How to Shoot in Tight Spaces: Two Speedlights
I want to turn on speed light number two and I'm going to move her back out away from the wall let's take that guy on let's let's aim him up like that into the ceiling yeah and let's put him all the way in the back corner back there and bounce it into the ceiling and let's give her let's give her a hair light uh bit of an accent light so let's move you forward just half a step and that way just a half step way now what john's doing back there as you can see we've got that flash and we're gonna aim it up in fact, I think maybe yeah I'll stay on this side um yeah keep going down a little bit higher little bit higher a little bit higher I want um I want to make sure that it's high enough that the edge of the speed light doesn't cause me any role like hitting her from behind I want all the like to go up and hit the panel in bounced back down by bats by bouncing it up into that panel it's just like I'm bouncing off of the wall the ceiling this is this is my portable ceiling right here in th...
e studio so I don't have to have a soft box in the ceiling that takes up that much space I don't have that much space I can't stand someone up under it but it can bounce a small speed light up into it and let it bounce down your angle is probably just about right let's pull one and see what happens uh maybe go another six inches higher with that other segment that's probably going to do it let's take a look we're going to get a good solid highlights in her hair and we're going to get some on our shoulders coming down off the top is well so let's take a look and see what happens everybody's going this is never gonna work and you're probably right this is never gonna work but let's try one anyone see if it works and get this beautiful highlight they've come ready there it is so we got a great little heart hair light coming from that one side now what we can do is uh we can we can refine it even further jon let's move it in until I tell you let's just move it into the frame a little in fact you know what? Let's uh I want let's leave it where it is and I'm gonna move my main light to the other side and I move the main light to this side and let's just look at the difference in the portrait can you just push your hair back on the right side just a little bit on that side just like and see your eye really well yeah, so now what this is going to do is it's just going to open up that the larger side of her hair is going to be opened up a little bit more when I bring your head around this way just a bit right in there yeah writing like that that's great and I'm gonna move in a little bit closer so we can evaluate what's going on here so now I'm at about a one o yeah I had a one o five on my on my focal length in this case I'm gonna go ahead and raise this up a little bit and I'm not too concerned about camera high because of the focal length of that looks great bring you just bring one hand right up like this spring just bring it up like yeah yeah yeah perfect want to see your hand get hit with a little bit of light here we go good, good good great perfect good john let's cheat that in just a little bit behind her slightly another foot if if you could sneak it in a little bit more that's pretty decent light right there that's not too shabby let's try one oh that's gonna be good now can you pivot that back toward me just a bit yes sir yes sorry maybe too much split the difference there you go that's great that's great that's great that's great here we go good nobody moves nobody moves so this will give us just a little bit more of the light on top of her head just a little bit I just want to open that up a little bit and this gives me the ability to bounce the light and to create that look and I just think it works okay and the thoughts about that okay good I want to tell make one change because I'm pretty tied on her right now I'm gonna make one change and I want to increase the size of this source just a little bit by moving it closer tour so I'm gonna bring this in just a bit I'm gonna drop it just a bit and I'm gonna move it a little bit more to the side just to give me a little bit more direction we'll make the light a little bit more directional kind of like that okay and now this time you can just kind of bring your head just a tiny bit well maybe too much right yeah just let your head roll over the side and now just turn a bit that's too much relax start over again shake it out shake it out now you just get comfortable there you go great perfect right there don't move don't move don't move got it got it I'm telling you there's a great there's a great value there in highlight to shadow ratio she's comfortable, she looks great, she's got a great expression, everything kind of came together there on that last shot, no big problem, nothing to it. Does that make sense? You guys tow work this way? I don't know, I don't know a good reason why we wouldn't want to work this way if we open the look at the hissed a gram if if that's available to us steel can, is there a chance you could do that for me? Just to show them that we've still got while we're while we're white on the background where we're wide on the wall, look at the gap on the right heads of the history graham I got detailed look at the gap on the left side of the history, graham I got detail and I know it's going to be there, and I'm not because I'm a genius, but because I can see I don't have to fix this to print this folks that's huge for me, I want to fix it to print it.