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Shoot: Bar Owner

Lesson 7 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in Photography

Joe McNally

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Lesson Info

7. Shoot: Bar Owner

Lesson Info

Shoot: Bar Owner

so ok, looking good. Now, maybe just take that left shoulder towards me. Could you come a tiny bit closer to camera, please? Nice. Good. Good. Ryan is taller as a subject. Okay. Looking good. Way to go, Ryan. Fantastic. That's great. Nice. All right. So you see how this subject kind of, like, picks up the game a little bit because the light really is designed more for him. You know, it's definitely designed more for him now. I still think the light is it. Maybe a tiny bit bright. Let's take. I can talk to that light. I can take, I don't know, minus 0.7 out of it. All right, money and again. Way to go, Ryan. Fantastic. That's great. Nice. Okay, a little too little, too close. Dropping it down makes it feel a little too close to the ambient level of light. So this is where you get to write. This is that edge of control. Now I can drop the ambient down a little bit more, maybe go to an 80th of a second. Cool. Still not completely composed properly. That's my best flash solution by far, do...

n't you think? Has the most character and Dimension still retains the sidelight. But what just happened? I lost some information in the bar, you know? So there's that edge that frontier does your does your available light start to overwhelm your flash? Or do you push that flash right to the edge? I always like, in my shutter speed to a set of level or blinds. Twist that little magic wand there, that plastic want Creep him open, open, open. And you bleed a little ambient light into your solution. Okay, Now, I'd like to keep that because I'm really kind of like. And what do you think, Kelly? Maybe take his chin? Maybe more towards the light instead. A little bit more. Because there is that shadow. There may be a little more radical turn towards me. And just kind of Yeah. There you go. Good. And maybe chin just this way. There you go. Good. You know, Callie, come on in a little tighter. I'm gonna actually sacrifice, um, line straight here. Good. Come closer. County Wolf. Too much. There. Nice. Yeah, a little better. A little better. The more grace to the light. We could get rid of that. We could try the end of the bar. But then we've also got our cameras and stuff in there. Let's stick here just just for just for the sake of argument, for we're gonna move around a little bit. And if you notice Lin is sitting over there and we can't see Lynn Winds very happy about that, You know, um, now what you could do if you're really working quick and dirty, You could you see how this this window here is kind of a hot zone of exposure. You could maybe break that up. And if he's the owner of the bar, you know, you could do stuff like that, put a couple chairs up and just kind of break up that hot area. That's not doing the greatest job in the world because the scale is a little off. But you get the general idea. You start to fill in the background a little bit with just stuff that might break up that white zone. That hot white zone. Okay, now Callie was suggesting was we pushed the camera this way. This where I like I like his look just like looking this way, way could also even maybe put him on that. See that Venessa right there. Chair on. Put his back against that. Huge. Maybe towards Yeah, if we put him in against this is all going to see. I listen on location. I listen all the time, you know, and Callie suggests that maybe we push him a little deeper in the frame. But then what do we do to come in here? You kind of lose some of that. I'd have to kind of twist around a little bit. We'll see what happens. Okay, but let's stick here for just a couple more minutes. If I was doing a camera bag job, what could I do Here we get a jelled, warm, jailed light. Let's do Ah, gel on a on a, um, one of the floor stands One of the little floor staff. Here we go. Thanks. Um, I don't know, experiment. This is gonna be my background light. I might have a kicker light, so I try to progress. Group A is up front there. Okay, Group B will be my middle zone, so I'll throw this into maybe group C. So let's throw this up. Maybe at the ceiling, see if there's any effect at all. More than likely that's going to get swallowed up. But let's experiment. This is what I do. I never kind of like stay in one spot. I keep moving, keep moving, keep moving. So this is a group. See light. Now it's going all right, That's a lot of light. Let's start at 00 again. Here we go. All right, So the price we're paying for putting that back there, see the wash that's going against the bar kind of drawing, destroying a bit of the charisma of the place. Let's take it down a little bit more. Let's take it down. I don't know. Minus 1.3. Here we go. That's got a little bit of an incremental Let's do this. Let's bring it back up just a tiny bit. Now that dome diffuser is spraying that light everywhere. Okay, so if you're doing like something for a newspaper and you need some detail in the background, half bad solution, it's OK, you know, doesn't have a lot of like selective kind of like input, you know, it's blasting. I mean, you could do this and it might look good. It might look awful if I take the dome diffuser off Zoom this puppy say, Let's call it 200. So let's go all the way. That's the Mac. Zoom on this. Let's throw it up there. So now it'll kind of body if we're a crack team. Callie, I tell you what, Nothing gets past us. Alright, Harsher shadows. You see, the Can we go back? One, please. See that I like that better than the hard input of the Can we go forward then? That's That's like a floodlight that I've just thrown up there. So you see the difference? The dome diffuser. Zoom 200 again? Very quick. And very, very simple. Kind of execution here. All right, so let's try this just for laughs. Um, all right, here we go. Gonna change the white balance. All right, So now Ryan looks like he lives north of the wall, you know, And, uh, now the bar has a bluish feel to it. The floor Is it more interesting? A little color, Remember? Basic color will theory. Warm colors vibrate well with cool colors. It just does. The eye enjoys that. So there's a vibrational effect because they're complementary. And the color wheel and they kind of banged together a little bit and are just the natural, you know, sort of vibrational. Whatever you want to call it the I just feels good. You know, the counterpoint of the warmth relative to the blue so we could put a gel in there. All right. Okay, cool. Nice. I feel a little better. Okay. Now, um, now, to make that light warm. Uh, Cantor. Brad, can you go to that rear bounce light, please? And put two cuts of CTO in it. What happened to the highlight on his cheek? Kind of nice, right? It goes blue ish kind of cool. I went to a tungsten white balance. Hence the highlight. Daylight highlights are now blue. The light here has one CTO color temperature orange or convert toe orange type of gel on it. Which brings it to a white light level in response to the tungsten balance. So it's neutral. Now it's It will be a quote unquote normal skin tone. The light back there I double jelled because I want that like to go warm against the bluish possibilities of the background. Alright, right. Yeah, we're good. We're good. All right. Nice look. Good luck. All right. Get anything out of that back into the background. Like Go did. Yeah. We're getting a little bit off the floor there. A little bit off the floor. Okay. I think we do better with it now, though. Let's, um, can could we Let's see, Where are we here going back in there? Um, let's just take it just as a for instance, Um, And let's put it kind of on the bar over in here, and we'll see if we can light up that black cabinet, cause that's going really black. The other thing we could do, and this is really kind of dodgy, But let's let's actually give it a try. Um, let's put a light on a floor stand. Let's put a, um, what we have out there. Let's put a group be light on the floor stand, and I'll put it very weakly. Let's just put it right here. You want jell? Yeah. Double, double, double cut. A tungsten, please. All right, so, b group, here we go. Way to go, Ryan. All right, so let's take that down a little bit. Let's take it down. I don't know. Minus 1.3. Okay. Now, if you notice, that's still too much. Uh, let's take it down. Minus 2.0. What I'm trying imitate here is the potential of a little table lamp glow, you know, And also, just to define that column back in there. So now that's feeling okay to me. I might take another third of a stop out of it. You see what just happened to my upfront detail? Exposure? Because it's shifting ground. Right? So I'm gonna take my my A group light and bounce it back up into 00 It was at, um, minus 0.7. Okay, so now what else do we got? That's the door. There's Lynn. Can I ask you to come out of there? And maybe you kind of live over there or grab a chair? Could somebody fix a chair up? Okay, let's see if we can scoot a little light back towards that. That far underneath that window, see, is Okay, lets just give this a try. Could you take a raw light outside? Nojel, please? And let's go. That's gonna be group D. All right? And I'm gonna put you in manual 1/1. That's the most power I can get out of one of these lights. Okay, you see what just happened there? To the bar stools? It's blue light because there's no gel on it, so it might be a little too much. We could feather it. We could taper it. We could do certain things with it. Um, but that is the influence of that light down. That's all the way up. That's a that's a manual light. So let me take who? Let's call it two stops out of there. Okay, that looks pretty natural. It's kind of a wash from light from the blue source of the window, just picking up a little detail if you so choose to leave them there. And now we're doing an after hours portrait of the bar owner. The chairs air upside down. You know, that could be plausible. That could work. Um, let's put a double cut of CTO and let's put another. Um, can we take a, uh, one of the big or one of the medium size? Try grip reflectors. Use a gold side, throw it down behind the bar. Let's use a junior stand, a tiny stand and adjusting clamp, and we'll just bang it down onto the floor behind the bar. So if you notice what we've done, here were five lights, alright, five lights trying, and none of it's completely perfect. Yet I think my upfront light is working pretty well. I think I could do um, Ryan a bit of a favor by perhaps going to a larger light source, which will do OK. But right now, let's just see if that I get any lift at all. Because Callie is right. I'm I don't want a light. The bottles like the bottles, but I am kind of like not happy with that black hole about their now. There's a couple things I could do. I could move Ryan over and he could occupy that black hole. But then I lose those chairs. So I kind of like where he's living. Because then if he moves this way, then I gotta lose my little table lamp That's behind him, said everything's in knock on effects. I'll see if I can like those bottles in a more pleasing way than I did before. Alright, Right here. Oh, uh, hang on, groupie gonna go manual on that light to full power, so we'll see what happens. Okay, so I got the bottles back now. And look, I think it looks a little less brassy, a little more natural.

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