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9:45 am - Shoot: Indoor Challenges for Instructors

Lesson 10 from: Mastering TTL Flash

Mike Fulton and Cody Clinton

9:45 am - Shoot: Indoor Challenges for Instructors

Lesson 10 from: Mastering TTL Flash

Mike Fulton and Cody Clinton

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Lesson Info

10. 9:45 am - Shoot: Indoor Challenges for Instructors

Lesson Info

9:45 am - Shoot: Indoor Challenges for Instructors

okay. Do I get a crash course on learning about? Oh, again, Heidi is a Nikon shooter tether. So we want the home audience to be able to see images. We're doing a navy moved into just my camera composition. I start my meter, and then I just there. Where's Nikon? You hold your plus or minus Downright story will. So I just start my meter and then I could expose you have any questions with zero, and that's minus go 34 and five. Okay. And it's showing us the settings from camera raw. How are you gonna remember later on that? Oi under exposed this this much? I use this much flash. Is it gonna show up? Like in my room or whatever it can? Absolutely. Yeah. You'll see. You'll see the under exposure will say, like negative to negative three negative. 1/3 however, say, and it will in my room and bridge. Show your flash compensation as well. Absolutely. And that helps you. It's a great point. And it helps you kind of remember what I captured how I captured. If you took maybe three or four shots th...

at are very similar, you don't know which one you look like you can see when you find out the winner. Which one was the correct and it kind of embedded in your brain. So when you go back again, there's but there's no exact science. Unfortunately, there's no magical peel that I could just say you're gonna go out and it's always gonna be 2/3 under and plus three on your flash or whatever. It's always gonna be different because, as we said, you had flashed taste and depending on how much you under exposed taking out that ambient light that's really going to change how much the flash looks in your image. And so it just depends on your style of lighting. We have a lot of people that are natural light shooters that when we teach this, they're still pretty much natural light shooters, for they just add a little bit of flash. And she saw some cloudy days or whatever to really pop and make the images look a lot better. Which people here on the West Coast will have that issue sometimes. But even then, there's other people that are in the fashion glamour world, really liked under expose it, really like to use two or three flashes. Really? Like that flash look. And that's wonderful. You got nowhere toe place the flashes a little better because you're gonna have shadows now that show up. So you got to really play with shadows, But it's also a challenge. And that's a lot of people like that. So you can do whatever you want. Holy moly. Wow. I'm really gonna have to get down here. Go to your next Fine. And if you need a break, I just took the picture. So if you need a break, go ahead and go down. Okay? That was working right? Take it down. So everybody just looking. This is her first image. This is zero compensation in the camera. So this with camera thinks proper exposure. It's not a bad shot. It's great if your natural eye shooter it's It's a but work to show how we were manipulated with flash. So her first step, she's going to make a large adjustment for adjustments sake. So she's going to under exposed by full stops, Correct? Yes, I am. Did they go the right way? Yes, you did. Ok, okay, I'm ready. Let's say what when she come here. So, young workers, a partner. You can start holding the line and I'll help you with life. So basically, you want to make sure this is torture. Master, you wanna make this time? Here's our first shot under exposed the full three stops under an extremely dark pretty much lose our subject and everything else. So let's introduce Flash. And I'd want him over here. Right? You want where you want the ball? No, not you. Sorry. You come back here. I'm talking Rest. Okay, Rest. Come over here. But that's a good example of what's going on here in a real situation is you need to be clear on on who I know you're directing. Absolutely. I know better. Okay, so So to adjust your flash competition. And it's not better start. It's not okay, I'll start out here. I'm gonna be over here indoors. A lot of sun were not really competing with any external light. Sources zero. Okay, I am ready. Get. Look how high he had that. Like I didn't even notice. Exactly. I way and see if you like his life placement. That's the look. I was going for way. Like you want to change a light place. You won't change anything on. You know, I'm gonna try. It works lower underneath him. Even with this, you contend the life sick upside down if you want torch are There you go. All right. Okay, so So she she did it 12 feet fifth of a second. So there's no reason in the world you need a tripod so you can get anywhere you want. You're not gonna have any handshake again. The beauty of high speed sink and that's hot now with his with his different light placement is closer and more focused directly on his face. It's only a small portion of his body that's being led by the flash zero compensation. That flash thought that that was proper exposure, which, in fact, it's a little hot because it's such a small area that that light spokesman So what you do from here is what? Well, I could do one of two things, right? I could have him move no farther back now. Okay. If you have him move, either Teal still gonna say I am for the way you want t o slash power down so you can use your flash compensation. And again, let's make big steps. So let's see what I'm through. Full two stops pull to Yep, that's probably too much. But again, we're going to a big stop in there. Find it somewhere in the middle. Okay. And again, we're pushing these guys. This is all brand new. When you get more comfortable, this it's literally one shot. You look another shot you have. It's that facts that didn't even fire didn't fire one more time. Okay, so what is it when it didn't fire? Also, you can always turn that master flash toward your slave, since it's not exposing. So there there's minus two. I think that's a pretty cool shot. It looks really good on this screen. The LCV on the camera, it looks a little low. So if hours not showing us on in fact, I'm not sure if this screen is close to what the people are seeing or not. But I would probably actually, you know, do that up a little bit. I do one more, maybe minus one. OK, but the one on screen you got to do another one. That's that. That was a bad one. Now, why did that happen. Remember, No, don't. Why did that happen? Why did it happen? It's perfect reason why I want this is this is the fault of TL sometimes. But let's explain, why did that happen? We maintain that yesterday Test test, test the batteries, No batters where I was a fixed. Remember when Cody was talking about how it says Marco, and it's waiting for follow and and for So for some reason, it didn't get all the communications back and forth and they just said, Oh, forget it. And they just give full dump, just trying to light up whatever you're focusing on, that's the problem. That was definitely a communication issue. I'm not sure what the communication she was, but that's a communication issue and so that I could tell right away. Even when you click that shutter, I could see it on him. And I could tell that was gonna be a bad shot, How much like came out. So if I was in a session and saw that I would wouldn't adjust anything, I would shoot one more and then see if it's if I'm still getting erratic results. Okay, Specialist zero wasn't Yeah. Yeah, that would not have been and should not be that hotted up and use a light stick. Boy, you'll be able to start feeling the difference. What? We watch your knee a little bit Your knees. I'm getting some spill from your name. And thats tried again. I'm not sure where we're getting. Okay. That look better. Yeah, that's a lot better. Yeah, I like that. I think it has to do his knee replacements. Okay, We're gonna blame it on him anyway. He needs to get used to Because I'm sure in your partnership that's what's gonna happen like that. So that's I like that a lot. I mean, that's ended up at minus one. Flash compensation, negative three camera conversation. The body, it really darkens up the background, making a very moody I think that's a great shot now. Anything. Also, just to let you know. So this is how I work in my mind. So I take the shot. This was originally my vision that I took and you look in the back camera, then you go. Wait a minute. Look at this reflection that I didn't see. So then I would actually probably take the exact same shot but I would actually pull back where I can actually get that reflection in shop climbing. Frame it so he's higher and see if we can get a good reflection of that because that stuff right now we're not really feeling but in the images shows on wider. So then we would capture it and just framed him up. So he's at the top of the frame way if we get a good even can get down on the ground if you have been laid down on the ground. Me, yeah, whatever. Just to get that shot, however, you want to frame it up, do what you want. Okay, I won't listen to Mike Used to that and it didn't fire. Did not win some issues with Let's Wanted. Also Okay, that is blinking. So that fired and that looks cool. Resumed out quite a bit on that. It seemed that too much doing where it's a little tighter on him, but if we can see that, you get to see what I say about the reflection way didn't see originally and then it showed up. So you want to take another shot saying camera setting, same everything like a really striking just him and then room for his reflection. Listen to Mike easier, easier. I love the shadow. Let's go a lot of reflection. And so that's something that I think about it from the first dance. We do this a lot of the first dance going around, and we're gonna do that in just a second. We're gonna have the bridegroom or whatever dancing. I literally just lower my camera down like this and start taking shots, and it's kind of extension of my arm so I could get that reflection of them coming off that nice wooden floor seem minute. Whatever is there, has a reflection. I want to get that reflection so I'll shoot the shot like you had a first on. Then I'll shoot some water angles and make sure that reflections there. And when you take it out this ambient light like you're doing those reflections show up where if you were shooting natural light, you will really wouldn't see it at all. And so it's again. It's completely two different looks using the exact same technique, and you're way over high speed sink 1 1000 of a second. And so if you were shooting natural light. You'd probably below high speed sink and you're shooting dish where you get a reflection of your above high speed. See? And so again, you get those two completely different looks in the exact same location that really will look like to. Don't photographers took it. It won't even look like the same person. Let's try it on a secondary light in there. Kind of light up that backside of him where it falls off in the shadow. So bring this one and keep it pretty far behind him. Come in. Come in. Kind of close because I wanted Teoh would be great right here where you want it. Yeah, maybe angle it down just a little bit. Not so much, I think, so far. I can see in the frame. So he's not in there. Have him move back. Our our zoom in tighter so that he's not going to see it. No, that was real hard to just throw a light there, you know, worried about any anything looking at nice room light it gives him really cuts him out of the background. It has a lot to that image now. The light that's on the lower left hand. Correct. Yeah, I know that. I don't mind you if you adjust your angle just a little bit. If you come kind of this way and shoot more that way with that with that rim, like coming in directly behind it, it is gonna give you reflection like, Well, you can angle the light where it doesn't show in your field of view. And again, this is where it goes back to its a little more difficult. Takes more practice and reflector. So you visualize that the light was gonna be the rim like you didn't visualize where it was gonna spill into the floor, so you would need to visualize that you would angle it toe where it wouldn't be on. So if I didn't want to move because I liked the angle I was that I have you move? Absolutely. What have you move farther back then that haven't moved to your left more to my left, and then we'll shoot the lot of cross. Okay, So it's not showing that makes sense, huh? And I didn't fire. There we go. No, we still gives you that nice room separating him from the background makes sense a little bit controlling. You understand? Yes, the main thing is you want to be able to do what you want, and that's why we want you to shoot more than us. Even you guys that are partners in business. We're gonna completely to. It looks my advice to you, and even when it's out that there's a partner is while you're doing this and you're lying for her, you're constantly looking around. If we're in this room, which is what six happened, that's why I'm giving you this leeway. You're gonna look for the next shot. So as soon as she's finished and she's got her vision taking care of and you've assisted her with those lights, then you would rolled in the next shot and then yells, Roles were reversed. That's exactly what coding I did for 10 years with this technique, and we went back and forth like said when we were lucky enough to have someone to hold our light stick fours then, which is what we're gonna also be doing later on the day we both actually shot Master and we had the one light stick that we were actually our wireless unit and again because of T tl it meters for both of you at the meters for you meters for you. As long as you let that flash recharge, you're gonna get the light that you want. And that is that opens up so much, so much freedom. So that's that's my advice, even though she's just your assistant model, and that's that would be my advice to the partners If you shoot with someone, if you bring in a second shooter that you're used to shoot him with, that's my best advice is to really become a partner with them because lighting this when coding I shoot, I pretty much know when he's posing. I know where the light needs to be, and without him even saying it, I'm already moving that way. It's a partnership completely more than just businesses and captured that image. And so my mind is an extension of his and vice versa. And that's where you need to be. That's that's where you need to get. And that way when you get there, didn't you confined to knit? Took to her she confined to Muto her vision. But you know where it needs to be we don't have. He's got no, he's got no banks. But if you have bangs on a woman or a guy that has the hair coming down, you want to put the light with it. We're going to show you that later on, so there's already some minor rules that you'll need to follow. You don't want the light coming on the one side because you have shadows across her face, so you'll come already. You already start going onto that side when you see it and all those little things help speed up the sessions so much give you more time to that client before the sun goes down or whatever. For the sessions out, you get more images. You still might only show him the same amount. As we said yesterday, less is more, but you capture more orm or looks, and so you get a better portfolio. So no offense to the solo shooters, definitely when you have a partnership just from my experience, because I've done both, it opened up so much, so many more doors, and even if you still shoot solo, you can still like I said, have that one person or two people that you work with all the time, if you can, that really will work back and forth with you. And it just it helps so much So with that said what? Do you want to shoot there? Awesome. Actually, we have Internet Challenge Ray Challenge shoot Warren in the air and action shot while dancing. And MC d also has the exact same challenge. That one with seconds we'll take the first. Okay, that's where we wanted to go anyway. The advantage of high speed sink is perfect when you have fast action because we're in here. We're shooting at 1 1000 the second, if you're gonna under expose, so it's gonna freeze that action. The goal of freezing action theoretically is 1 5/100 of a second. That's really kind of the goal that you want to reach the freeze, that action, that you can kind of get away with a little bit. Mawr with flash. So even what you call dragging the shutter, we can shoot it. If we're using a 16 millimeter, we shoot it 1/20 of a 2nd 1/ of a second and put the subject in the middle in a flash will lock that person in motion, and then everything else around them will be blurry from the hand motion. But with this, you could do Either way, you could actually open it up and get the blurring is kind of a dragon shutter. Or you can under expose and lock everything in where he's gonna be frozen in time. All right. And probably most important thing I can say about trying to catch things in the air is gets your exposure, anything right before you have them jumping, don't make them jump every time and try to get your exposure right. So again, I'm gonna break this up into a couple different exposures just to over simplify things. So, Warren, if you could just stand still for a second and I'm gonna shoot these fairly low someone he does jump. Um, it'll appear like he's jumping a lot higher. So far, shot is very simple shot. That is what camera thinks proper exposure. And Cody just brought up a really good point. Don't make Warren jump while you're getting these exposures, because it's not gonna change at this point. Just have him staying there. Yes, having stand there, get everything down next shot under exposed by a full three stops. In fact, I'm gonna get a little bit more than that. I'm gonna go to three. Go four full stops because, you see, that's nice and dark, and we're gonna make this kind of dramatically lit. So kind of 1/2 wit situations find, like, I write this little hot Lower it. So I think I have one war. What's a little less flashy than that? Even so. Anyway, um, okay, with that exposure, next step is going to be to get Warren to jump than that. Full so And typically Typically, if I'm gonna do a real jump shot, I may give him. Give me demonstration first before you into the viewfinder. So go and show me about what you're gonna do it so I can decide. Oh, give me something. Give me something fancy. I like that. Just be aware of Yeah, I like that one better. Because I don't want I don't want anything in front of your face. I want able to see your face give you one more jump. Good. Okay. All right. And when I say three, just go into bite. then fired it. No, I think I had it in the way. Way to three, right, Because I was looking at his jumping or not worried about where the signal was. Exactly what I told you not to do yesterday. That said, I think that's a little hot. I'm on unexposed. Little more. I'm going minus two, and I'm also gonna have Mike come around a bit because that's that's a little more half. Let that I want to see before doing any of it. Yet I, Warren on That's fine. We got you. You noticed I was raising the light up. I don't have You could see what I was raising a lot because when he did that test jump also, I was going to have it down here, and I was like, OK, that was gonna be way too low. And so and then also, with that hand coming up, I want to make sure I got the light above his hand or was gonna throw a shadow across his face to do one last one. I'm get even wider so I can still more the floor to really show you how high he's getting so like that. So let me get one last shot. Good and jump when you're ready. That's really interesting. This one has a really cool shadow. I can every like Anderson turned out. Actually, you look kind of like you know what you're doing there? One So I mean, it's it's a simple set. I mean, I'm I'm really drawing this process out for simplicity sake. Just trying to make sure everybody understands exactly what I'm doing. How manipulate my camera by under exposing in the body and then adjusting my flash power with my flash compensation? I can't reiterate Reiterate enough that if this were a natural shoot, this would be just like a two shot seen and would be done and on to the next. It's actually we're trying to back step because we do this so frequently. We're trying to make sure we explain everything. So if we don't class and those watching a line, please let us know that the chat room, because we want to make sure you understand each step of this and how we're controlling it in our thought process of when we're going through it, like Cody just did, he saw a little bit. That shadow very similar what we saw with the reflection and he pulled back and saw. And again, obviously, we would like to have no window back there. So would be just like a solid brick wall. And it would be really, even like a cooler shot because of the background. So we're not really worried about the background. We're just worried about the technique at this point and trying to get that down. We go outside today, we're gonna worry more about the background, cause it's a It's a more pissed, picturesque area like you would actually do in a real life situation. You're up. You can get out of it. You didn't get out of it in this. Well, let me ask you if I was shooting here and trying to get a different look, um, when I look at that almost looks kind of like a night scene, right? Is there a way you could put him up against the wall and try to have a light coming down almost like a street light? Kind of do that a lot. That's all. Some thought process. Okay, so I'll try to do that. Okay. Relate the old. I call this the Qin lighting shot of the street lights. OK, so I'll have you over here by the this side of the window. Heidi, you're gonna be alive. Six. So you need to start kind of making his vision come life come come true. We'll actually have you just standing there, so send that out. Let's have you come on. This side The lights gonna go this way, Heidi, Into his face? Yep. Since you're new to Canada, this is the part that picks up. OK, now, So to start getting a regular exposure. Okay. Yeah. You're gonna wanna kind like this. Okay. Find all the trolls on a camera. You use your meter up there. Okay? So I was only just doctor meeting, and you can adjust this wheel here and that zero conversation. That's my Okay. So if you want to do that Multiparty. Started zero and go from there. Are you can just start. Okay. Start right. All right. Let's have you. You're gonna face that direction and some kind of pose. It's kind of kind of quiet. Kind of. Yeah, something like perfect. You read my mind. Okay. I'm just trying to get the exposure. Right? Right. That's that's what camera thinks is proper exposure. That's even on your camera compensation. And so we want to look like a night shot. So you're going to under exposed, right? Probably more than three, I would guess. Sure. Let's go try. This camera will go all the way to five. Okay, so which is the start? Your meeting in 123 three. And when he says he was talking a Navy books, Okay, most canon cameras will go ahead and world, now, that's too dark. Well, actually, if I wanted at night, it's night. Let's go with that. Okay. Again, let's make a big adjustments than say we do. So Okay, so now we want to introduce the flash, So Okay. And I want the flash to spill on the brick. So what? I want her closer to the wall. Then it's You've got this cone of life this way to coming out, so it's gonna hit the brakes there. The closer you get to him, the stronger it is gonna be on the brick. So Okay, so that's just that's up to your taste. You're gonna have her. That's part of what you're going to do is know how to communicate with her. Tell her to get a closer breaks or further are try to convey your vision to her and get her to do what you want, OK? And right now it's said it. No compensation. Correct. It is that I'm gonna go to zero on this one. Just spend the wheel. Okay, so we're zero conversation in the flash. So this is what the cameras is gonna think is proper, and I need you back a little bit, and, um, I high enough with the light. Um, I would go higher if you can. Okay. Let's see what that looks like. I actually got to go higher. You're still in the frame. E. I can, actually. Yeah, that's one. There you go. It's got to come back. Back this way. That way. This way. Yes, Actual. Probably there ago. Okay, Now is the preview honest? Okay, so one thing I don't like about this is the lights going that way instead of looking like a street light. So you want to come in more straight down? Yeah. We want that. Okay. Which means you just how do you feel? How do you feel about the light being just behind him? Do you want the light just in the bricks? I mean, out of mind that that's kind of got a silhouette feels kind of cool. But do you want the light on him to see his face or you want it? Yeah. What I'm seeing here is I do like it on the bricks, but he's too much of a silhouette. So would you introduce another light? Just soft feel. What I would do is I would pull this light because right now, give me a rough roughly how you oppose before. If you notice you have the light here and your freedom here, this lights going, falling behind him. You need to have a slight about here. Oh, right. So I would bring light something like this. And you say you want street lights? Try to come on. Well, straight down. Let's try this. Not sure if that's fine. No, that fired. Oh, yeah, That looks a lot more like a streetlight. Right. Okay, let me try one more. Heidi, go ahead and hold it. Where? That was that you're framing a little better. Yeah, that's kind of the lookouts. Hoping to get was kind of a a night. I think that's nothing. It's pretty cool. It's very dramatic. Is pretty interesting again with the If you notice how that light is falling on the bricks one way to we could do two things. Now, if you want that mawr dramatic, you can zoom it in to focus it. Or you can bring that light a little closer. Okay, let's bring the light closer where it's in the top of the frame going. Hold on this. Tell me when it when the my light is just the top of your friend gets closer a lot of times when I will leave this flash head in the frame. And it was gonna give you some cool lens flare and things like that. So let's see. Okay, that adds anything to the image, so just direct me too. All right, keep coming down a little more right there. Little straps gonna hang in a little bit, but oh, yeah, it actually really looks like a lamp. Now I don't mind. There are lots of images that I include the flash head in the image. It can look like that. It looked just like the sun or this image here. It looks like some sort of recess lighting are street lights, our meteorite coming where, like about it, is like you said. I mean, we get the natural light picture one of us gets that And then to get this shot, the client would look at that and think, Well, where did that come from? Right, especially at a wedding when you that's the greatest advantage. Excellent. All right. See, Like I said, I think that's the greatest advantage off. Using this technique is with T T. L. Doing the work for you with T T. L doing the work for you. It allows you to do exactly what you were just thinking that allowed you to be creative. It allows you to adjust the light where you wanted it again. Right now, it's going to take a lot longer than it will as you get more used to it. There's no question, but the beautiful thing I saw was you working through your creativity in the photos and in that process that's happening and it's gonna get faster and faster and faster and shorter and shorter period of time of doing it. But again, with two people, this technique is awesome because again you'll be able to get completely two different looks. And not only that, you could get the natural. I just turn your master flash offshoot Natural light. Turn it on. You can get natural light with a little bit of flash or, I mean where we're in the morning. There's so much natural light in here. You you can't see any sunlight coming through that blind and all. You've taken out almost all Ambien life. You're inside shooting at 3200 of a second, which is insane, and you're able to get that shallow depth of field. But you can also do the exact opposite. Instead of shooting at 35 you could go up to F that flash that you see what you're even still getting a little bit of starburst and F 22. You get huge starbursts. So once you even have the composition down, then you can actually play with your camera set. And so now you have the exact same camera settings you want. You don't touch anything, but just turn that dial that controls your F stop is urinate mode or a V mode and go from 35 of 16. It's gonna lower your shutter automatically. You're still gonna be those three or 45 stops under that you were. You're gonna allow the exact same amount of light in get the exact same in image. But at those different F stop changes, that flare reacts differently. So now you're even fine tuning and even Mawr to the artist that you want to be, that that final image could be. To me, that's the greatest advantage. There's so much you can do. There's so much you can bring into this technique. It's not just learning the technique, which were starting to today. Once you learn it, then you find tune it and you simply can't do that with any other type of technique. Great job, Heidi and rest. You did awesome. A love your creativity. The Internet loves that. You guys were shooting because you represent them out there so they feel like they're really a part of this with you, Heidi. People out, out. They're probably smarter than I thought. Okay, great. This is from pro photographer. Can you adjust the flash and zooms on Lee the face of the model is eliminated. Yep. Now one. This is where my beer Cuzzi would come in handy because that's what a snoot does. He basically wants us to snoop. So basically, we're gonna just This is it was much as tight as we can. Which in this case, is one of five. Using the 5 82 We had the six hundreds or, again, the 900 Siris for Nikon. You could go down up to 200 so your light would be even a little title in kind of a cross your arms. Just give me a most of time. They're asking you with my legs forward. You were on the legs out. If you want me upside down or sideways, Just giving some simple setups tray. Just cross your arms. Kind of a tough guy. Look, he's like a tough guy dancer, tough guy dancer. Yeah. Good. That's fine, because all I'm showing isn't that we can focus a lot on this. Show me, she wide first start out started 24 you're not gonna move, and then you again right now with most of the flashes out there. This is something you have to do on the slave flash itself manually. Some of the new technologies out there is allowing you to. Actually, you can even control this from your master flash or if you have a wireless transmitter. So just depending on what model you have just read up on it. But the majority will be used to have to come over to your sleep slash I believe my camera settings exactly. Same from the last shoot from last shot. So I'm still at negative five. That's gonna make everything really dark. So we really see with this flashes going, I still have my flash conversation Zero. And I just know from experience that the first ones probably be okay. But once we resume that flash and it's gonna focus that light and I'm gonna have a term I flashed down. But for the first time, we're starting out negative five slash zero. Hold that. Hold the flash. Why don't you put it on a modified and hold it directly at right eye level Are the licence holder level, but I want it. I want to not move that will angle. You wanted to move? You don't want exactly. Exactly. I have a hard time spend it out. But I didn't want him to use the mono pod because I want to have the exact same light placement on both of these shots. And when they were really going to focus it, bring it around front a little more. A little more. 45. A little bit lower. Little low with flashing to just for spill issues. Good for the ball. All right, now again, Here's a shot. We're gonna go Us bricks. Fire is this Foot nine blocked. It turned off. I can see it. I'll just tell them. Is that 24? OK, now, 24 is actually not wide enough for us. Close as that flashes because you can see his legs or dark. But Mike's kind of leaning the leading the life stand out. That one didn't fire. The next one was the one that Okay, So as you can see, the light pattern ends right about his waist. With that, for house alone for our close. That flash head is so we're gonna use zoom feature. We're gonna zoom in, which is going to really tighten that light up, even mawr to just his face area. So again the features of functionality of the flash head itself. A little of that flash table will move back and forward inside this flash head and one thing, especially if you people live in hot areas. When we first got a brand new 82 we went out shooting. We had a workshop for five. People were slaving off that master off the one slaving it and then went to go zoom it in cause we call him the zoom feature and it got so hot When things get hot, they swell. And when you're changing your zoom feature and it doesn't, it just mean you don't see the number go from 24 to 105 But you're turning based on what it was doing. Was building pressure, building up pressure cause it had swollen up, got hot and swelled up inside until my flash actually exploded in her hands. So be careful if you're in a hot environment and you're using your flash a lot, if you change your zoom and it doesn't adjust the number, just stopping with that flash cool down. It's rare, but it happened to us, and I scream like a little girl ran cause I thought I was gonna die. All right, So while Mike was given it Wonderful story, that synopsis. I, um when I took the shot, he had zoomed the flash into, what, one or 5105 And you can see exactly what the one if I did it really concentrated that light. He didn't move the light at all and just focused it on just his face. This is something that you can do also, if you're in an area where maybe the flash has to be far away from your subject and getting too much spill where it's lighting up the area that all around him and you wanted to focus on him or so this feature that I used a bunch If I want to really concentrate the light on just my subject Yeah, And again you can use ah snoot or something else to even tighten it down Mawr. So if you need a really, really tight, I would just go to one of five, put the snoot on the outside. If it is a little beer, Cuzzi or if it's an actual snoop that you purchased on the looming quest, has something we do use, and so we actually can put those around and tighten it down a lot. If you don't have any of that, you can get a piece of paper, piece of cardboard, wrap it around and just cut it and even hold it tied at the end for the shock. If you had a lot of assistant, you don't have to have something really, really expensive. Something simplistic will work and be effective. You just need to tighten down the light where does and whatever wrapped around it. The light didn't escaping it when it fires when it goes. I didn't even mention this when I shot, but I gave you a little preview before, but I said that I was probably turn my flash power down. I did turn it down. I went down to negative to compensation on my flash compensation because again, part of that's just knowing my camera and all of my equipment. Since I'm shooting an evaluative. I know that it's looking the entire seeing, and his head portion that's being lit by that flash is a very small area of the scene, and so it is gonna ask for a lot more light since just a small portion is being lit up. Um, so it's gonna ask for mawr, and I knew that. So that's why I went ahead and adjust in my flash conversation down lower. Yeah. T t l does not take into effect that that zoom feature. So in its eyes is going to be the equation of 18% gray that we talked about, which is proper exposure, the proper amount of reflected light coming back. I mean, it kind of does, because you're zoomed in a little bit, but that pretty Flasher really is. He says the more you zoom in, the odds are, if it was fined 24 you zoom to one of five, it's gonna be too much like cause you're just focusing that light in a small amount of area, you're going to lower that flash compensation make up for that adjustment. All right, well, thank you so much. You guys, we have a handful of questions. A top time for a few of them. If you're open. Teoh. Always curiosity. Um, Jim And via asked, what if you were shooting with the window directly behind Warren? How much negative composition would you dial into the camera? And how much positive would you dial into the flash and then similarly, fashion TV ass from Singapore? How do we handle to tell flash of our subjects back? Is facing a big window of light shooting into the window light. We actually do that a lot again. I love the detail for this scenario because one we put him behind the window of the front of the window with the window behind them, and we could meet her on the subject kind of a natural light. So the window would be completely blown out and we would still use flash the light them. So now you have a completely white backdrop for the most part because you blowing out the background from the light coming in from the window and you have a subject and then we would under exposed. Very similar will be done in this segment. We don't expose bringing in the blue sky, bringing in whatever's outside. So we almost exposed for the background. But again, we're not exposed for the background because we're exposing for the subject and then under exposing as we talked about yesterday. But now we're still bringing in the shot. Very similar. What you did yesterday for anyone that watched yesterday on the windmill shot. That's almost a DAC. Same thing you focused in metered for our model yesterday, under exposed bringing in that windmill in the background. But you saw the beautiful blue sky, the women and everything else. And then you properly would like the subject with this flash. So we're getting two different looks really, really quick in the same location that are completely looking different. Especially when you have that strong of a contrast. Yeah, we love doing that wedding, especially. We do that almost every wedding with the bride. Speaking of weddings, there is a question that keeps coming up in the chat rooms about about A during events such as weddings. How do you make the adjustments quick enough to get this shot you envision? Is it just perfecting that your techniques during practice? Or do us that you're studying before, say the first dance begins? And that question was directly from Dede photography For the first day, it the question is kind of boat, but our technique, the beauty of this, you only just those two things one is the exposure compensation ones, the flash compensation. The exposure is right there in your body. You see that meter on how many stops you're under, and then our flash compensation. You see your back in your master flashing. You see how many stops your over and under. So those are the only two things we adjust. So, in a fast pace situation like a wedding, both of those are visual and were able to adjust them. Now the technique comes in. You have to know what each one controls. And that's what we're working on the day to get that muscle memory retention going. But for first dance, kind of what we did again yesterday, kind of what we've done here is sure we know where the first dance is gonna be. Will turn off all the flashes. We're gonna set our camera at this point in manual mode because it's so low, like the a V mode. Aimo won't work, and we're gonna take a couple snapshots just to make sure we get the ambient light where we want it, and then we visualize the same time where we're gonna put that flash. We put the flash on there. So when the first and starts, the only thing we need to adjust is that flash compensation up and down to get the light on the subject where we want. Let's show you what I would do Let's say worst case scenario first dance and I'm starting off zero and I don't have any clue what my settings need to be. I'll show you how quickly you can get in the ballpark now. We only have a dance with yourself. Just do a little spinning spins on. What you doing just right here. Just kind of keep it here. Just do whatever it might hold a flash about 45 degrees. So I'm at the wedding reception first. And so, my God, what I do? What setting Start used? I don't know. Slomo, start out at zero Compensation. Zero flash. I take one shot like you know what? That's just not very exciting at all. I want to make a dramatic So remember Cody saying he needs under exposed. So let's unexposed by three stops. Take another shot under exposed cool. It's nice and dark, but where's my flash? I've got turn on, turn on my flash, take another shot quickly. Oh, first dance. Oh, that flashes a little hot. Let's turn the flash power down. Here we go. Oh, boom. Give me a little more 45 months. Great. Oh, there's my first dance. I love it. Everybody was kung fu fighting boom. I mean, it's really it's really that quick. It's not. You're still seemed. Yeah, I'm still zoomed in, so it's messing up. Forgot. It's not messing up enough that it's not usable. I'm digging. These images are under exposed, but but that's it. I mean, that stands the question in person that's get a couple of images up there. But it's fast in. The first dance is gonna be You got two minutes. At least they're gonna be dancing. You know, at least most first dance songs are at least two minutes long. So if you not even if you don't not got the Emmy light if you can knock out the ambient light before that takes away half of your work right there, then I would you just adjust? Is the flash another, like dying? Next one should be pretty close. Uh, yeah. Okay. And the hardest issue I have a first dances is getting imposing just right because a lot of people aren't really great dancers, and they just kind of do this and 3/4 of the dance their faces are away from your going. Oh, I hope this firsthand is almost over. Hope it's almost over. Then finally get back around here and click todo normally start right before you get your camera and there go the back way. Uh oh. Here we go. That, like, Yes, yes, yes. But obviously that's that's what we would do if we have time. If they have a wedding coordinator, we would go with them or D J Normal. We try to coordinate with the wedding coordinator. Deejay wins the first dance. Is it gonna happen right when they get introduced, the reception or they're going to maybe sit down a little bit and talk to their friends and family for the do whatever whenever it is, and we're gonna go over that again in the next segment. We're gonna actually kind of do that whole thing as we would when we bring in another dance. And we have two people, but we'll show you kind of some of the tips tricks that we do with two lights, one light, how we would go through the whole process, and it really helps

Class Materials

bonus material with purchase

Light Patterns.pdf
Lighting Diagrams.pdf
Off Camera Flash_ TTL Metering.pdf
The Basics - Why the TriCoast Method.pdf
Understanding High Speed Sync.pdf
Wireless Shooting.pdf

bonus material with enrollment

TriCoast Resource Guide.pdf
What is TTL.pdf

Ratings and 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!


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.

Student Work