Indoor Light Shoot Part 2

 

Natural Light Control

 

Lesson Info

Indoor Light Shoot Part 2

Let's talk about this hair a little bit in fact that's the vet's even the better one flip that around this use of gold side of that so I can't usually do where I can be very effective bouncing white reflector back in on soft light it's kind of hard you can see some difference and it'll help some but I definitely want to brighten up that hair just a little bit and because of the warmth of the background I can use a little bit of warmth in this reflector so what I'm gonna do is put this back here behind her sort of like we did outside and I just want to bring it up so right here I'm exactly opposite that light source if I get opposite that light source is going to be where I can get the strongest amount of light hitting this thing doesn't make sense so that's where I'm gonna put it so I'm gonna bring it up and I'm just going to bring it in right in there you get it and I'll and I'll move her face so right here with her nose way she's looking at sitting or knows but by the time I finish i...

t won't be so if you could just put it right there and just pop it right in there and lighten up her hair for a bit and we'll shoot it again and take a look note the difference and again all we're trying to do is create a simple shot that we can do in somebody's office we could do this in somebody's home a few photographs chefs you can do this in the kitchen there's so many places that this this will work and you can do this kind of work yeah that worked well okay so wiggle it around bobby so I can just take a look again so so I can see when its center now right there right there you got it right there don't move don't move don't move don't move! Holy toledo there you go look at that. Come around this way a little bit and now come closer to her a little bit now let's do it again tip it up and down again until you get it right there. See it right there you lost it again uh right there. Good freeze there you go. There you go. Look at that. Look at the look at the monitor look at that pop in there like that great little just a tiny hint of separation so I can do that and one of the things about working with a continuous light source whether it is continuous like a kino flo whether it's continuous like a nice light what it's continuous like a one of the west cut like the spider lights or a window like what you see is what you get it is a wizard wag and because of that I know that there are things that might have some limitations but what I can do if I can see it I can capture it so that part's pretty important for me. Ok? Any questions? You guys okay, keep going. You guys have questions over there. We're doing good so far, so good. All right? So couple of things that I do want to do and I want to change a little bit and one of those is I want to move. I want to do one thing for sure I'm gonna try to move this background just the back edge of this background by by simply one of the things I like about a background portable background holder like this, you just leave that side right where that body is, the ability that I have to turn my back ground this way, right? So I can move my background forward this way and now my background is getting hit flat by that life from the window makes sense. So it's getting more light on that by just made I just made my background brighter, basically by bringing that side around and if I do the same shot from the same position back here let's go in lighter up again there, yeah, right right there good, good, good, great so now my backgrounds going to hear a little bit brighter because it's kidding it's a little bit more flat onto the light source it's not gonna be a huge difference, but you'll definitely see the difference. There it is bam! I just opened it up a half stop on the background by just swimming in a little bit and conversely, I can do the opposite so let me put it right back where it was and again this is trying to show people you know, sort of finite studio control without lights so I can then let this light fall off more by turning that way so we're so where that light is, you know it's not it's not going to bounce back into me it's going away, it's going the other direction now your arms and just a little bit there. Great, good, good, good, good, good ok, nobody moves here we go that's back down drop it down to stop. Stop about a stop need to stop in the third from where it was. But the main thing is when you start in tow the situation, you've got some controls and and the main thing is pay attention to those controls and it's not always, you know, the flat light straight down the wall with the with the kitchen area behind it you know you can put a background up and you can adjust this stuff and do some things with it uh it works pretty well okay okay so let's rearrange just a tiny bit I want to take that background I think I want to take that background down let's move that out of the way and thank you bethany you can go take a break over there so let's just drop this real quick bobby and we'll get this guy down and kind of out of the way and what we're doing this you guys have any questions? There's a mic right there joe hadn't jump in and ask away I know your feelings about spider lights, ladies and stuff like that those air a good mimic for natural sunlight I think they are we need will take it that way I think they are I think they you know what you have to pay attention to for a long time I thought the spider lights I've always liked the spider lights but I never thought they were very bright I think they're very well made I think everything about him I like but what my problem was that they weren't as bright as I needed well technology has come along and fix that for me entirely because of hirai assoc hirai associates fix and those were great light sources and they're not very costly they're pretty they're pretty inexpensive to work with the thing about working with strobes it does take a little bit more of an investment if you're gonna work with studio light and studio strokes it's a little higher investment on a little you know it's almost more of a you know, not just a financial command but it's a commitment to your craft you're going you're going to be in the studio doing a lot of testing and a lot of people it's like, you know, that's just a lot of trouble and I don't want to do it or I'm not technically minded I just wanted to shoot then get some type of a continuous light source, you know, we don't sometimes we are in a situation where we need that extra light and it's a it's a great answer, you know, they're pretty well made and they've got all the bells and whistles and attachments and, you know, light shaping accessories that are pretty helpful tohave, you know, so okay, all right, so let's, keep moving. Let's, grab hannah let's get you over here. I wanted to go a neutral on this wall back there and let's put you in fact, here I'll move this stool over here let's put you on this one and I'm gonna put you right about there may be right about there and I'm going to shoot her a little bit flatter I'm going to shoot a little bit more into her in fact let's move you this way it's a little bit more little bit more little bit more little bit more little bit more little bit more little bit more there you go right there. Good, good, good. Okay, so what I'm doing is I'm gonna try to miss that monitor in the back, but I'm going to come around this way and kind of have her flat little bit flattered to the to the window and then we'll just work our way around and again we can create this picture however we want to a ce faras where we position her relative to that wall and relative to my camera. So let me take another reading here and so again, it's too ate nine basically it's almost right at f or all right, just being in here and take a look good, good, good. Zoom in a little bit closer right here in your eyes right in me right there. Great let's take a look at that and you can see how that light is just falling off of this wall in the back and we've got this sort of out of focus softer tone ality back there going on on dh look at the quoted a lot on the face it's pretty clean light and again just like we did on the roof if we put something silver down below you have a silver close by anywhere if you do let me just show you real quick yeah that's fine, yeah, I'll just use that gold there's not all there is silver yeah, good so let's just flip it around and, uh can we just rest that on your leg right there? Can you just come over and hold it right in here now right there, bob screen and I just again all I'm trying to do is just look at that catch light in her eye and bring it down but until you can see that hot right there now right there I'm seeing the highlight your eyes at me yeah so right there it's cnn raise it up and right there it goes away so drop it back down, down, down, down, down, down, down, down right there! Perfect! Perfect, perfect, perfect, perfect. I'll come in pretty close this time so we can look at her face great good and tell me, would you mind taking a shot with with him raising it so that we can compare those sure raise it up right there good and now down again and good so there's two right there together and you'll be able to see it with the highlight and without and you know it's a it's a subjective thing it's it's all about taste I'm not sure if you like it or don't like it there it is without and here it is with and it does add a little bit of does pop in then light think about think about what we're trying to deal with here in terms of that light source coming up under the nose under the chin under the eye sockets and just kind of brighton's that whole area up a bit and so that silver does add a little bit of that too but it does add a little bit of sparkle with that catch line and I think that's a pretty important part of it you know that catch lights sort of everything you know so now she's pretty flat let and glamour sort of situation that's perfectly acceptable I do want to do the same shot but I'm gonna give her a little bit more of a of a a little bit more of a modeling on the face by coming around a little bit there you go there's our comparison so let's do the same thing and now let's do it from this position here now bobby just come toward me a little bit bobby the amazing great now let me take a look at you here kiddo there we go right there turn your head to me just a little bit more right in there. Good, good, good great. Now pull that out, bobby completely out for a second and right here again good. So we'll be able to see the difference there before and after us well and now you'll see a little bit more modeling on the face with that with that ratio coming in like a three to one maybe a four to one kind of a ratio of light to shadow on her face and then there it is with it out with it gone so that's a lot hard it's like four to one or maybe a five to one ratio so again it's very, very subjective on how you do this and what you do it's a little more to it than just a window. You know, we have a lot more control than being just a window and that's the part that's pretty fun, you know, pretty fun for me and I'll just again glance at my history, graham because I always do yeah, so that everything is falling into the mid tones which is where it all should be falling, you know? So I always doing double check. I always look at it. Okay, so let me take another reading are let me just look at this again I want to bring a little bit more sharpness to the to the bricks in the background so let me take a look here okay, so right there, I'm gonna take it instead of four. I want to take this thing up and when she wanted f sixteen r r f sixteen, so f sixteen, it says, tony, do you gotta go to a half second it's like, ok, so let's, go to a half second f sixteen and shoot it again and see what happens. I'm gonna move in a little bit closer and goto of sixteen, I had a half second, sixteen, sixteen. Now we're going to see those bricks a little bit better. There you go. Good. There we go, so exposure wise were dead on. I mean to one more of those and hold real steady, forming right there. Don't move, don't move, don't move, don't move, ok, good, good, there we go. So now at least, we could bring the bricks. And if it's something that you want to do

Class Description

Natural Light Control is part of our special week-long event Lighting Toolkit.

Join award-winning photographer Tony Corbell for an in-depth exploration of how light works and how it can be controlled to create dramatic images.

After decades of shooting prominent figures — including three presidents — on location, Tony has developed a set of tools that will help you shoot confidently in any setting. Many photographers test light as they work; Tony’s methods will allow you to understand and plan light before you even begin.

Tony will guide you through the basics of light quality, quantity, and direction. Tony’s unique methods will resonate with amateurs, seasoned professionals, and everyone in between.

Reviews

Dave Humphries
 

Tony keeps it simple and gives good examples, although occasionally I had to pause the video to study them well enough - because the editor was keeping the timing overly tight in a few places. In some cases it would also have been nice to have two shots side by side for comparison, but Tony was great.