here okay so beautiful I'm happy with that already okay so I'm going to break it down one more time because I don't know I feel like that's a little more complicated so to rehash that usually in the studio because you're using a studio stroke it's freezes the action and so you shoot around one one twenty fifth or one two hundred of the second because you're trying to cut out ambient light here we're actually doing totally opposite we're using a longer exposure because we're letting this light show through because it's not flashing so what will happen is this strobe freezes are in place this is not a stroke it turned off the flashing part it's just the constantly so when I use a long exposure if I zoom my camera if I move it picks up all the speculum highlights on her dress and it's what gives me all of that energy and all of that motion and I'm doing my best and I probably missed the little doing my best with cina foil to try to block off highlights on her face because if it's just completely hitting her face that her face will be very out of focus I usually start by setting the constant light first to get the mount of blur and I'm balancing trying to see what shutter speed and what I've stopped by like and then when I get that f stop if it's f a f eleven then I know that I said this f ate half eleven to match the exposure's so I've used this which randomly like seriously views is a ton of times so many different editorials anything that I just want to have some cool energy to it I will shoot this like if it's a subject I didn't editorial where the subject was in a bar but the bar was kind of ugly but there were a lot of lights around so I froze her in place and moved it a little bit so I blurred all the bottles of liquor like all that stuff that was a really distraction and now it was just speculate highlights you could still tell it was a bar but now it was energy and it felt more like night life you've got to kind of think outside the box but for this as faras cost effectiveness whatever light you have a work you know the soft box the reason I like the beauty dish with the greatest I can focus my light a little bit more. So something that's a little tighter, a smaller light source. An umbrella would be significantly harder to control because it goes everywhere. But if you have a basic reflector with some cinna foil it's, whatever studio strobe you already have or if you have chicken lights, you know the hot lights. Actually, the first portrait should I ever did was with those lights intended to incubate chickens or whatever. Yeah, like the ones on the wall like you could totally use one of those and point at your subject is the consulate. It's not you don't even need multiple strobes. You could do it with one of the hot lights and a speed like maybe the speed light with the grid or a speed light with the photo luna beauty dish or a rapid box or whatever. So it's kind of whatever, whatever you have and I think it makes really fun results. All right. Questions, guys, I go. Okay. Cool. When you want to zoom lens because otherwise it's harder to get the cool factor of it's just wiggling that night in zoom and wiggle and lunch.

Class Description

Have you ever felt dull, uncreative, or just out of ideas? Invigorate your creative spark with Lindsay Adler in Cost-Effective Creative Shoots!

In this Masterclass, Lindsay will show you a range of creative techniques that’ll bring new energy to your work. You’ll learn about:

  • Discovering your creative process
  • Finding inspiration in personal projects
  • Adding interest with creative light modifiers

Lindsay will share creative concepts you can replicate for less than $20. She’ll also share techniques you can use to push yourself to try something new.

Don’t resign yourself to dull shoots, join Lindsay Adler for Cost-Effective Creative Shoots with Lindsay Adler and get inspired!  

Reviews

Crystal Nance
 

You know what I love about Lindsay? When she is teachingu, you feel like you're having a conversation with a friend. She is inspiring and tells it like it is. I love the fact that she shows you ways to think outside of the box to create amazing images and that you don't necessarily need to have the top of the line equipment to do it. I've learned a lot from Lindsay's courses but I walked away from this course with some great ideas and she opened my eyes to find inspiration in the most unexpected places.

Christine Brown
 

Lindsay recommends looking for inspiration to get creative. Lindsay your enthusiasm and passion for your work is my inspiration. Money well spent.