Mastering TTL Flash

Lesson 15 of 18

Shoot: Outdoor with Track Athlete

 

Mastering TTL Flash

Lesson 15 of 18

Shoot: Outdoor with Track Athlete

 

Lesson Info

Shoot: Outdoor with Track Athlete

Outside it's in a little it's actually really pretty we're not used to this being from texas we would be dying right now in this heat we're known for trikus if you look at a lot of our work we do a lot of sports photography a lot of edgy high school senior stuff that sports related texas is a really big sports um related just everything's revolves around sports and from our major leagues are college but also our high schools and so we want to kind of do it's kind of bringing some of our sports and kind of show you yeah we don't we have a tennis player we have a track runner and we don't really have a track we don't really have a tennis court so don't get all wrapped up in all that again this is a workshop about learning life learning how to place a lot learning how to control your camera and use the light so we really want to do to understand how we create some of our images one to light with the person and allow us to light them up from edgy too different scenarios and now that we're ...

outside it brings a whole another set of complications in a sense a whole another avenue that you have to think about and so as you can tell it's very bright out here which is also because we were really worried about not having the sun here in seattle and so we're going to be able to really show you how and again, this is probably the worst light conditions the sun is directly overhead, this is very similar, even the same techniques, while we have a track or tennis players, the same techniques we would use in a wedding we would use in any portrait scenario that we would be doing outside in full sun, there is no cover that's one reason why we use this place, we will find a little cover there's a little shade will use that, but for the most part, we're going to be in the shade. We're going to be the full sun, we're going the war's lighting conditions, and we want you again online to be able to give us things that you want us to do challenge us as well. We have things very similar, what we've done earlier, we have certain things were going to go over what we want you to challenge is we want you to push our limits, see if we can create what you want to to create and kind of go from there, so we wanted to be fun with the interaction from online, we're gonna have some of our students again shoot again it doesn't matter, cannon doesn't matter for nikon doesn't matter for sony it's all the same concept with under exposing the ambient taking out that exposure, compensation, adjusting it and then just in the flash compensation it's all the same, so don't get wrapped up in all that again, we're not using any radio transmission device and real world we would be using our radio poppers in a real scenario, but we want you to learn the foundation because the reality is this, cody said earlier. We don't want you to have to buy any other thing we want you to be able to learn this technique and go from there because if you buy something, yes, it will simplify your life in many ways, but if it breaks, if you don't know what you're doing, we want you to understand how you're using it so you won't look like an idiot. So with that you're bringing a lot on let's go with this guy with his first shot here again, like mike said this some of the harshest conditions you will come across we got direct sunlight stand here we got a little bit clouds come over every once in a while, but for the most part we're in a open field with direct sunlight I mean it's pretty harsh there's nothing really glamorous pence's yeah, and bring the lights over here going bring both of you please on our way, susie world bill but I could see the shadow here being cast by the sounds of the sun is kind of behind mike I typically always try to put the sun behind my subject behind my client I have very sensitive eyes and you can tell us I start turned this way I've got a squint quite a bit just to just to look in this direction so I will always turn mike subjects put their back towards the sun so then they can open eyes they're not squinting that fighting that fight in the light in their eyes so I'm gonna put my model you're gonna be about right here again, it's not I'm not worried about a whole bunch of this isn't award winning image again we're just showing you how to control the light and what you can do with this bright sky and in this son you could get something it's still usable so I want something kind of yours track star once you look kind of powerful, maybe give me a little wider stance good just like that now when we get more family maybe put hands on good just like that, so I have the sun coming in behind her sounds good act like a hairline you got nice shiny hair here sounds coming in and I'm using my main light that's coming from this side if you would and where's the other one since I'm goingto underexposed quite a bit on this I'm going to start out with maybe I'll start with one flashed in at another one typically I would probably use too because I know I would have to have that flash pretty close and it's only gonna hit her and about this area and I would probably use the secondary flash a lot of her legs ok so let's take some shots here I'll go through those through the sequence again pretty slow just to make sure there's no confusion again I always like to shoot she's a lot of wide angle on people when I do that I like to shoot low shooting up because again I touched on yesterday but whatever is closest to the lynns everybody seen those shots we got a super wide angle and therefore head is really large and then the torso on their legs look very tiny it gives him makes him look like they're makes him it distort some and not a good way that didn't sound right anyway so when I shoot down on them their legs are closely linds now so the leg's gonna be longer and it gives him a long model esque type appearance and not the making looking little people so here we go first shot I'm going to show you what camera thinks his proper exposure no flash this is pretty boring shot also I can get the sun in the frame so I'm going to do that just to show you how harsh is khun b so I got stunning the frame camera thinks that's proper exposure again I'm using value tive meeting so it's looking at the entire scene including the son that's that's one of reasons why she is so dark that they might show up over there now good okay, so from there this guy actually have some decent blue in this guy because of the way they've acted meeting is looking at thing it is actually under exposing a bit for me so but I'm going to expose even mohr and again like I said, we're going to big big changes so I'm gonna go negative three and I can already notice that eight thousand is blinking on my display so that means it's trying to give me a full three stops but it can't because it's it's hitting that um that upper window that upper upper limit of shutter speed so it's blinking telling me that it can't quite give me in full three stops so it's probably two and a half c if I can exactly it is it's about one and wouldn't have to what we really are so I'm gonna increase my f stop just a bit too really dark it up more and give me closer to their pool so again this is b three stops of underexposed that's really dark alley why don't want the dark one more okay so when that screen pops up and we've got these wispy clouds behind her it's extremely dark subjects is totally it's barely there I can see a little bit of the sun providing some rim light on her shoulders that image pop up yes ok great so now I'm gonna introduce my external flights and michael have both touching this but when you're in extreme lighting conditions that's when we know we have to start out with a lot of flash I'm not even going to start this image at zero flash compensation I mean started it plus three because I know I need a lot of light on that plus three flash compensation um still minus three exposure conversations could be nice and dark so susan if you could move in pretty close you know I'm gonna need a lot of light and make sure that I got a good view that window with that yeah leave this one turned off for now I'm going to one and then we're going to seattle the fix is in fact pull it back just a little bit good that's not enough let me try it again I don't think that was a a good example one more did not go sunshine a one make sure we get the same channels see that that radio proper amount it's almost in my way here so want you pull it off in his holy hand you have put no yes and just to kind of explain what's going on here feet that we're using, you actually have a foot that comes with your camera that we normally use we use radio poppers lots of times, so the problem that we're having right now was we use the radio popper amounts and it's not a problem and use radio poppers, but this little foot right here six up it was actually that little bit was blocking the line of sight of our receiver on our wireless flash, and so we took it off so hard to hold it. Now when you buy a flash, you actually get a little foot in a pocket that's comes in the pouch most photographers that don't use off camera lighting, probably they're never used that and still in the plastic wrapper they throw it away wonder what the heck it was used for. So that's what we could actually use if you don't have radio popper, another stuff foot if you don't have any can go to any online store we used juries, but you can use any online store you wanted to actually have. When you combine their like five to ten dollars each and were locked, you get flash right? So that's a really cool shot, but as you can see once it pops up there's, not any light on her legs, I'm under exposing so much I lose your legs with single flash so we're going to use the secondary flash the light up her lower half in the skies changing extremely fast yeah go on pull it off you've got to pull it off since up to doing all in a side coming on the other side of susie and just coming right down here I can't see I need to make sure I need to see that yes a little closer closer is this good back a little bit bythe good that's better I'm gonna not unexposed quite as much because it's almost like nighttime I just want to say much pops up tell me when it's up we'll talk about it great so as you can see I mean this is extremely harsh I mean we're direct sun but by under exposing your bringing out that color in the sky now we have we had little clad so we've got just one big blob of a cloud but it really brings out the texture in it and it's it gives you a whole new backdrop that you may not have had before. Bye bye under exposing all right let's set up another shot this will be this would be closer to what I would really offer a client I mean not not this one in cool I like this first one but it's extremely dramatic so let's give something closer to a riel track star since he's just up in her track star uniform will this awesome track we have going give me a like a starting pose like a understanding blocks I think good and we're gonna do one live back there good and again I'm going to leave it under exposed quite a bit because I don't really care about the background there's a building behind her and some bushes that's not really important to my image some leaving on exposing one exposed by two stops I mean it's little diseases that I'm just I'm just moving my light so I'm really not I'm not worried about the power it all from the last one that tl is getting me in the ballpark and I'm actually really happy with that you can see the nice strong rim light from the secondary light that amy has really cuts are out of the background separates her I like strong room lights like this in fact, if this were an actual session I would probably use to rim lights because I really like that really sharp harsh look of two rim lights on either side and then one life for the main but I think that I think that's pretty cool and again as cody mentioned the greatest thing about gtl here we were really really sunny now we're really really cloudy because you don't even see the sun and you can adjust your compensation your flash everything you don't ever have to go over to your flashes to just the power because we did probably lose just probably three stops of change when the sun changed when the sun went away and so it makes it from a very hard to a very easy lighting condition now we have this huge infuser we could shoot anywhere there's no shadow whatsoever and so now just opened up a whole fun of shooting with the same concept works so we don't have to worry about if this huge like change happened we would have to run over to our equipment you notice once he zoned in aiming sues you just hold the lights and he's where he wants the like to fall and he just everything else from the camera which is what we a lot let's listen, since that one image is still up probably this let's take one more and I'm gonna just her face just a little bit and it's going to make it look less less harsh since she is a female. I don't mind having a very harsh stuff for must from athletes, my sports players, even the girls because sports are just that they're there competitive they're gritty you kind of want that um that hard look but if we want to make this little softer I would just have her turn her chin just a little bit of this like good and this is going get rid of a lot of that school turn just a little bit more good it's gonna get rid of a little in fact, don't don't do starting posed for this one let's go ahead do you just kind of just like that and ten good now this is gonna be exactly the same lights, but with just a little bit of a turn of her face it should soften everything up quite a bit. You're not gonna have his hard of a line on her cheek where the where the rim light was spilling on her cheek by having her turn away from it it eliminates that and also it it's short lights and eliminates that shadow of her nose from the main light. So which is civil basically a simple turn of the face that first shot that was hard and edgy is a lot softer now you should see it example that didn't pop up you want to make sure that we're out here we get a little more little things we gotta work with we'll make sure everybody seeing what we're talking about let's do the same thing. I'm just just really now since that's that's very dramatic look, I'm into the same shot and I'm not going to expose his much yet smiling just give a happy look turning the lights limit great hundreds like flash still plus three I don't need plus three since I'm not and exposing as much went back down to flash zero compensation because I'm almost even with my exposure that's a little harsh I'm gonna go minus minus one stop on flash because again you know not everything has to be dramatic and flashy this is real close to a natural I shot but I am under exposed by looks like two thirds so the background is a little darker than normal it just kind of takes the detailed background so draws your face your your attention to the model immediately and I can remain in my hair light over there you can see both those an image but again this is not as dramatic at all as the first shot and all I did was adjust my camera compensation basically I did adjust my flash composition also because I didn't need as much flash so remember what I said yesterday there's no secret peel that you're going tohave but an extreme lack of conditions like we first came out here when the sun was actually out your two settings your exposure compensations usually going to beam or under they're flash compensations usually gonna be more over so they're going to bomb or separated mohr extremely apart in extreme lighting conditions now for and that's for even to make a more edgy photo you'll do the same concept for natural like excuse me for natural light shot or in a clock ticking situation for the light's not extreme or your background in your foreground meaning your background and your subject to the same or close to it the same exposure. Those two settings are going to be less extreme apart. They're going a lot closer, so we only under exposed negative two thirds. And on lee was even maybe what were you even or negative on your flash to the second one? Yeah, I went to I think I went too negative, so he was even negative. So there was even the flash was even below the exposure compensation. So when you want to go with a certain concept in mind and how you're going to set your camera that's probably the best tip I can give you extreme lighting. Those part those two things are going to extremely apart and easy light, and they're going to be closer together and easy lighting could be a very cloudy day. Like right now. Could be an indoor like we were shooting earlier could be sunrise, sunset. If you're in a sunny situation, you have that golden hour sunrise, sunset. Those could be the easier lighting conditions, you know, shot, we got. Um little gazebo over here let's get heart and lean kind of up against that now for this one I want you to just gonna put a foot I want your back kind of against their this first put company yeah, good and just kind of do back and kind of on the and again we're using them amy and susie is our likes assistance but susan were solo studio you can just use and easy stand a lot of regular light stand whatever else I just we're trying to speed the process along to help you understand what we're talking about again for, um demonstrates purpose I'm going under expose a lot some sort off of minus three in the camera and I'm gonna do zero flash compensation just show that I'm probably gonna need more so minus three and camera not quite enough flash so let's give a little more flash power now plus two susie hold that up one more feather down they're down a little more people you flash back a little bit more like getting closer. Okay, now this light this shot is extremely dramatic it's a way to dramatic is way too dark just way too flashy but again, like like I was saying before I don't mind for these these first shots for learning's sake making big adjustments and then deciding where executive to be so it's my first shot well, look at it. You know, I really don't like it. I think it's way too dramatic so I'm gonna let some or ambient light in? I'm not going under exposes much. I'm going under expose by only two thirds of a stop so that's going dark it up things just a little bit but it's not gonna be as, um it's not gonna be his movie. I'm going to change my flash conversation back to zero and I need I need to lower my flags even from that that was a little flat. So as you can see, this shot is a lot it's a lot nicer it's closer to natural light. I can see a lot more detail in the background. I could see more detail all around my subject. So let's, underexposed let's give me less flash I had zeroed in I'm gonna go minus one pull back a bit more fact that's deal a little flashy I'm gonna take down our last conversation a little more one and two thirds and bring it around a little more but they're good great I'm happy with that as you can see it's this is not as dramatic at all as the first shot I can see some some detail my background I see some detail in some bushes behind the trellis this closer to what I would probably really shoot and really be presenting to this client I wouldn't I wouldn't go super doc like I did initially, but again you don't have not everything has to be really dark and dramatic you can under expose anywhere in between to your taste so roughly way have a rim light hair light so we're using three flashes you could only use to if you wanted to guys if you had that since we have the three, we always try to add that like I say that extra life you guys live on the west coast or if you're living anywhere in the world where it's cloudy like this, this technique is made for you, it helps so much when you have this huge diffuser over your head. I was hoping it would stay sunny because it is more challenging like that first image that popped up but that was still with one light and we're still getting enough exposure on her with one line it can be done, but I just want to simplify that you don't need to bring out these huge lights you don't need to bring out these heavy equipment to run everything that one simple light with the battery pack basically a batteries in the battery pack and four in the flash will allow you to, in a sense overpower the son because we were getting the sun in the image of the first shot and then we actually had enough light in your eyes I would have loved for the sun to still be out because then we would have showed because he shot it probably went two, eight, three two or something you know wide open and then we literally because he was pushing the limits of that eight one eight thousand of a second and again, as I said, all he would have to do is change that have stopped twenty two the exact amount alight would have been allowed onto the sensors so the exact same spo jher would have given the light would have been the same you know, they're just anything but now that stop that song would have been that tight starburst that so many people like and so you can get both type of images just really quick. Unfortunately we ran out of sun but the point is, once you have it set you in turn one dial and you get completely two different looks so it's, so much faster than over manual some of the other questions again, if we had the radio popular pocket wizards, it would be easier. Yes, it would we could hide stuff, but again we don't want to go over that and finally I know we had some questions coming in earlier about other t tl flashes there are some other brands out there that work with canon nikon that air off brands if a flash will work with a cannon and it worked t t l have a lot of sight you can absolutely use this technique with it so doesn't necessarily. The new technology is allowing there's some off brands to work with cannon the new t t o flashes it'll work now there's a separation don't get confused over if it's a t t l flash where it was going to communicate or it does wireless, but it does not pay attention to the pre flash so it's a manual flash that does not pay attention to the t t l pre flash because, as I said yesterday, if you were watching in that pre flash from this master flash will set all studio strobes quicker or too soon and not show up in your image so there's also flashes out there that are manual that are optical slaves that just go off just like a studio strobe it'll ignore that pre flash that are off brand as well, so when you're buying, if you're going by an off brand, make sure you know the separation of those two, so I hope that helps some of the questions we have and I don't know if we have any more out there, so yeah, we'll always questions for you guys from the internet the first one up is from tatty on o wondering when you have many people to shoot like a whole team how do you change exposure to keep every portrait uniform as the daylight goes down you're photographing the whole team individually I believe like for volume situation cracked a great question we're going to go over that definitely in our volume workshop treated like come tomorrow but the funny thing is you just wouldn't if you're under expose you probably raised the exposure level up a lot is the light falls you're going to actually allow more light into your camera the natural light falls a lot more light into your camera which gives you basically the same exposure that's because to me I want the same background so I want to touch my stuff so whatever's in focus or out of focus I want to keep that across the board so I would control it with the ambient light and if you have to you can also raise your lower your eyes so and typically with using tl the flash will keep up you would you adjust your exposure conversation and your flashes going to automatically change to stay within that range often we also have a question from mike n j c can they talk about how to use t t l for just a natural looking phil light or fill fluster him light it would be really nice to learn more about how to get natural looking results and then jim and virginia second let's let's let's she won it looks natural sound can just do that let's listen this exact same shot we had just for for some comparison ship comparisons so before I was under exposing to make it look natural I'm going to start off with zero exposure conversation in my body in fact, I'm even gonna I'm going to frame up a little differently to show some of this greenery and stuff behind her so I'm the first one I'm going to turn my flesh off so this is technically a natural I shot it's if if this is solely a natural I shot I would have to under expose even mohr toe let more light in her face and rise because as you can see, she looks a little her face is what I like, says it's just little muddy it's not as clear you're going to be strictly naturally you would over I was doing strictly natural light I would have toe over expose the same here you go but this is a zero conversation so I don't mind this I'm going to leave it a zero conversation I might add just a little touch of flash so susie and amy poehler years back open amy I don't want I don't want a very strong really good you're good now you'll get that first one perfect turn flash on my flash has already said too negative to compensation that should give me just a little bit of light let's see if that's enough now that looks perfect, especially if you can I don't know feelings show on screen if you can toggle our shelters, say, to image it's at the same time, but the first image she's a little dark in her face and darkened rise the second image she has just a little bit of light on her that really, really brings your attention to her good, and so they really he showed you how to answer that question, but the answer that final question if you want a more natural look, what do you do with natural light? Don't even put the flash into it. So for a natural light look, you're going to even even exposed what the camera thanks the meter in your camera going even expose it or as he was saying over, exposed it a little bit and once you get that that you're ambient light so you don't touch a camera settings in two more, and then you would lower your flash conversation to just give a little kiss alight on their eyes to lighten up her eyes or his eyes or whatever subject of shooting so instead of under exposing so much you would even may be overexposed opinion the light it's cloud as you could get away with it. I'm in a brighter situation you wouldn't be able to because you're going from our shadows but in a situation like this this is this technique is made for natural looking shot with a little light, their eyes were a reflector will really wouldn't come into play very well right now because there's not a lot of direct sunlight to bounce off a reflective that's great about your flash compensation don't feel like you have to use a full power flash all the time I know if tiger is that every single image they have flashing their minus one minus two just to give a little bit of a little bit of light in their face that answer that one all right, cool so with light like this again we can do anything and everything we're going you got a question? Mike um I don't know if you guys were going to go in this uh in the next section or the next segment or whatever, but I'm actually wondering about, um like like what the person online was talking about that group shots and flash and stuff because when I'm wondering is like if you have three flashes in daylight and you kind of spreading amount I mean is it even going toe see the line of sight? Absolutely they will you have to concentrate and revolt wrong, revolve them around where you see the master flash you will see him the brighter the sun, the harder it is for that master flash to be ableto the slave flashes to see the master class there's no question you can have invitation's there and you'll have to play with it to get the light, but absolutely and when you're shooting like formals and you're shooting this type of set it for miles in a wedding I'm old but the movie ghost busters when they say never cross the streams that's exactly what you want to do with the flashes never cross the streams of klatches because you're gonna get those horrible shadows behind people who want him up high and just shoot straight ahead so the shadows because the flashes or higher will be behind the people and it works out better, so we just lined up two or three flashes parallel perpendicular to the people and just shoot him straight ahead. Rivard return them around to where the part that receives the master signal is pointed towards the master flash and just let the match a flashy straight ahead and let it span out to the other other flashes. And if you don't under expose so much, you're not going to really have a lot of shadows between the front row in the back rows well, because that life just going really just barely popped their eyes light up their face, which is all you really want you know anything too dramatic informal you wanted to almost even exposure we just a little pop, which is exactly what cody just did that crew to the same basic camera setting techniques just lined the lights up a little bit different groups can be tricky just like inside studio photography because you got shadow, especially if you have multiple levels of people. If you have two rows of people, you gotta worry about the first role there shot of being cast on if you feel behind him. So any time I can I just have one single roll of people maybe even come around in one life that's going toe basically the same business from all of them. That's the easiest thing to do, but you're just gonna have to really be conscious of shadows behind people of where that's going to hit is it going to hit the person behind bars is going to cast a shadow on him and like like you saying you may be able to under expose quite as much closer to even exposure so that you're the shadows on his harsh that's the question like, yes, it does, thank you. All right, um like something else let's um let's get her out here and actually do actually what I want to do is just do kind of a lot of side let me let me have one of those classes um and then have her out here if you come out here I just want to do like a long distance and issue back there I just want to show people that this can actually shoot a good distance because we have a lot of people always ask this fine just looked forward so you want her it's not gonna be on here? I'm just saying it is an example I want to show how far this distance works because so many people think this is a lot of sight and it can't go more than ten feet why don't you have it hit her even really what I want to go and step back come back here let's find so if cody has a sixteen let's say as a seventy two hundred and he wants to use this I need to make sure that this is pointed towards the bastard this is pointed towards her I'm going to expose a bit so we can see the flashing here fired comebacks and you know you should be able to see that cheesy lit up coming back fired fired we could keep going back but I'm saying this is a pretty good distance you really don't need to get much farther than this when you're doing session but this is a lot of sight given it's not that sunny so that does help but even in sunny days you can actually make sure this is pointed directly towards that master and it's gonna fire because so many people think they can get very good range out of these with a line of sight and it's more of a functionality of not knowing how these things communicate is the problem as I said yesterday humans we all seem to have a problem when we're at fault we want to blame other things other people, other products, whatever and it's really when it's our fault most of time so if you make sure the part that received the signal is pointed towards the master flash you really can get some good distance again fifty feet and n word is usually a very, very respectable very easy thing to get and just say realizing those images I left the flash compensation alone I know it's the flashes harsh honor but I want to leave the way just so you could see that it is firing it is showing up I could have turned that flash down from my master to make it proper exposure but that was I wouldn't worry about that we were just showing the distances of the line of sight so make sense so don't be scared all right um I know we have who's going to shoot someone is it okay? What do you want to do? This is your location you're being you um I like we'll help you like so I'd like to try to get some dramatic into the clouds maybe shooting straight up we're going straight up but up towards it okay let me have you stand about here and I'm gonna shoot this direction just like now do I have to worry about those buildings being they're gonna show up but did you under expose it's going dark in them out to their just maybe even a silhouette ok probably won't get to see what they are okay we'll just do a kind of a standing to shoot high enough united that you're going to shoot over many ways try try tio dio on where she kind of bins at the waist count like the chandelier started yesterday where she's been ing over so you're getting one of it straight up rather than ok that one ok we'll do that it just a little bit song yeah good no like you know okay I'm gonna do the night of that cannon thing again I said it exposure compensation just started the meeting and then turn the wheel ok so now I'm back to zero correct okay all right uh no flash thank you that's also ok so that's your initial shot and that your that zero compensation ok and again since he's used since this camera is in evaluative meeting mode it's looking at the entire scene it seems that really bright sky behind it and if things all that's probably proper well but we all know that's no different than having her in front of a brave bright window so if you were shooting natural that you'd have to overexpose to put light in her face but we're not worried about that because we have our external flashes that's actually pretty deep sky do one just like that or you cannot expose a lit bit that's under exposed to maybe minus one okay, awesome look, those beautiful puppies fluffy clouds so now we're going to do some flash, okay? And we'll do what we do to you have you took out a strategy to so we'll have one be the now the lights there? Would you normally put the flash on the bright side or kind of filth does matter that matter let's try it with the fill flash and then have you behind with like a silhouette they're lying in that room light thank you coming pretty close to make sure you see this I don't find it did fire you now all you need to worry about is your life placement you kind of got in the fast lane and leaned over she susie probably could've been around more authority may get a little more better light, but I can see the rim light honors on her shoulder here in your arms and I could see your main light here so now it's just a matter of really fine tuning your your light holders ok, so have you come more towards me now the rim light is I don't know if I can see that much is that I think I can bring that maybe maybe I could bring you may not it's possibly a little closer oh all right oh yeah that's I could definitely the room like that that's very simple, right? Yeah, we look great back job nice blue sky too easy. It was too easy wasn't out whatthe five thousand you're never going to get a handshake that and that's the beauty of it so you can move anywhere you won't go in the angle just gives you that freedom also we keep talking about how much that gives you freedom literally one five thousand second you could move anywhere any I mean, you could literally hold it with one hand and shoot up okay and it's all gonna work that's the beauty of it and now you have a complete different background that people going to look at that sale he had photoshopped that right he dropped her and he cut her out on green screen or something and dropped her into background and she was a football player. I could have her take a football and pointed out that the bank manager general track shoes off, you know chant the spike she could hold him out or something or okay, whatever she had a baton which was what we how we shoot a lot of our track stars if she's in relay we hold the baton up towards the camera absolutely catcher but still the tpl gets you in the ballpark, right? I mean it if you didn't if you want a little more you could done up now but I think that's pretty much perfect zero conversation yeah it's pretty quick to write actually no pardon coming with another one. All right, get on that one with challenging a little bit more give me a challenge. I'm not quite sure what a visual thing now, okay, something looks a little more natural light not an exploding as much. Ok, still you could add a little bit of a little kiss of life. Ok let's have you sitting all get this in the background so we'll have you just sit there because the beauty of this you still want to capture all this green, these flowers, everything so by even if you're with the cloudiness you're gonna be able to capture that, ok, you underexposed too much now you'll knock it all out right and that's really that's kind of born unless you really just want to show her, but with this if you want a more natural look you want a more feminine look where it's beautiful she's, soft whenever now you want to even it out. But you still want to expose and be able bring in all the spellar ok within the camera and if you or bright davy over expose you knock out everything here began with the clouds like ajanta fees, it's, awesome shooting, easy shoot. So you're gonna worry about the background, makes you pull it. And just literally now if it was super sunny and there's a really harsh shadow water, how would you deal with that it's? Tough shadows or shadow? But the more you kind of what we showed you yesterday and that three step process, we're gonna underexposed get our background where we want and then we're gonna light or face up with flash and it should take out a lot of the shells from the sun. Ok, so you're still gonna have shadows, but those shadows going to calls by the flash right and not from the sun. Okay, so you'll be able to under expose enough to be able to take and then in the noble okay rights have you turned just that way a little bit? Yep. Get kind of way. Go, I'll turn the flash off as you get more comfortable, you'll do it all at one time, but it's just a lot easier learning that step by step process. And I'm kind of getting the point word if you really need to put the the flash off because almost kind of know it's gonna know you don't but again, we've been doing that way. Just for the teaching purpose is to show people that this without it and then yet clash and while us would you get right, but you're right once you start doing this, you don't there's no need teo for the different parts of the steps. One shot and then you just everything in the next shot you're there and you move, the knicks will catch up. Okay, so what's your camera compensation. I'm one under what he wanted to be. Uh, let me go even just like I see what it looks like in this light. Okay, you could see the background on that one closer the natural light, right, do you want to see more of the background? Um yeah well yeah a little bit if we're trying if there maybe there's a waterfall back there we wanted to wait till the sun that everything's going to change okay but I don't have to change anything all right so what you want I guess what once I start composing take more see if it if it changes a lot now yeah I just have a beautiful hairline right if you want a little more background let it's over exposed by maybe a third we'll sue them ok here's what you got to be careful not to over exposed too much because if you get her proper exposed then you you had flash it's gonna flash murder okay so she needs to be under she may be a little under exposed so so you cannot you can't over expose her in then at flash okay so once all right now a third obama could see it real quick over here this is a perfect scenario says it back when I'm back it's nice and bright from the sun and her face is in the shadow right that's a perfect scenario when you get outside impossible with this technique because this is gonna be well it up that's a nice room light that we love so we don't need the second flash right and then just that one flashes going to light a perfect okay so this is a perfect scenario so your face is still a little dark but maybe it's a little bit more of the twenty third I'll go one on one okay one full stop over exposed for what the camera thinks ok ok see? So you see the bright bushes the background right? Her face is a little bit money though right to see a little light no way would like to see a little more light arise so I would bring the flash over on this side ok if you want to come and I'll just use the one turned a flash on way just see what that looks like ok, we're started on zero ok so now it's way too strolls yep yep so now turn your flash compensation down and how do you run this one? Just dial the wheel so skilled a minus let's go ministry ok a little bit let's go somewhere between let's go minus two wasn't enough in her face? I think so I do a little more yeah, a little more so thanks bump the flash up little more skill minus one now it looks a little flash. Okay let's now down to minus one and two thirds so it's in between minus one and two here we go you also want to show you kind of reach out like you were doing she's reaching out to make sure that that senses in front all right, you just turn that a little bit that way she could even be behind you if you want to turn that flash all way behind, you should get behind you. Pick it up. Okay? So just be aware that now she knew what she was doing trying to help you out, right? But when you're by yourself or with even higher you're shooting and that might not go office susan is like right there might not go off because your master's going this way it's not picking up the signal so make sure you could turn that back there just in case. Now I'm noticing you guys very seldom use this is a flash no, hardly ever. Okay, are there most time it's just to transmit? Okay, sometimes I will turn on if I need intellectual either a little picture popularized, but most of time I like the depths that I get from the off camera flash when that flashes on the same planet as your lens you have that flat dan headlights look, any time, any time you can bring it over it shows you that nice radiant shows you the depth of their face. You don't even have an off camera light and just get an offshoot tl cord and literally just moving this far in your hand and shoot it had so much dimension just a foot off it's so much better life than a camera flash directly on top of it and so but like he says, if we needed a mohr flat life we needed like when cody was shooting really long or something and he wanted just a little more just general light made even the ground lit up in front of it way would turn that flash ok, so again, like michael saying, wait no when you leave this flash turned off, but I'd still prefer a flesh over just the transmitter because I do have the versatility of being able to turn this, flash it towards my slave flash or always have the option turn it on whenever I needed so so in my opinion, this is a lot more power little than just a transmitter just because I could move it and I and I have a flash you more options, but your final image there is awesome it looks like a great natural light shot I can still see some depth in her face from the from the flash coming in and you see some shadow under here so it's not it's not at all fled it doesn't all look like direct on camera flash, right? But it still has that nice looks natural natural like look, it doesn't look a slice so you could do anything between I say, mild and wild so the first one was really underexposed actually wild and something like this. Wow, something like this is this is very mild, very normal. So whatever your style is, whatever your customers or your client style is it's somewhere in between there so you could give both given something really, really wild and edgy and dramatic, give us something that looks very natural and that's where that consultation we talked about comes in the play health because so often, especially shooting high school seniors, they want the cool, edgy stuff with the natural stuff is what's going to sail? Grandma didn't want the grandma does one thing edgy stuff, so you'll shoot a couple edgy stuff and maybe that stuff on your web sites what gets sick seniors excited tells mom or grandma, but you're going to need that nice porch stuff for grandma and see their baby's eyes for money, right? And so we like to offer both because it makes everybody happy and so they might sell in a about ten of the edgy oh, but we might sell a huge wall portrait of the nice, pretty stuff within it. Also like said, if you go in our studio, we have fifteen by thirties that are very edgy of just unique images there was one displayed in there like the football player those sell well is what also because it's a unique product that they only get from us they were more um all right what do you want to do now? Uh your vision your session will help you light it okay, I want you to help I want you to understand this I want you to know it so when you guys go home you can continue this process so I know it might seem redundant but every time now the sun's coming out hold over variables will come into play ok could make a different look and that's what? I want you to get to that point where you feel comfortable enough that you'll remember when you go home so far if I was looking for an edgy type shot without in the clouds but I did that in an area like this where there's a lot of dark stuff how would you approach that? Well, honestly you don't want the dark stuff if you're going dark in and out right you're going to write you were going to take it all out so it almost doesn't matter that is right it's going to take it just like we were doing inside we could literally keep under exposing check out every bit of ambien lot ok so the background that technique works great if you want to end it up you're in a dirty alleyway or whatever this is you know port a john behind you don't want to see that's when you would really use it. You could take it all the way and just a lot of your stuff. Okay, so I mean, in that case I tried to get an open field behind, like I would put her here and shoot this way that way when you dark and everything else if you put lights behind or something there's nothing for that like to bounce off and it only goes on her so you can really define the line. Ok, I'll try that. I'll shoot and I would shoot into the green. And so to the white fan, right? Cause that because again that's going to be harder to take out in the green ok, so I'll switch your spots. Yep. Let's have you facing like me go in that direction but looking over your shoulder and move this way a little bit, you can turn your shoulders a little bit other way towards right there could turn the flash off. Now the only problem is you shooting this way, huh? Big one what? Uh well, the white flowers, maybe. Oh, her squinting exactly. You put her into the sun, right? So just be aware of that now I know we're under limitations were treated alive and everything else but just where this is the best scenario right now could leave campus and everything else winning down trying not to ever put your client okay okay and I'm just gonna try a tight shot just to see what happens let's do a serious one no smile no I said you ok? Okay. So that's okay that's that's a camera exposure the real conversation yeah so if I want a dark and that I'll go down we tried going down three yeah that's going to that's an awful lot is that going to be really, really darling but later okay, yeah that's almost like so I'll go up to go one and a third just two minus one and see what it looks like. Okay, okay that's still really dark, but but but that's fine. Okay, now is that what you're saying earlier about when you're outside you do mohr or less than what you typically outside I'll under expose a lot and then over expose a lot in my flash okay, I'll do bigger steps have been read the small okay. All right, now let's try to lighten her up. We'll have you come on this side. Well, let me try to go edgy let me put you back on this side because that's where all my lights coming from anyway and we'll just try to lighten it up even more ok right there and I'm in you know what let's start off it at least zero ok you're probably I could tell you but many more rules don't out zero and then go from there okay turn your chin back in the slights love it I don't think that didn't fire were those that were right because I'm living this way ok ok we'll do one one I don't think that was a proper explosion ok I think that looks a lot like make sure that's right ok and that's that's actually pretty decent smoother so you want edgy so let's sum we'll see how that one side is still really dark so let's let's cut her out using a rib light ok where do you tended position them obviously your old online so when I use the room let I like to use it almost directly opposite of my main so I got my main coming in here let's put the rimland coming right here okay so you want instruct her to get her probably just outside of your field of you. Okay that she's not going to be the closer you can get without being in ok that's about uh just a little bit back right there it's awesome. How can you zoom in on the image on this just like ok wow do you think of that? It was really right you wouldn't think it was out here let's see? It almost looks like a studio shot right it's very edgy. Very hard. Very cool right a studio shot almost you wouldn't picture that right out here excellent now let's take one more shot of this okay? Just not as edgy so a real quick thing don't under exposes much okay the exposure conversation to zero maybe even plus zero since they have all of the sun coming in you make into it an issue where this external flash too bright so right try one zero compensation and leave the body the same place exactly zero good yes, he sees the hot on that let's let's turn the splashes down see if we can use the same shot but how did you know that was gonna be hot? Because since I'm not on exposing as much lookout brighter faces already okay in fact probably take a shot with your conversation take one shot she may almost be c so now if you had a flash of that what it's gonna get you right? I got you so you probably can't go exactly at zero compensation you'll need to go to minus what was that first one that I thought were minus one if I remember it gil minus a third without last you know flash still etc let's see that sun is really brought her face is a poor place for this example okay, you see your eyes just a little little dark so let's do the same thing in this flash on now you're minus three I don't think this one five, but my real life fired, but I don't think I mean one more they did that play, I want a little more light in your eyes, so let's up this power, we're going to minus two good really turn your chin back this leg uh, better so you now have lighten her eyes and I can see my background is not it not as hard on his edgy as it was before, right? Excellent told little you can just take out everything and just add light like you said, it looked like a studio shop, right? You will be able to see anything, and if there was a few items back there, we're going to be so dark that the view of the image will not ever even notice that they're only going to see her, which is what? But I have people all the time say hi this this message really not for me, I don't want everything looked so dark and flashy, well don't have to look dark and fashion like show last that's just our style that last it can look very natural, light ish, just adding a little bit of light and dimension with connection of flash, and I think I've noticed trying to shoot naturalized I'll come here and the sun's going this way and I just can't even shoot it because the sun's not going so I'll leave right because I can't change the direction of the sun but this this helps a lot yeah like I said earlier now if you look at her face you get directions sun coming in here if she turns a little bit so this would be made you can actually make that the feel light you could make it the main line I mean you can use anything you want so the sun is just another light you choose if you want it to be made you choose if you want to feel you choose if you want to be hairline right so you can actually likes that opens up anywhere you want to shoot and that's advantage of palin thank you let's give it up first for right off them and if you guys remember from earlier there was a question from randy about cheating in dappled light or that was his challenge to you guys it was exactly yes can you go half shadow half natural light and demonstrate how to get rid of dappled light and that's real close to the shot that we just did with the direct light on her face yeah you under exposed a little bit so that the highlights of the death of that we don't have enough I don't have enough of a canopy of a tree to show you a true dappled light shot, but it was real close to this because we're in really harsh, direct light. Typically all you do is you under expose enough so that those hot spots, the definite light or the harsh light is not so hard on her face. And then you add flash to even that out. So you under expose what's gonna make her face dark, it's going to get rid of the stripes of the dappled spots, add your flash and probably zero conversation. Maybe even a little lesson that maybe minus one t even it back out again. Well, thank you. Yeah, some of this was really, really similar to that. And another good question or challenge. Someone was asking how you would do this differently if our model had darker skin with the color and the outside light. Would that change it all? It can change a little bit overall detail. We'll pick that up. As I said it. Like yesterday, our model had the black outfit on. And if you metered, if we had spot meter and especially on the black outfit one time and then maybe metered on her face, which was lighter, that can mess up t t l but like cody using evaluative matrix which takes in everything it really should even it out it should be a problem the main thing is if you have someone that's darker, even darker hair like her when you under expose its going to blend into the background so you wanna have that hair like that rim like to pull them out so the viewer sees the outline of that person and that could be dark skin light skinned it doesn't matter now you do have to be away where also sometimes these flashes air small light source and therefore the smaller lessons that we will reflect more and sometimes people have more picked it in their scan it will reflect more so the darker this game it can reflect more she has to be aware of that but you could angle that feather the like don't put the light directly on them and feather off because the dark of the scan the more the light will show up on the reflection so he just angle a lie a little bit should be really helpful. Thank you. All right. Are you guys able to demonstrate here and this is from photo maui how you would shoot on a speech where you have bright sky in the background and no dark foliage and that that right with anyone from photo molly when I ask that you might be applicable for right yeah, basically way we can show it pretend the green and unfortunately don't have anything that's like the beach because even though this green screen that solves a lot of the light coming down when you're married, you do have some some of the black volcanic rock but most of it is going to reflect up so it's going to work very similar to what we've been doing, you're just going to meet her on your subject and then under exposed from there and then allow the flash to expose your problem your your person, your subject properly, the main thing is on the beach when everything is reflected, you're going to get a lot of light from the sun bouncing back up. She has to be aware of that, but generally you don't have to under expose so much in the flash of work, so it's very similar what we're doing um you just you're going to have a lot more squinting because you're going to the sun bouncing up off that those rocks but I mean, if we had better son, we almost due but it just when we first get out here. But if it's full sun just like that first image we captured in full sign, you can easily overpower the sun with one flash most the time if you're not, you can use to two slaves at the same time outputting side by side you won't get plus six you're only going to get plus three and plus three out of it you don't double up I mean the flashes don't get any stronger here's going twice as much like they're both out putting aside you awesome thank you so much for taking the time to explain that for photo maui another question that's come up in the chat rooms over and over you kind of touched on this yesterday and is coming back up again today in the queue tab and the lives have and the lounge tab is how if you guys ever use nd filters in this scenario and if somebody doesn't want to use nd filters how they would incorporate that we do not use any feel justice high speed saying basically solved that issue for us if you're using a manual shooters and I used to use indy filters and andy fields this is the new neutral density filters and basically what that does is it as you screw on a filter on the end of your lands it blocks out life so in a manual situation you can only go toe one two hundred won to fiftieth your second without high speed sink so you're quiet and even light like this to shoot it f nine f eleven again everything's in focus so neutral density filters when you screw up on the and it basically knocks out light and so it allows you to shoot at one two hundred and a wider open f stop of more shelling of the field basically what high speed sync does so we don't need it with high speed sync it all and two I never like using neutral entity filters I think if you look at our lands we have zero filters on our lands we use the lint sodas are filter in a sense I don't like any glass between my glasses that we buy this two hundred I mean just one hundred to eighteen hundred dollar lands and we put a fifty dollars piece of glass in front of it and you wonder why you have worse images it lowers the quality of your image and neutral density no matter how good a quality they can lower the quality I'm just going and then plus more stuff I have to carry if my flash already has high speed sync built into it with the button, I don't want to carry filters to make that that option when you go back to one of the first image that I did earlier with this sun in the frame any time you have any sort of a uv filter are neutral in the fields around there. A lot of times that could affect the focusing of your lands and so that's that's the main reason why we don't have one because any any different any new elements you played in front these lenses it does effect focusing capabilities of your lands, it could make focusing. You can hunt for that for that focus point, whereas without a filter you may not have this thing hunting, and we used to use filters early in our career. But we've just gotten away from it because of the folks in issues, because it's more gear to carry, you get a lot, especially you're going to do detailed shots, not even just neutral density, just general filters. You'll get a lot of ghost flares. If you like a reception on your shooting, the rings on a canned are you know those candles, you'll get glows, ghost candle flares and we just we just got away from it, so we don't use any filters. We always leave arlen's hood on and that's kind of the protection and then also just the member of cannon professional services. So when it does break, we send it off to get fixed, which usually didn't happen too much, so we're pretty good.

Class Description

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

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

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

Reviews

On the Mark Photography
 

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

cmc
 

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