Mastering TTL Flash

 

Mastering TTL Flash

 

Lesson Info

How & Why Underexposure Works with TTL

So for our style, this is where we're going. We basically under expose every single image or more outside, especially so what? The camera thanks, it's, proper exposure if you look at your meter in your camera, when you push that shutter hot button halfway down that gives you your f stop shutter speed, you're going to be right in the middle. Technically, for proper exposure for natural light shooters, you almost have to go over exposed especially bright to get enough light in their eyes, and you get that record look or something in their eyes. So this is completely different for natural light shooters. We under expose everything outside now if you had a stroke and they're going be photogenic or something a real powerful strobe outside the old school method, I would say old school, still very effective is you have a light meter, you can go up and you could expose meter for the sky get with the proper exposure for that blue sky is put your camera settings to that setting and your flash, y...

our strove is going to be powerful enough to expose your subject fine, as cody mentioned earlier, these little guys simply can't do that, they don't have the power to do that. So what we've done overcome that because, again, this was developed in a wedding based scenario something that happens very fast, we can't really stop and go back. We had to make sure we got the shot right to begin with. We always meet her for our subject. First, we let the camera meter on a subject to find out what the camera thinks, his proper exposure, that meter in your camera right in the middle from there, then we would under expose because if we meet her on the sky like a light meter, use a camera or like meter and set the settings, these little guys, you'll get beautiful blue sky and the groom here will be completely in dark his face would be lit up it all because of flash didn't have enough power to light up, so if we meet it for him than under exposed from there, then we stay in the ball field, the ball where these guys these little flash you can still have enough power to light up our subject, so maybe you can't get his much blue sky as you could with a stroke. You can't under exposes much, but you're going to be able to get some blue and you were able to move on or you can add if you have more flashes, of course, but again, we're trying to talk the minimalist here we try not to tell people you have to buy more flashes so with this was his one flash it's basically set up about the angle of the shadows coming into the image and it's as you see it, it's one thirty in the afternoon and meeting for a subject we've underexposed from there and that one flash can fire if we continue to go under expose mohr the sky we get darker and darker almost to a black blue color within the flash wouldn't expose her subject, so when you get to that point, you're happy with the sky and then you take the image in europe plus three, which is the most these flashes going khun fire and you still don't have enough light you have to raise your exposure up some allowed more ambient lighting does that make sense? Okay, the reason why we do this? How many people know who the sunny sixteen rule is? You know, if your brand new you probably never heard of it, those have been in the business for a while know it. The sunny sixteen rule is a was a wonderful role in film days and you didn't have that digital back that security, the digital back, and it allowed you the base of the great exposure when you're outside on a sunny day, any time without a light meter, basically, it is he would set your f stop, they have sixteen and whatever. I also film a speedy reason. So if you reason, one hundred u was set your shutter speed to the closest to that number, if I'm using I so one hundred speed film, I would set my shutter toe one twenty fifth of a second, which is the closest and with that I would have beautiful exposure no matter what. If it was a sunny day, which is great, especially my old crime scene days because I knew I was going to get the photograph of what I needed to was an accident outside or whatever. But for us, our problem is that sixteen we hate that f sixteen we hate that f sixteen, the larger the number, the huge depth of field everything's in focus. We want too shallow that the fee. So we want to small and I mean, you can't get that without again high speed sink. So this rule right here is wonderful, but it is also the main reason. While we hated using anything but high speed sync, we wanted to be able to use high speed scene. So with that, we were able to get one to thousands of a second and have three point two on this image but turning on that high speed sync, allowing that high speed sing get us above that shutter speed that we needed of one two hundred one to fifteen second in the old days it was one sixteenth of a second does that make sense? So we capture every image outside under exposed for what? The camera thanks it's correct exposure this is very important because by under exposing meter are seven under exposing that's bringing in the blue sky that's bringing in the deep color from the graph it's not just this guy so many people ask about the blue sky thing but they forget when you capture you under expose you're bringing in the red of the flowers of the green of the grass the green of the shrubs, the blue of the sky you're bringing in all that color and there's so many people when they sit there and hear speaking imogene or or any other program that we do they think we're actually up here line about the color that we get in our image is yes there's some processing to our images but not that much little pop of color maybe some vignette ing but the color we collect is actually in the image we'll show that again tomorrow when you come back we're going to show you when we go outside but by under exposing meter for a subject that under exposing we're bringing in so much of that color that's outside that we seem to forget about it a human because we're so busy just looking at our subject, we forget about what's around it. So here's some perfect examples, basically, we're getting a lot more this in the third third segment, but I want to kind of start right here, but if you look cody's down here on the ground he's kind of our spotter monkey because he's flexible on the chubby when they can't bend as much and we have a bride and groom in the back. This is the day after session just kind of a marketing tip pretty don't do any day after sessions in your packaging, you're kind of missing the boat and it's not really what the workshops about, but they're so wonderful because the bride is not nervous anymore. The groom is happy because usually mother always going home, they're married so he's happy he just wants to get back to where you can watch football in his underwear on tv everybody's happy so the stress is going that day after, and you really get some amazing images with a day after session, and you build that relationship that we talk about that is so much more important than the images that you provide your clients and you usually, if it's a destination wedding or anything else, you're going to be there anyway and it's a local wedding. It's the fun part or sometimes in the wedding you don't get the time to photograph the bride. You don't get time to photograph the groom there's twenty minutes late on hair than it turns in the forty minutes late by the time and she's freaking out, she doesn't want any photos you know the whole thing will you can make it all up in the day after because you get those beautiful romantic photos of the husband and wife and then they're happy, so if you have a weak wedding, it really helped strengthen up the day after is well, so here, the sun's coming in from left to right and basically what cody's doing is allowing the wireless flash to expose the shatt saddle side the dark side of the face. But this is what the camera thinks his proper exposure for natural light you have to blow out that background to get enough light on their face makes sense by meter and on our subject and then under exposing. From there you get the beautiful blue skies and if you notice the camera set into the bottom it's still it two a still it I saw one hundred and we just go from six forty to one thousand of a second, so we're dropping to stop two stops under and bringing in that blue sky and in the flash the rights that well it be her left your right side of her face is lit up that's what the artificial was doing and they were balancing it out with the natural that makes it this is what we're going to really concentrate on them we start doing our application side tomorrow we're really getting concentrate on controlling seeing the light and the controlling it to make the payments that you want not just take the image of what the light is given but you little e owning controlling that light and making everything way you wanted as an artist because again with high speed sync tl you can do anything you can do the two point eight at two thousand second you could do the one, two hundred second f sixteen you can do whatever you want you could make the main light great is the sun you could make the sun the feel like it's completely up to you when you have these tools in your hand what you want that final image to look like okay mike I'm looking at the at the two pictures here um you talked about the things that were constant what I seen change was to shut a speed now in that changing of the shutter speed that that come by the exposure compensation built in the camera itself correct one you're in a mode you should nikon right yes when you're in a mode a v mode for canada you said the f stop you set the depth of field is more what I like to look at it, not so much that I want to control how much depth of field I have with the water angle ins like a sixteen thirty five, fifty million fish I even at two point eight you're going to have a huge huge depth of field if you have a seventy two hundred on there and you zoom into two hundred that compression that you talked about earlier mike and you're it two point eight you're really gonna have a shallow depth of field, but I want to control how much depth of field I have so I that's why that's? Why we like to use the navy mode or a moat? I set my f stop to control the challenge of the field from there I'm meter on my subject and it gives me this reading two point eight it's six forty four cannon all of you would do is turn the not dial it's on the back of your camera counter clockwise and it will under exposure image that meter that's in the middle that's in your camera for candy when you under expose it goes to the left for night kind of goes to the right for nikon is can be a little plus minus there you get that and then you scroll this well here too a gesture conversation again, we're not concerned with the shutter speed is at all. I don't look at that. All I'm looking at is my inside either my viewfinder on the top. I've got my proper exposure, then I got a plus one plus two minus one minus two I'm just looking at where my exposure falls on that meter, and same with nikon, you'll hit your plus or minus button and then just scroll it over and see where it ends up on that scale, you're just going by default is getting a medal you under exposed by minus a third. Two thirds want to whatever three stops, so many people that just shoot manual don't realize that you can do this in a ravine don't realize now to do it, you have to activate the tt l'm eatery. So you hit the shot and you have to get that have stopped shutter speed before those dollars will work. Otherwise you're just turning down nothing changes and that's usually what happens? Most people say, well, see that more? You got to activate your shutter speed? I mean, you're you're tl it's, a little shutter button activated tl, and it will start working and so it's extremely so worse as I said earlier, we're still mainly just in our exposure. We're just using the a b mode to get us there faster, and this is the perfect samples, cody says. I don't care what my camera settings are I'm only looking at how many stops of underexposed I am and again that takes out mohr mathematics, it allows you interact with your clients more takes away mohr, that stuff that confuses people and allows you to sell yourself more because reality is your personality is the strongest thing you have in your business that's exactly why we shoot a v mode over manual mode also because if I'm shooting a subject here, my letter speaks to me a lot faster books up, girls backlit and as I turn, I'm not constantly doing not constantly adjusted your show, the camera does it for me, it's an eighty million all every bus that depth of field when hazing shallow two point eight as I turn each each half shutter, it adjusts the shutter speed for me what does the manual shooters they're gonna go and that's just a little too much work for me? I'm lazy, I want the camera to as much work as they can do, and I'll know when I get to a situation like this oh, I need to overexpose because it's very back that sal just click it over in boom and everywhere appointed could be over exposed from my last setting and this is this is the never ending battle between manual shooters and maybe shooters manu shoes they're going to think that a v shooters are not real photographers and that pros and I'll let you know what I don't judge being a pro by the way you use your gear I judge being a pro by your business and to me we're in the photography business, you know, so called the business of photography I want to make money with my photography if I'm going to be in this, I want to make money and again, this is just another tool, so for us we had and more me because I'd learned all manual I had to learn all this to trust you have to throw it away. So once we went, davey which cody was kind of the leader of the two of us showing me this and really leading is that way it opens up so much freedom, but you have to again, as I said earlier, reboot your brain if you've already learned the manual way ah, so what's the percentage that you guys use a v versus manual or you guys all a v moon is a b probably ninety nine percent of time when we're outside former outside obviously inside and low light areas when you're a navy, your shutter automatic was going to go too slow so we have to go to manual on our camera then so we're tl probably ninety five percent or even higher on are flashes on everything we do and we're one were outside I'd say a v is ninety nine percent I almost want to say one hundred, but I'm sure there's a few times in my career that I wasn't but vast majority absolutely do you guys every used the I think it's the tl med where just blocks the speeding the tv mode, right, right you can I choose not to because again I'm working I want to control my depth of field, so I said it on the a v mode I set my f stop how much depth of field I want and then allow the shutter to set itself and again, it's cody said, we don't look at the actual number we're looking at how many stops under expose we are on our exposure meeting in the camera because that's a light meter in itself is well, yeah, it might not be as accurate as a handheld and you're going to have people argue with you to the day you die on this and that's fine again it's their way and I'm proud that they get great photos and have a great business that's that's beautiful but for us my eyeballs and the camera media it's in there I'm happy I'm happy using that and rolling with it, taking the photo it works, maybe I have to just a little bit and then we can roll the next stop because I can get in and out fast and I don't have to think about the mathematics I could see the wheels turning in your head mike moore inside because I when you guys use the flashes, you're aiming to write out the subject but I'm thinking like ok, like in this room I would probably bounce off the ceiling, you know get a little sidelight angle the flashes of whatever I mean I would think that would effect it's some how can but it's going to be the same if you if you put the light towards you at one thirty second pre flash is going to be a lot stronger so you won't have to use as much power on this flash a bounce it up it's still going to bounce off that part of it's going to hit you come back through so it's going to be less like coming back from the original one thirty second power so it's just going out put more life automatically so it's good affected but that's the same is emmanuel in a sense where if I have a right at you it's going to be a lower power than if I have a bouncing off the ceiling does that make sense now? The only the only difference is again in a coup controlled environment. Sometimes you want to use manual because it's not going to change ptl is really strong point it's strong suit is when you're outside and environments change like this photo when the clouds could go over the sun when you don't know what's gonna happen when the bride runs from inside the outside really fast within the a v mode, we're constantly it keeps up everything so again, like I said were in the ballpark all the time with a v motor, a mode with manual, I might miss a shot or two because I'm constantly if they run out from inside the church, the outside there's seven stop to change just like that. I don't have time to adjust it to catch that first shop. Where were they? Vd, it's little, just a click, click it does all the work for you that's! What that's? Why? We chose to use a ray v mode outside because it allows us not have to think so much. Cameron, the flash does all the thinking. The mathematics allows me be the artist. What angle don't want to capture this it you wear down, I am able to get two shots before someone else who couldn't get one that kind of thing and maybe that's the shot that makes the wedding album or maybe that's a shot that the kid is just in perfect pose that mom sees the smile that she loves that makes sense we'll still see the wheels the squirrels running in your head a little bit faster there are lots of questions going on right now on the internet yeah this is like this's so I'm teaching a photography so I know people like what are they talking about? Well people are just thinking about it a different way now there will wait a second and then when person freddy doesn't quite understand one thing the basis for the plus three flash exposure compensation and one of the photos I understand it correctly mike said that's the way to get the maximum power out of the flash when then is the advantage of using t t l instead of manual flash because I can easily set the flash tio full power in manual mode absolutely it's a great question the advantage is basically with this with this image or I think it was this when he was talking about the advantages with tl it controls everything for you so quickly with that when you're in extreme lighting situation let me control the first part of the question first or answer it when you're in extreme lighting situations generally speaking this is extreme we only just two things and always just just two things the first thing we always said is our exposure compensation so we meet her for our subject and then we would under expose from there with our camera settings that we said the doll in the back with cannon the plus minus but in the dollar here for nikon, we get that set first where we're happy when you're learning I should just turn it off your flash conference your flashes altogether and just get this step first taking is a stupid two step process get that first once you're happy with the background, don't touch a camera again it's set then you would turn on your flashes and just adjust the flash compensation for your four ground, which is your subject for us. The vantage of tl is again if I'm at full power emanuel and the clouds come back and forth sometimes it's going to be great sometimes it's going to be over exposed because of the clouds and just going to too dark and too much powerful with t t l I don't have just anything it's going to just it all for me it's very fast, very accurate even it plus three it's going to drop it down because it's not going to get us much reflective light coming back through and everything else because of the change of life now sometimes he's actually right? Maybe you need to use manual sometimes and there's there's some failures to t t l that we'll get into in a minute that could cause a problem one for examples if you're shooting into a mirror you have reflectiveness coming back because part example, several years ago we were shooting in georgia in a workshop and we had a nice sixty six mustang come up we had a model on it and our client was down on one of our students was she was shooting and there was getting no flash output from her flash none whatsoever everything was just dead and she wondered why well, I would take it and I literally went from here to here and I got the beautiful light coming from the flash and I knew what the problem was she didn't so I kept letting her do it and finally I grabbed her moved her up a little bit and she got great light the problem was you can trick tio this flash that pre flash was bouncing off the chrome on the car and coming back through the light lin's as if full power it was literally the camera thought that was full power flash coming back to the lands and so it shut everything down it was saying, my god, this is way too much life so about me moving just up a little bit the reflective angle didn't bounce the light right back into my lens and I got beautiful life that could be a problem sometimes if you have a lot of stuff bouncing around and that's when I would go to manual all the time because then I don't have any pre flash and I physically consent the power for me. But when you're outside and environments changed, tl is just so much easy. Once you understand the full feature of it, let me clarify one thing, plus three it's not necessarily one toe one it's, not necessarily the less three just means it's three stops greater than what your flash thinks his proper exposure now bright light when you're in direct sunlight and I need a lot of power plus three probably will be one to one, but if I'm in the shade or from another area, she just moved just a little bit. It may not be quite one to one, so don't don't get confused thinking that plus plus three I'm asking for all it can give so that maybe one to one or it may just be three stops greater than what it thinks is proper exposure. Did that make sense? Yes, thank you, thank you, thank you. One more question before we move on because photography is looking for some clarification on the under exposure settings, I think I'm a bit lost because I'm emanuel easier with flash. I like to be in control of everything in brackets when looking at my camera. The only way to move the meeting is by using the composition button tow under exposing my doing plus or minus and how many stops do you guys typically d'oh it's a great question let me start off with them yes, we are using the camera compensation which is the wheel in the back your camera so it's exposure compensation wheel that we're turning um as far as how much to expose I like to say one thing that we do is we kind of add flash to taste are we are we light it to what way want if I wanted to be a very dramatic image that I'm under exposed by a full three stops that's going to make everything really dark in the flash that could be very visible if I wanted to look near a natural light shot I may only under exposed by a third of a stop that's only going toe darken up my environment just a little bit and in the flesh when I start adding flash it's gonna look very natural not could be very flashy so it really depends on what kind of look you going for if you wanted if you want it very dramatic then I would say under exposed by a lot if you want to look very natural light ish then don't underexposed much it's really what you're going to provide to your client and this goes back to what we're saying using this method the world you could do whatever you want, you're not limited to that one two hundred of a second and f eleven or f sixteen outside which you would have to if he didn't use high speed sync and I think what cody says is extremely important he said ad flash to taste just like he would have salt to taste your food you had flashed your taste and also to you and the audience and all however many we have watching I guarantee you seventy seven people yet and we had the same flash my mom I made it my daughter that's to the seven um if we had the same flash the same camera the same can't camera same linds saying everything same camera setting everyone of us is going to get a different image because each and every one of us is different artists and that's the beauty of this system it allows you that freedom that's what we teach there's no secrets that's kind of our slogan no secret education we want to teach you everything because everybody's going to get a different image and that's that's what he's talking about and so there's really no direct way to answer how much we under expose it set for saying you had flash you take if you wanted jenny generic maybe across the board if the light is really extreme your exposure compensation and your flash compensation are going to be more extremely apart if the light of less extreme those two are going to be closer together so sunrise sunset golden hour inside where there's light is pretty much the same like he said I might underexposed just barely in my flash conversation not being zero but on extreme situations I'm gonna expose of stopping third two stops three stops in my flash is going to be plus two plus three over conference that that so they're going to be more extremely apart well and also is this environment important to the image do I want to see what's behind my subject because save mike's in I don't know where he's at but someplace where I want to see the background if I underexposed too much by minus three and the camera is going dark at that back down enough that I don't even know where is that it's going to almost dark in the flash light him up and you're not going to tell if he's in a room or if he's in a field or what so in this situation where you want to see the background you may not under exposes much on the flip side if he's in an alleyway there's a trash can and maybe a guy sleeping over there I don't want to see all that so I can under expose quite a bit and really dark in that up and so it takes away the interest you don't you don't look at that because it's it's dark t ell meters every time you make that adjustment and give you the problem out alive where emanuel it really would be a lot more challenging a lot more changes and one thing we didn't even mention which you'll see here shortly is the beauty of tl is with one slave unit cody can have his own camera sixteen thirty five and I so two hundred and I can have my camera seventy two hundred and I also one hundred completely different settings and when I shoot it's going to meet her directly for my settings when he shoots the exact same slave flashes going meter for his settings so we can use this one slave flash for both of us to be an artist with the only problem is you have to make sure the batteries are charging let it recharge between shots but besides that it's beautiful says we have to in a sense couples here it's beautiful for partnerships when you shoot using t t l because they both this flash will keep up with both y'all no matter what kind of camera settings you have again if we talked about that's the exposure compensation dial for can we use the dial for nikon? You use the plus months button to just behind your shutter release button on and again some advantages disadvantages we kind of went over this I just want to go over really quick um the big one for us has not been able to move my master flash if I use it to my slave flash of use in line of sight again a lot of this is solved using a radio transmission device we use radio popper but there's other ones out there but a lot of it is solved with that but I don't want to tell you you have to buy those things to make the system work cause you don't when you spend five hundred dollars on these flashes there powerful powerful tools and if you're on lee used a manual autumn why did you buy five hundred dollars flash you could've bought a less expensive flash or eighty dollars and done the exact same thing you spend the five hundred dollars on this flash learn how to use it and these are all the things you don't necessarily have to have anything extra to make these things work and worked very well and we went over this we're all jumping the gun but again cody uses evaluative which is matrix for nikon and I use spot meeting which is spot for nikon that one's easy long you know how to use it but we haven't got over white balance and I'm surprised maybe they'd ask you just have white balance some people want to get technical the technique guys they always want to be in the kelvin settings and all this other stuff other people just want to set it forget it I'm a set it and forget it guy we're using flash I use flash white balance plain and simple that's pretty pretty basic but my main thing is if you want to kelvin you notice here says up to six thousand were using between fifty two hundred fifty eight hundred if you want to set your actual white balance but I suggest whatever you do don't use automatic white balance get off the automatic said a white balance and be happy with it and the reason why I say that is with automatic he will be all over the place because the clouds have come in and we'll jump the cloudy the clouds in the way and I'll jump to sun and you'll be all over the place and if you're shooting ice a session that has multiple skin college multiple colors of clothing you're going to be all over the place and you're gonna have to color correct that why bounce on every image where to us we like to use the white balance which is a little on the cold side which flash is because it's much easier if I'm off to warm up in image that it is too warm very warm image to a colder image of post and so we found flash wide balance works great and we just roll with it. You know, it's not real scientific, but I just it works and it works well for so that's what we go with all right is the perfect. We got a few more slides of them in this segment, but this is a perfect step by step on how we actually go about using this technique with this shot it's an older shot. But again, you can tell this girl's about six one six two and the worst part of the day. I mean it's full sun. You could tell how short the shadow is right underneath her and it's hard to tell but I want you to look through the camera settings at the bottom of the screen. For this one, the only thing that's going to change is a shutter speed and again, we don't care about the shutter speed. We're caring about how many stops underexposed we are so by under exposing that shutter speeds going to get faster because it's taken out more life. So this is a natural light shot. This is the best we could do in the worst case scenario we over exposes what the camera thanks his proper exposure, you still have the raccoon shadows under eyes it's really a horrible photo so like I said when you're starting turn your flashes off just worry about your background at this point we're meeting for our subject under exposing from there I under expose went from three, twenty two, sixteen hundred some few stops under and now I have the beautiful blue sky that I want now you can actually turn your flashes on you leave your camera seven's alone and you on ly adjust your flash compensation to get the flash that you want you had flashed the face and that was the shot that you would get we leave the shadow in there to show you the angle that we're getting in the warm wind image we weren't trying this is an educational process with the exact same location by doing this technique you can do this and if you notice where two point eight four way above the sink speak blasting speaks over using high speed scene if you don't like that the beauty also of ship in the navy mode is instead of it two point eight also idea was turned my dial and go from two point eight two f sixteen because now want a huge deva field and take another shot and nothing else needs to be touched only turned the one dial because everything else is going to stay the exact saying you're not changing them out of light you're only changing the depth of field that's a huge advantage over a a v mode over manual mode where manu would have changed both were a v mode you just changed the one so again it's that much faster that makes it uh so basically go over one more time meeting for the subject you dunder expose get that where you want it. Once you get comfortable do this you can leave your flash on it all happens in one image but here we turn the flash off we got that we don't touch a camera settings anymore. Then we on ly adjust our flash compensation in this case it was plus one and we got the life that we wanted. We add the flashed our taste and that was plus one everybody alright, alright, going out some heavy stuff here especially if you shoot another way like mike is it's kind of hard, hard to adjust in regard dictated out so here's kind of the steps such a camera one third of one stop under for normal life and again don't get locked on the one third to one stop it could be all the way down to three stops is cody said depends on you. Look, the more you underexposed mohr in a so called glamour fashion is going to look more flashy it will look because you're taking out all the ambient light wireless last year and at least one acting is the main light using the flash on your camera is the master commander again. We like that secondary flash and we didn't even mention another reason why we like flash on our camera is if we need to feel like we can always turn that flash on to exposing the image as well. So we have that extra flash it's, always nice and then, worst case scenario, if you do have the pop up that's the master, if your other flashes break, you could pull that flash off and use it as your wireless unit to get through a session. So it's, a very nice, handy tool, the master flash you need to be turned off. The only transmit, as we normally do or actually uses a second feel like I speak, think on the flashing at this higher shutter speeds again, just to reiterate, since we have a lot of people that never used it. Nikon it's. A functionality of the body cannons of functionality of your flash cannon users get used to pushing the high speed sync on your master flash and it on lee needs to be turned on your master flash. The slave flash once you put it in slave mode will only do with the master tells us to do so you don't need to worry about any of the functionality on the back of the flash if it says plus three on the back and your master has negative one when you fire it will output negative one so the lcd on the back and slave mode is pretty much useless wide open have stopped to give you that shallow depth of field if you choose to do both but generally speaking if we have a two eight lens will probably shoot a three to sometimes our lenses are a little soft to eight so little bump it up to three two and we're pretty much three to two five six on everything and we're talking five six is that there's a couple people or whatever else if we have some lenses we know that a sharp it to eight will shoot it to eight low I also outside and bright sun higher inside that's pretty much normal this is one thing with the newer cameras if you have newer cameras you get lazy on and just be aware because it gets us sometimes will set our cameras it two thousand five so because we're should shooting in the dark church or something and we forget the change it when we go outside because it's in the older days if you were in eight hundred it was a huge grainy image it was a huge problem today with the cameras you can shoot it at eight hundred and you don't even notice the difference harley from one hundred so don't forget about that we kind of get lazy because it's such a huge advantage especially the newer camera bodies normally a v a mod outside and then in manual mode on the camera inside and the reason why we do manual mode on the camera inside in a v mode it's that's the shelter for you but inside when you don't have enough like it's going to be so slow you're going get blurry we just by the hand holding is a general rule of thumb and people have been around a while they'll know this, but general of thumb is whatever millimeter you're shooting it, whatever focal inc you're shooting, it is the slowest your shutter speed should be it to get in focused images so if you're shooting at one one hundredth of a second, excuse me, you have a one hundred millimeter lens. The slowest your shutter should be is one one hundredth of a second lower than that you'll start getting handler just by holding if you got a tripod, get away with it you have I s r v r that helps us well, but I don't like to rely on any of that stuff we definitely carry tripod because if we're shooting at one two thousand two, the second high speed think you're not going to get in the hand, shake it all, so that also opens it up for us to be able to get a lot more angles as you saw spider monkey on the beach earlier. So just remember whatever millimeter shooting that that's, the slowest your shutter speed should be it and then finally controlling the flash output by the master commander unit or by manually created a ratio by moving the fat main flash forwards or backwards from the subject. But we showed you how we create those manual ratios, the distance, the subject for all you techno geeks out there? Yes, that is the inverse square law. You can study it on your own. I personally could care less about starting the inverse square law because it's going to confuse the heck out of most people just know that distance the subject will make your main flag main main light you feel like your hair like and you're happy don't worry about all the science behind it. Let it work for you, okay? We're gonna probably in on this and we'll take a few questions I know we're coming to the end of this, but I just want to show this is a real life scenario. One of our wedding photos if you look on the far right, you'll actually see just stand that we use. You'll see the leg from one of the stands in the in the right side. So this is kind of the way we actually would shoot a session. I love this field. I love the color. I love my groom's. I wanted to get a great shot. I wanted to do it early. These people were great. The groom's father and mother are wonderful photographers. He really is not real happy about getting photographs taking because his whole life he's had a camera in his face. I really wanted to get a great shot right off the bat by talking to your clients. And I can't under so many times we underestimate just communicating with our clients before the session. You learn so much about them in our studio where we always have consultations with every client before we have a session because we learn about them and again, as I said earlier, we start selling ourselves, which is our biggest commodity. So here I knew he wanted, like a gangster shot from showtime or hbo that's. What he wanted was all he cared about on his wedding day, so that's my goal, so I set this up. There's a trailer park in the back you can kind of see and I'm using a fish on millimeters so you see a little bit of the fish I see the light I have everybody pretty much where I want but it's a little overexposed the skies a little bright the flashes a little bright pretty much it's pretty much there so I took this I just the groom's where they're not overlapping on anybody I under expose more to make it happy and straight out of camera this was the next shot I got so under exposed more so now you're starting to see those clouds what was blown out it's actually like gray and they're a lot better color that is straight out of camera then I took the effects and photo shop and took out the fish effects ran an oversaturated and over sharpening effect to kind of give the gangster look you notice I'm down low and shooting up which gives a power effect to the individual it's also if you have a short lady it's very short if you shoot wide angled shoot up on them it's gonna make a taller makes the legs look longer which is always just things that well that I shoot a lot of white so that's why see on the ground a bunch everybody seeing the wide angle shots of something like this you get a big poses real big foreheads big just a little tiny feet whatever is closest to the lynns is going to just start making look larger. Still here is you have a big head and tiny legs if you shoot down like this what's closest legs so now send his legs and be longer in this area will be shorter that's a lot more acceptable to the human eye and so I took this didn't really quick fast processing and that was the final product and so there's more process into this than our normal images. But I just want to show you the process once you understand the process you can actually do it just she wants you look you adjust, you shoot it, you go to the next location that fast you don't have to think about anything. I worried more about the trailer park in the back behind the back groom the light stand opposing between the fathers and the dad's getting here I was thinking about all that I wasn't thinking about all the mathematics. The tt loaded all the mathematics for me. I knew exactly what I was going to make this image look like this because of my communication that I have with my client beforehand. So when I got this in his little lee I remember it was a fifty second shot or fifty third shot of the wedding. I showed him that they were happy I could do anything I wanted to, but really, for the most part, my job was done for the wedding because I got the one image they wanted and it made life a lot easier, and I didn't have to think about it. I thought about all the posing and let all the mathematics be done by t t o and a b movie that makes sense. All right, you got any questions before we end the segment? And I know we're about ready for lunch. We dio quit the slew of them. A peon asked, so if I have a radio proper it, can I use it instead of a master on my camera? Radio popper in depends on which system the radio papa, if you want to use high speed sync and t tl, you have to go with the p a system p x the px on that one on the transmitter, one of the receiver because it picks up the signal from the flash and the flash itself does not know it's there you still need a flash of some sort to be the triggering device, so either the pop up flash or master flash you would have to have an amount that on there so it will not act solely solely as a master thank you, you're a peon our two flashes required to have a flash off camera or will a single flash work on a tripod without a flash on camera as you have to have a master flash someway somehow in the master flash can either be and the next little flash or nikon can it can if it's if it's a cannon it could be a seventy this can work is your master but again as mike said there's no high speed sync with this one but with nikon you can use your papa flash to get full high speed sync functions throughout the game it so again I think nightgown has an advantage there pop up flash does everything cannons papa flash doesn't not do the high speed sync but it can be your master you can control it and you can get master slave functions but no high speed sync thank you for clearing that clarifying that for them out there about you guys in the audience to any of you have questions when you outside taking your pictures in you dealing with the a flash and you have to come inside for whatever reason for pictures as far as thie ah the lighting inside do you have to deal with going to another mode as far as the flash is concerned you were talking about that the calvin situation does that change at all or do you just keep it on flash outside and inside we keep it on flying outside, it says, if we're using flash for our life, we keep our white balance on flash and we the only thing is going to change instead of underexposed maybe to stop well under expose. Maybe it won a third stop, maybe on our camera, but we're all the same. We might have to switch our camera mode from a mode a v mode to manual mode camera, but we're still tt eleanor flash and we're still white balance of flash with the white balance? Absolutely. We really believe the less things you have to think about, the less things you have to change, the better off you're going to be and the only two things we change our visible all the time. Our exposure compensation is right here. The top of our camera and our flash compensation is right there in the back of our flash, and so when things kind of go to south and you're having a problem, get an image, you could take a deep breath and look at my exposure conversation in a flash compensation and solve the issue nothing's hidden. You don't need to change anything from inside the outside it's very simple and I think simple is better, especially in high stress situations.

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.