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Mastering TTL Flash

Lesson 9 of 13

9:00 am - Brief TTL Review & Indoor Shoot With a Dancer

Mike Fulton and Cody Clinton

Mastering TTL Flash

Mike Fulton and Cody Clinton

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Lesson Info

9. 9:00 am - Brief TTL Review & Indoor Shoot With a Dancer

Lesson Info

9:00 am - Brief TTL Review & Indoor Shoot With a Dancer

I'm excited. We're gonna get right into shooting today. And, um, I think that's what a lot of people wanted. We kind of started doing it yesterday, and it's this morning. We're gonna be inside this afternoon. We're gonna be outside. So we kind of get the vast range of what we could do with t t l. And then we have good weather again today, so we'll have the bright sun that we can deal with in our cameras. Um, one thing I kind of wanted to go over again. I know a lot of people. We just want to make sure you understand basically what we're doing, I really want you to use the detail aspects. I want you, Teoh try at the A V mode. I know some of you guys since we're gonna be tethered and is the live show or you're not con, you're gonna fuse can. And I appreciate you putting gloves on your hands don't burn and all that other good stuff by switching over and we're gonna bear with bear with you and we'll help you through it. But the main thing is, is I really want you guys here and and watching...

at home. But I really want you guys to understand the concept, understand the theory and start getting that muscle memory going. So when you go home, we can continue this and you can continue the process and actually learn that. And so, hopefully by the end of today, what I want is for everyone to really start. Not only like yesterday, we went over all the technical aspect. But today you'll have the technical aspect in your head and you'll start really funneling it through your fingers in your brain in your camera so that the images will start coming again. Just you said it perfect. We started shooting last night. We got the technical stuff down, which is great. Now we got to make the images look pretty. That's what it's all about. We're not trying to make an award winning image right now. We're trying to teach you a technique, and so when the composition is not right or there's some problem, we don't care. You know, that's not what this is about. Even, you know, like Cody did a little posing tip with the lighting tip with the face yesterday with the short line I think that's great because that helps your images get stronger. But right now, we don't throw that all in because we don't want to confuse you. We already confused you enough. It's so much more information. And if you start making this a posing and lighting class on top of that, it really gets complicated. So don't worry so much about the compositions. Don't worry so much about the posing. Just worry about getting the right amount of, like, coming out of that camera. I mean that flash and controlling that flash when you're shooting and where you want to place it. Because if that comes once you get that and that becomes easy. It starts running a lot faster in your brain. The posing and lighting will come easier as well. But if you start throwing it all together right now, it's gonna be really, really difficult. So some other things that I know some people asked yesterday we should. Raul R J Pay Way didn't really go over all that detail. Um, we shoot raw is a general practice even in our volume business, which we have a great creative level and workshop coming up as well. We shoot wrong on Lee because storage is cheap and I like if, especially in a lot of our events we capture or one shot and you or you miss it and maybe exposure isn't right, we can correct it. I am a big believer and not correcting anything in voter shop. To me, that's just a tool to add to our images. I want to get everything I can in camera first, and then Photoshopped enhances it. After that, however, Photoshopped and other creative tools are wonderful. If you do, it's not like Cody was saying on the back LCD. It's a tool. It's there. The technology is there, so we should use it. So we shoot raw to give us the greatest advantage for that. So in case the shot is a little under exposed weaken, bring it up and fix it so it's not lost. So that's that's the reason why. Now we can sometimes shoot JPEG and few few instances. But generally I would say 99% across the board role shooter, so I didn't bring that up yesterday. That's probably what we know today with the tether, and everything is a little bit different than a real world scenario, but that's kind of what we do. So we have some. So some models, but I really want to kind of go or let me get my camera. I'm gonna walk back out in the second, guys, I just wanna get camera. So again, we have the same set up. Um, we're gonna do a lot of side again. Shouldn't have a problem with line of sight because the main reason why we teach the line of sight also is if you're using a radio transmitting device, be it a radio popper, pocket wizard, whatever. And it fails on you, you need to learn how to use a lot of side. This is you can go back and you can get through your job. And I can't stress enough when we teach this all over the world. I can't tell you how many times people come back to us and saying, thank you for forcing me to learn how to use a lot of side because something, you know, my radio transmission. I did fail in that wedding, and I was able to get through it. That za whole goal. It's no different than in school when you learning math, you gotta learn how to write out your loving division before you get attacked. It because one day you're gonna forget your calculator are your You're not gonna be able to use one. You need to go back to the basics, which is line of sight. So this is the basics is the foundation for everything again, you buy this $500 flash if we want to use it again, we're using older flashes. That's the other thing that I wanted to point out. The new 600 Siri's is great. The new nine tens is great for Nikon. But if you don't have that, you can still make this work. So because we have, you know, older 70 and five eighties and we're using them all the time. And people ask us, why haven't we moved up to the new flashes? They're wonderful equipment, but at this point, we don't really need it cause it's not serving us anymore than what we're already getting in our business. So from a business standpoint, don't get hung up on. I gotta have that latest and greatest. If it works and it works effectively for you, you're good. And I think we're really strong. We get caught up in that, especially guys we want to be that have every toy that comes down the down the road. And I hit on it yesterday. But so, yeah, we're gonna be using again the 5 80 for our main, probably the 5 82 for wireless slave units. And we'll shoot you guys. That are Nikon they're using. Canon will help you through it. But my main goal is when we shoot today and we're gonna be pulling out our model here in a second, Cody, and I'll start photographing. I want you to ask questions, guys, Online. I want you to ask questions in the chat room. Challenges give us some challenges, will go through that. So I want to interact with you guys as well. So if there's something that you want to see, a shoot or some questions you have let us know because we know in a sense, this technique we want to share it with you guys. So the more questions we have in them or confusing parts that you guys have right now, we want to know about that so we can actually pass that on. It's easy for us to set up a shot and take it and be done with it, but there's certain things that we take for granted. Has been doing for so long that we made that made it even cross our minds anymore. That's why we like to challenge the students to shoot and people online. If you have a question, be sure and ask it. And so that way I don't care how stupid is because usually the more stupid it is, the more fun. That's just kind of us. So and if it's really stupid, I would say That's stupid. You're in 80 it and we'll move on. But the reality is, we'll try to answer every single thing. We really want you. The advantage of you six Being here is our goal is for you to go home, learning all this technique and be able to continue it. People watching a line. I'm going to trust you to go out and practice yourself, but I still want to be able to give you the information. The guy's online that you can still have the tools to go out and practice it yourself also so That's kind of our goal. Today is an elected in our regular workshops way. Really? Do that muscle memory retention really start rebooting your brain? And that's what we want to do with you guys today, both here and online. We want you to understand this concept because I know a few people said they went out and shot and never thought about using a V that way, and it really change their mind. I know a lot of people that were, Man, you're gonna have a hard time with this and it's going to take longer reboot. We even talked about that with Mike and you yesterday how you have some pre learning and it's harder to throw that away and relearn where you're coming into with a fresh start. It was very easy for you, so I get it. It's harder for the old saying an old dog learned tricks, so just gonna take longer and mawr dedication practice to maybe do this. But as you said once you get it. So with so simple, we've had so many students. I remember one in Phoenix. He flew all the way over from England who are workshop and we met him in the in the airport when we got done, just coincidentally saw him. And he was a big guy and he was mad. And I said, Hey, what's up? Because you know, I'm mad and I go, Why you mad again? Because this stuff is so easy. And so coding are kind of looked at each other. Like, Is he gonna is gonna beat us up? What's going on? And he says, I've been at this for 20 years, and I've never thought about using the camera this way, and it makes it so easy once, once I did it. And that's that's the beauty of this technique. Is it extremely easy? If you just, in a sense, by Intuit trust the T Teal, understand what it's doing and use it to your advantage. So that's our whole goal for today is to make what we talked about yesterday. Easier for you guys to get through for when you go back to your real jobs. Makes sense. All right, um, get this. I'll get the flashes. We're gonna get those going Bear with us. All right, So yesterday we didn't have a battery pack, and I know or batters were kind of dying. So this is and we mentioned a little bit. This is a really, really it's It's almost a necessity instead of accessory when it comes to T. T. O is the battery pack and again we use the cannon Sihp ee threes in the CPI fours, which is your standard can and battery pack if you have both, like we do because it's threes came out with a 5 80 The first version and CP Force came out with the second version. So they're an older battery pack, but very effective. The CP three has a black trey because these trays of these batteries just kind of show you This is a three, and that's why these trays, the prongs break off really easy. And so the batter is the fallout on the four. They're gray, it's a better plastic, and they won't fall out. They seem to intermix. They do not intermixed the trade, So if you have a 3 to 4, don't intermix thes because they'll go in really easy. But it won't come out very easy, and you end up having a pried apart with a screwdriver, probably. So we have two threes and two fours, and we have to mark them to make sure we don't get mixed up. So we normally just stick this on our easy stand. Best were shooting alone. Or we have a mono pod, which will also do today your solo shooter. These easy stands are wonderful. You're not a solo shooter. You could get a mono pod and have a voice activated. Lights stick. Just be nice here, light sick people remembers. You got to sleep sometime. She'll get you. And so here's Ah, simple mono pod These air. The Denny's Monta pods are really like these, and I'm not pushing Denny's because we use them, but it's inexpensive. Don't waste a lot of money on a high dollar mono pod because you will end up trashing. It will go a month ago. I'm gonna go all over the place, and these last really well, and they're really light. The only thing that I would say if you don't get aluminum like this, if you get a carbon fiber, it's really good in the cold areas. If you have carbon fiber cause, carbon fiber won't get really cold or hot warm up to your hands, don't have gloves, so that's nice where Lumina will get cold and colder environment. Other than that, I love the lighter, the better on everything. Got a little handle that you can. You can put the battery pack, too. You put your hand around, you can strap it down to something. It works very, very simple. The next thing we do is Aziz, Cody said yesterday. We do a light check because even from yesterday today, this could have gotten dropped, couldn't get hit. So before every session in the back room, somewhere before we get going, we always want to set our cameras up. Cameron flashes up. We always went up, put him on the right channel, make sure they're both on wildest slave settings. Make sure everything's going. And then he's gonna control each one from negative three to plus three to make sure that this flash and that flash or communicating and working. So that way you don't get out on a session and you start shooting. You go down the negative to negative three, and it looks the same as plus two plus three and the flash gets broken. That's pretty important, because again, as I said yesterday. Most the time when these go out, it's the master function that'll go out before the slight function. And so if you switch him out and even though it's broken a master, it'll work in the slave function so that you could just switch out your flashes and you're good to go. That's why we don't actually Mark are flashes down on which ones master which one slave, which when we always use. We just kind of just grab one, and we make it. Whichever that makes sense. I'm gonna put this one in slave mode to do that on the 5 82 You simply hold down the zoom button back here for about three seconds and it'll pop up. The option will channel one. But it wanted you or something. Yep. Fired. Did not since I got to turn since around like an idiot. Yeah. Good. Okay, Just real quick. Didn't take long, and we're going to the same one on this. Another 82 We do this every time we get ready because they will break. And we just want to make sure that they're working again. Anything we can do to not look like an idiot in front of our clients is a positive. You would have a harder time, sir, Some whiskey. All I did and take a quick shot of zero flash conversation than one shot at plus three just so that I am controlling my flash. That's really ugly. All right, so let's bring out our model. Are dancer. We're going to stay in this area again. I can't stress enough. We are not looking to make these magical, wonderful images. We're going to show you some techniques that will do that. Our whole goal is to show you how to control this. Light it as photographers and his artists. We want to see the best in the greatest, but we're really strong. And I know it's such a cliche statement. What We're really strong and teaching you how to fishing, not catching that fish. We get mawr excited. We get Mawr inspired by when someone comes to Austin says, I got the shot because of the techniques she showed us. That to me, makes me excited because I know that's helping you in your business that meet capturing these wonderful image, and that really didn't do anything for you when you get home. My whole goal is to help you guys create great images. So we're gonna show May and get your shirt on. What's always with this? No, I'm joking. Come back. Come back. I'm just joking. I give me a I don't know, dancing poses to just give me something to hold for a while. That's kind of cool. Majestic. Maybe a swan or something. Is that move? That's it. That's the one that's willing to stoop this two lights Stick to just one and again for the shot. I'm gonna just one. Like I'm gonna emulate something very similar to my first and shot. Um, again, this is real close to a reception hall. Not a lot of interest. I'm not I don't. There's nothing here that's really important to my subject. I just want to highlight my stuff. And if you have to take a break, So what I'm going to do when he's doing this? So what? What? I'm best video again. I'm gonna I'm gonna break this exposure up into a couple of shots. Hopefully simplify it for everybody. So my initial shot, I'm just to show you what camera thinks is proper exposure zero flash. And then I'm gonna under expose from there to take out all this ambient light and go from there. So let's get something that looks really wide. Turn my camera on helps. Okay, so this is a shot. Take a camera. Thinks is proper exposure. It's It's all right. Not great. But I want to really accentuate my subject. So I want to take out all the ambient life, so I'm gonna under expose. But I am still a Navy mode. I've got my so said around 400. So I've got plenty of shutter speed in here. Especially now that I'm under exposing by full three stops. My exposures right around 1000 12. 50 somewhere. There. Take another shot. This is under exposed to get rid of all my ambient light. Great. Now it's nice and dark. I could barely see him, which is fine, because I'm about to introduce flash. Now that again, That's the shot. Were under exposed by three stops with my camera compensation. So, as you can see, it took out all the light. Um, all the ambient light, but at the same time, I lose my subject. So let's now have induced my flash. I've turned my flash on flashes in master mode. Flash is turned off on Lee to transmit. So the little icon of my flash, Zuckerberg appears to have no light beams coming out of it. So it's just nothing come out here. But I have a little sick site here, which means that it is talking to my slave. So even though the slashes turned off, you're gonna notice as I click, my shutter speed shutter button should release that it is going to fire again. That's that communication talking to this slave flash telling it what to do. Remember the part that picks it up is this part right here for Nikon to be on the side of your battery compartments of this part right here needs to be facing the master unit inside this building, we have 12 foot ceilings roughly with the white. Probably get bounce, so you're probably pretty safe, no matter what. But again, this is still always better toe. Have this pointed towards your master flash for proper communication. So many people forget to do that. If you're doing a line of sight, you will forget to do it. If I switch. You always have rotating. That's why this head can rotate. So I have this pointed towards my subject. This part right here that receives the signal for the master flash. Point it towards my master Flash. Assume the position world were on World Channel one. Both is. I want you to come a little bit higher, Mike. Your final one little high and come down right in his face. I'm gonna don't look at the flashpoint pull flashbacks a little bit, like right there that flashes on. So that's going to get that fire. Hold on another one fired. It didn't show for my image. So far, No, not did fire because I can't feel it at all. All right, so we'll pull the image up. You see what I'm talking about? Having that harmony bounce we talked about yesterday. I'm inside, and I didn't even know what that fired. If we had that little harmony bounce a little diffuser that would cut the front off so it doesn't defuse it. But you can see it diffuses it on the side. You'll be able to see if this fires otherwise, especially outside. You'll be doing this and you blind yourself. That's the only way you can really tell Fired So we can see that image here. We, um It looks a little bit hot to me. A little flashy, So I'm gonna take one more, and I'm going to under exposed by one stop on my flash compensation. So the same thing. We're for your flesh by just limit. Like good. No, I think you make you Grace. You're doing good. I'd be a balance for like, 15 seconds. Simple is that, um I think that took out. We're up against the wall. So if we were farther away, you wouldn't even see the light on the wall. So whatever I think about that, come on, get audiences maybe a something and and I really drug the process out just to kind of really oversimplified and go over things. Typically, this would be a two shot process. I mean, it's not I kind of know what I want in my mind's eye. I don't really care what else wanted darken up, which really darkens up all that. The brick wall, all the colors. And then I used to flash to accentuate my subject. All right, so come over here, Warren. Cody, Let's Dio shot down the wall where I'm gonna show him how we can have the shadow behind the using the person cause we have this wall we're dealing with today, And you have this a lot in a lot of your sessions, you have a wall, you don't have much you can shoot around. And just like, if you ever have any studio practice, we don't ever really shoot it. This is the background. We don't ever shoot with the person on top of the backdrop because I'm going to see the shadow. We always pull them four or five feet away from that backdrop so you don't get the shadow on the wall. Unfortunately, with this set up today, you're gonna get a shadow amount of what? But one way that you can get around That is kind of what we're gonna be doing. And we do this a lot with our brides and wedding gowns. Couples female laid the female down on the wall and have the groom kind of coming to her and basically what we could do. You're still gonna have the shadow. Holy cow like spotter man. All right. And again I'm break this process up to start off with what camera thinks is proper exposure. I'm gonna go with. Let's get a little more of this. He's gonna start Great. That's what camera thinks is proper. Dan, you need to Exactly. Don't pull the brick out some of its soft. You don't have the club? No, he's got to. Now he's starting to start the series. So here comes the next one. I mean, that's what camera thinks is proper. So now I'm going to under exposed again. I'm doing large step. So great, what's proper exposure, male or what's what you present Your client may only be under exposed by one stop or 1/3 of stop. But again, for demonstration purposes, I'm gonna make a large adjustments. So I'm going to under exposed by a full three stops. What? You're going to make a pretty dark, great pretty much lose everything. Now I'm introducing Flash. I'm leaving it at minus one. That's where my last shot Waas. That's kind of cool. He looks like a prisoner in the dungeon, chained to the wall. Deliver look, and you could zoom in if you wanted to. The point is, you can adjust and the reason why he didn't even change his flash compensation again. We're in a pretty controlled environment. There's not a lot of like changing. So once you get your settings very much like in manual, you can just shoot pretty much anywhere you want and get the settings you want. And you could literally just suggest you saw how much there's a lot of beautiful natural light in this room. Of course, if we were shooting a real venue, I would use natural life, of course, in this room. And then you can also do shots like this, as we said yesterday, really get a wide range of portfolio work for him in a really quick time later on the day you won't be able to see it online because we only have one tether line. But again, I can't stress enough. If we were doing this real session, we will have, and later on we'll have a mere seems to come out. We'll have someone hold the light force and two of us would actually be shooting. So in a room like this we have a couple partnerships. I would absolutely have one with like a 72 100 shooting back, zooming in and getting natural light shots at the same time. Someone's getting t t l artificial flash shots in the same area. So you get this lot bigger portfolio a lot bigger. Look, we have one that'll get off camera angles. The different weirdness with you tell a joke. When they laugh. You capture that image, which is always positive in your portfolio for that real smile, and the other ones will be more of a posed with, which is kind of what Cody's doing. So is there setting this up? We'll do this. We did a bridal session not too long ago, where we did that exact same thing. We have one hour. It was a big venue, that high dollar one hour to shoot, and we broke it up into a light natural light team and artificial T T l team. And as they were to setting up a T. T. L, we were shooting over their shoulders to a natural light. When I got it set up, we pulled out, let them do it. We moved to the next location, and we literally within an hour got so many images that no one else normally would have got. So you really get a huge portfolio when you do this, like the kind of example that Michael's gonna show earlier or what to do with the shadow if you have a shadow that you don't like, So the 1st 1 I want you light him kind of straight on to show the shadow right behind him. Now I'm leaving my settings where they were from the previous shot. So I'm under exposed by three stops in the camera. Let's give me a nice deep shadow behind him, really dark of these bricks. And I'm still leaving my flash conversation at one, because the way his minus one, because the way that the brakes and his skin tones are reflecting that seems we working very well. So a little bit wide. I didn't fire good. When we go back to one, there's more breaks in that one. Too much worse than having to fool. I could bring it more almost almost good. Better all right, so this is an example of the him being lit kind of straight on, and it throws that shadow directly behind him on the wall. Now that's that's not the one. The next one should be coming up. That was the 1st 1 which was dim. Now I don't I don't dislike shadows. There's a lot of people that will see that shadow on the wall, and it really affects him in a negative way. They say, Oh, I don't like that. What do you do about that shadow naturalized shooter? What do you do about the light? Years aren't used to those harsher shadows, and it freaks them out when they start getting away from natural life and natural. It is wonderful, as I said were naturalized shooters, but it's just one tool. You really need to have multiple tools in your toolbox to create a great portrait session, and we try to at least incorporate three different lighting styles in every session, and T TL is one of them. Now, if if you're if you're not lighting them with direct camera flash, then you're going to get some sort of shadow like this, which I mean you can affect the shadow by moving your light around a bit, which is what we're gonna do now to try to make that a little less obvious and a little more acceptable. But again, I don't see anything wrong with this with this image again. I don't I don't mind. Dark, deep shadows. So this to the same thing. Mike's gonna bring the light around towards towards the camera a bit more, which is gonna is gonna flatten image out a little bit, but not enough to make it, like, direct on camera flash. But it is gonna throw that shadow a little further behind him around behind him, so it won't be as obvious. And you can also, instead of me angling the flash right here, I can actually aim it right here. And it is faced with a feather part of the life, not the centre college. Also, soften up that shadow in front. And I'm also adjusting his body just a little bit, which is gonna help bring that shadow around a little bit more, Mike. Good. Now I've opened his body up toward me a little bit more. Turn his face, move the shot around. I've still got a pretty good shadow on the wall. But again, it's not as obvious as the other image. Because you don't you don't see it on the shoulder everything else is just directly behind his head. One thing to do and this isn't a female, but one thing you can do when you pose in this in opposing class. But one of the posters that we do is when you have a woman, especially the bridal gown or someone a woman. It's got a little bit of thickness around the valley. If you just put her shoulders on the wall and keep her backside off the wall, it really straightens out that belly and you can get an easy shot like this. So we do this a lot with wedding ounces. Wedding gowns are almost like a It squeezes everything anyway, so most of them. So we always do. This kind of shot will lay their shoulders, and we'll just kind of roll their head over like this and we'll take a shot like this and almost anybody style. That shot will work, and it's very easy to do. Let's do the same shot one last time. Let's also add a hair light because it here light will crunch into that shadow. Quite a bit. Also, so uses from this. Remember, this is flashing both Canon Nikon and several other ones. You know it's on. That's just your charge button. Just like this solution. It's over in a reception and you see it blinking. You know that it's ready to fire a little closer. Kind of put it almost almost directly over him down because again, I want to try to get in between him and the wall for that for his shadow. Yeah, all right. Now here's Here's the final shot, and as you whenever it pops up, you will see that that does lessen that shadow behind him gives him a bit of a hair light, a little bit of separation. But again, that's something else you can do if you're fortunate to have enough of these flashes to have a mane and a hair light, and it again that helps with that shadow that it throws on the wall makes sense. So we use a lot of light, so we have basically were not. The second Hairline is doing two things. It's give us the hairline, which everybody says, OK, that makes sense, but it also takes out that shed. Remember yesterday I said, I look at shadows and I had the light to remove or add the shadows. This is a perfect example. What we do. So we took that one shot like, Okay, I'm stuck on this wall. I have to have this. The shadow. I can't get around it. There's no way of doing it because we're just in the tiny spot. Only have this location. It's miserably hot outside. Whatever, and I have to shoot here. That's one way we use. A secondary flash can only give us that separation, but also removed that shadow. And again, it might not be a huge award winning image, but it's techniques that allow you to make a better image in a bad location. If that makes sense, that's the only location you have given to you because the reality is if you if you use this technique and I mentioned yesterday, you can actually photograph anytime of the day. Anyplace, anywhere. There's always something you can high. There's always an overhang you can get. There's always a tree you can get under later on the day. I don't know we have any trees, but even the dappled light, the little dots of shadows that trees make it in the afternoon that throw on there, people face. The flashes will remove that. We're like a reflector. Natural light won't. So there's major advantages of being able to use these tools anywhere you can, depending on your location and tow us. That's one of the greatest advantages of this. And so we mix and match again. We try to always use to flashes when we're going out, so we'll have 31 master to slaves. We don't maybe always use them in the images. We always try to at least have those two. When we're going on location, let me touch out one more thing that we can do if you again. If you if the's harsh shadows or not. Your cup of tea. If you don't like him again What? I said, I'm making a large adjustment, some under exposing by full three stops. If I don't under exposed by full three stops, I'm not gonna get that dark shadow, because I'm not gonna get that. That darkness in the room so listed the same shot again. I'm I'm a break this one up into a another two part series. So this one I'm going to under exposed by Onley 1/3 of a stop. So what that's going to do is it's gonna steal is gonna bring in some of the richest of the bricks. I'm gonna lose just a little bit of light in his eyes, and it's not a great image. But then I'm gonna add just a little bit of light from this slave flash to just give a just lighten up a size and give some lightness face. But at the same time, it's not going to throw that harsh shadow because I'm letting a lot of ambient lighting. So doing a hairline? No, no hair life for this one. This is no flash under exposed by 1/3 of a style. It's an image comes up. Everybody see if there's not much of a shadow behind him because it's a lot of a lot of natural light coming in. There it is there. Still See, that's and that's even not. That's not horrible exposure, but his face is a little bit muddy. You just a little bit like so we're gonna shoot it again and add flash. This time, I've still got zero conversation. I'm probably end up turning that down a bit, but we could start off zero. And in fact, I am gonna turn that flash down just a little bit. I'm gonna go minus 2/3 because I want just a little bit of light in his eyes. But I don't want to cast that harsh shadow. Great. So again, this shot does not look to me. It does not look very flashy at all. It looks almost natural light. But there is a bit of this artificial light. Just really lighten up his face in his eyes. So that's another thing you can do if you don't like. These harsh shadows behind him is don't under expose in your camera as much. And that's going to allow amore ambient light in around behind him, which is already there. So you can even push that to the limit where you can almost just use natural light because in this say situation, the natural lights coming from my back, his back warren our models back. And so it's Cody says it muddies the eyes up. Since we don't have that, if you had a reflector, sure you could use that. Let's say you don't have that reflector. You could use this life just as a reflector and really turn the power down very low. And just give that little kiss of light in his eyes. Because, as I said yesterday, you always want to make sure you can see the color of their eyes. You always want to make sure that that life is in their eyes properly because it's gonna add so much to your image. Doesn't matter what color their eyes are. There's a separation. You want to capture that. So that's what natural light shooters do with the Reflector. That's what we're doing with the flash. The concept is the cynical. Now this is a little more complicated because now you have to visualize where that light's gonna be with a reflector. You pop it, you see it so it's easier to get. But the concept is the exact same. And once you get used and comfortable to using these flashes using the control aspect of your master slave functionality in the camera, you'll be able to visualize it very easy. Just like Cody did. He knew exactly where he wanted to do it a little high, so it's a little hot, so he turned it down and we'll have it the next shot. And if you don't like this, you can even overexpose some. If you wanted to, literally just expose perfectly for him and you can even see on the image. This is natural light. So we even have a little bit of natural light rim, like on the image. So you can incorporate that is the hair life and then balance it out with a flash. And that's the again. The beauty of this technique is really allows you to be the artist that you want. You see it and then you can mold it any way you want. And with again, he was probably I don't know what this camera settings where in the early ones, but he was probably pretty close. The high speed over high speed sink on some of them. When he took out the ambient light, he was above high, huh? Yes, I was overhead. So So you're even using high speed sink indoors, which a lot of people think is not usually a functionality of high speed sink. So again, it goes back to canon people. You make sure high speed sink is turned on your master flash. Nikon, You turn it on your body. You don't have to worry about it, but I always make sure you have high speed sink on in any session you go out to. Because if he didn't have that on when you're trying to under Sposa 23 stops, let's say that's the look. You want your cameras not going allow you to do it. Nikon you will cause you could set it. Forget it. But can people are gonna have a problem? Because it's gonna keep flashing when you're gonna raise up your it to eight or three to f stop in a V mode and you think you have high speed sink on and again, you should be shooting it. Probably 1 5/100 of a second in here, and it won't go above 1 2/100 of a second. It's gonna probably flash it you that 200 will flash that you and your camera saying it's it's the polite way of Canon saying Hey, idiot, you got something wrong here and you need to be aware that, but generally, if it's at your flash sync speed of your camera, which is either 200 or 2 50 dependent on the canon model. If its fleet blinking at that, it needs to be a tell tale sign that it's your high speed sink is not turned on because that's why it's blinking. It's blinking at your flash sync speed saying, Hey, this is the spats as I can go, but we got way too much light coming in. There's a problem. And as soon as you hit your high street seems hide speed sync button on your master flash. It'll jump up to whatever the proper settings is where you thanks for the life that it's trying to read. So just be aware that because it still happens to us quite often, unfortunately.

Class Description

Through-the-lens flash (TTL) is a powerful tool for every successful photographer — but it’s also an intimidating system if you don’t know how to use it correctly. Join creativeLIVE for a two-day workshop on simple, effective ways for using TTL and off camera flash to create studio lighting in any environment.

Veteran photographers Mike Fulton and Cody Clinton will teach you what TTL is, how a wireless flash works, and walk you through a wide variety of flash techniques. After two days of hands-on instruction, you’ll understand the science of metered light, how to troubleshoot both manual and TTL metering, and the basic concepts of “flash placement.”

This course will equip you with the knowledge and skills necessary to elevate your on-location photography skills, transforming every location into a studio.

Reviews

On the Mark Photography
 

[From intermediate hobbiest with moderate number of paid shoots]. I took the class because I knew nothing more about flash photography than slapping the flash on top of the camera, turning it on, and taking my chances. I could not have purchased a better class. Mike and Cody covered so much in such a clear way and with such great examples. Especially helpful are the shooting sessions where they work through the lighting situations, incorporating what is possible to do and what the client might want. I so appreciate their willingness to share what they do and how they do it. I now know some direction to take and what I need to acquire minimally to apply this to my work. Thank you!

cmc
 

Great experience and partially because of toned down Mike. I heard very few utterance of the word “idiot”. It is apparent that Mike loves to talk and is in a habit of repeating same thing again and again but I did see a better Mike and much useful content, all credit goes to you sir. Finally, a suggestion let Code talk when he holds the fort. He being behind the camera should get a chance to describe his vision. All in all very useful course and well executed. Thanks Mike & Code.

Rebecca Chapman
 

What a phenomenal class. I have learned so much. Not only did I learn how to master TTL but I feel confident in the science behind it. This allows for great on-the-spot problem solving. Great job, guys! Thanks for a great - and fun - class.