Shoot: Daylight on Roof Part 2

 

Natural Light Control

 

Lesson Info

Shoot: Daylight on Roof Part 2

Let's put you right here and again I'm just looking at the ground see the shadow on the ground you guys I'm tryingto try to backlight her and now we're gonna work with the white reflector so we're gonna bounce some life back in her face so we need to flip this guy yeah let's use that let's use this side of it so let's just take that fabric coffee just flopping around we'll flip that around let me move my camera around I think I've got enough travel on this cable and I could just walk this way way let me just step right in here now perfect perfect perfect so let's let's let's let you'd just spend that way just a little bit yeah, yeah yeah good get comfortable right there that's going to be perfect for you may be right about no I think I need to go back this way I think I'm I think I'm happier over here, okay? So again, as I talked about earlier um I really like working wide open whenever I can and even working with this f four lens I've had really good luck with this f or, um better luc...

k than I expected one of the cannon guys talked him into this he said, why are you getting to eight that's? Because I've always had a seventy two eight seven two hundred to eight and he's like you know have it is not so well I know exactly how heavy it is, he said try to four and I tried I tested I shot it and it's remarkably sharp, even it wide open at four and it's half the weight and half the cost so I made a lot of sense to me to get the four I'm not trying to talk anybody out of spending more money go spend more money if you want but one thing I do mrs my collar, my tripod collar on my seven, two hundred slick and rotate I missed that I don't have that on this lens there may be one available I haven't looked at the catalog, but if they have one available, I'd like to have it so I don't have to keep slapping, but I'm pretty happy with what I'm doing here, so I'm gonna lower this down just a little bit. One thing about camera position and directional uh, work it's pretty simple to when you're shooting with longer lenses when I'm working with a seventy, two hundred and I'm working at anything say eighty five or longer any time I'm working with a longer kind of lens for me, it works pretty good to get down a little bit and it kind of gives my subjects a little bit more of a statuesque a look it doesn't really appear that I'm looking up but I sort of slightly am just a little and it kind of gives a little bit more strength to the picture so it's kind of a fun way to work so do this but let me just turn your head around this way a little bit on your chin down and turn your head a little further yeah right in there that's gonna work pretty good so look at where the shadow is on the ground from horse he's sitting so if I take a meter reading of her face without a reflector again I'm gonna put it see what the sun is hitting the dome I've gotta protect that dome so I've got to get that run under her chin and right there at that open sky my exposure right there is five hundred at f four and two thirds okay so let me do all that in five hundred oops sorry that was a misfire five hundred that's f five okay, so five hundred at f five so let me just take a shot real quick, okay? Your eyes open here we go good right here. Great relax. Okay, so from exposure standpoint spoke it looks great way got the perfect history ram holy toledo big surprise! I know harp on this a lot people found on may shut up quit talking about it like it's important so now we're gonna do this now we're gonna redirect that life back into her face now here's what happens with assistance? You guys will often get assistance that will hold the reflector I don't know why this is but every system on the planet grabs the reflection automatically goes not at all what we want to do because then our main light is coming from below this is about to become my main light it's gotta come from where? Forty five, right? So we gotta get this thing and hold it up here. You need some money to people in this one? Sorry it's a little breezy out here on the roof in seattle so come to me this way look at the shadow and I'll bring it closer to her on your and bobby chin down a little bit and write their tip it forward a little bit right there. There we go. Good, good, good, good. It smoothes out our face beautifully does a really good job it's gonna be a very clean look and I'm gonna get a new exposure reading and see how much we just added so we just added tiptoeing around loving me just make sure you're hitting guys this well, this well, it back and forth. Okay, send down a little bit there and turn your head right that's perfect. Hold it right there. Oh yeah, so that their hands are full two thirds of a stop so that's the position right there okay, so we're gonna go up so I'm not six, three, five, six, six, three and let's pull a shot and see what happens here great great bethany your eyes right in here with me for just a second I know it's hard to get you oh, that was good all that was really good but you'll see that hair pop in front of her face this department she's going to say you're such a ninny let's do it again good oh, that was nice way got that hair going back on that one wave are built in fan it's hard to hold your eyes open I know and steven I think that was probably stephen a from seattle uh you're a great question and it is a challenge steve it is steven I've never called him steve if it so I think it is I always called him steven ok bring your head around and close your eyes for just a second and I'll tell you when and try to relax your forehead just a little bit yeah there you go good, good, good, good. Now your eyes right here and said whenever you ready good one two one two one more good got you ok, relax close your eyes I'm telling you guys way got gorgeous happening right in here wei have some gorgeousness were liking this again. I'm just going to check my info. I know you probably can't see from that angle. But if you were to zoom in on that history, graham that history ram is it's perfect. And, guys, I'm really I'm not a genius. I do what this thing tells me to do. Every time I take a picture I do what it tells me to do okay, let's, let's, get her to move out of there for just a second. Thank you, my dear let's. Get were song song something here real quick that's on a tripod. Or do you use image stabilizers? I use a tripod when I need my hands. Uh, tripod is great for holding my camera steady. We all think that we're pretty good at holding our cameras were not any good at all way. Think we can hold on? We can hold that lends it one tweet. Hold that lens into six years. No, you can't. The best quality is going to be from your tripod. It is the biggest panda, but but it is the best quality. And so you tell me, where do you draw the line? I like having my hands free and I move away and I talked to my models a lot now you know pat him on the back and stand him up straight and push hair back and and I do stuff and I'm meter reading them my hands were always busy so I like the tripod for that reason once I'm in the studio once I start shooting a session I use it we'll take the first two shots on a tripod and then take it off the tripod to kick the tripod away then I'm free handed for the rest of the shoot out of my hands don't need to be busy doing anything else now now I'm just working on expressions and I do like that ability to be free but outside anything below two fiftieth of a second I want to try linds you're using have image stabilizer yeah when I got it without it and you prefer to use that absolutely and I will turn that in the strange lives are on when I'm hand holding on the tripod you guys never turn your eyes on turn it off saying with nikon, if you're seeing the v r lenses turn your v are completely off while you're on try because it's fighting it's trying to give you a gyro when one's not needed so it'll cause you more troubling you can feel that motor and they're working and it's like what fell that noise? Well it's trying to save you and you don't need saving, okay let's do that I'm going to the same picture when we do this with shawn I do want to change my direction just a little bit uh I think I'm gonna try to pop around to this side sean just a little bit yeah can you just come around just a little bit yeah there you go there you go and if you guys can get up a little bit high I liked I liked the angle's fine I just need you hire and come to me I have stuff you guys little bit more little bit more little bit more there you go there you go there we go yep yep I'm working in the backyard to the reflector just like I worked to the back edge of the soft box okay, so let me just double check remember I always measure twice right there five hundred five six, five hundred five six and we could go to town you got a great catch line his eyes his eyes look fantastic shauna wants you do one thing for me buddy I want you to lean forward right over your belt buckle just like yeah yeah yeah now bring your head to me this way turn your head this way and let the top your head just go heat right there don't move holy toledo I think you're going to get a date after this one buddy all right nobody moves nobody moves your eyes right? And me for one good. Wow, that looks awesome. Yeah, that's looking pretty darn good. I'm gonna raise this up a little bit with him I'm gonna put his head in a little bit lower to that building back in the background tripod that I'm using this is my endure a tripod and I'm a pretty big fan of endure oh, this is a carbon fibre and coupled with this really write stuff head it's pretty solid stuff here and I'm pretty happy with all this. I'm feeling a five hundred five six so two hundred you guys two hundred way. Okay, here we go. Good. Your eyes right up here now, right there. Great. Do the same thing. I want to turn your head toward me a little more this way. Just turn, turn, turn, turn right there. Right there. Right there. That's it. Now when I tell you your eyes, we're out of here again. Okay, here we go right now. Good. Catch it. Relax. I can sell that one. I'm gonna back off and do one more meet. Zoom out a little bit. I'm a little tight just a little tight. Do me a favor, sean, just going, just fold your arms for me, just get comfortable there, there you go. Now bring your head around toward that panel for me a little bit more right there and your eyes right at me for one right here good I'm gonna do with one more and so am I just a little bit further good, good, good here we go your eyes here good way here we go guys that's pretty pretty magical right there my my distance my telephoto lens at one thirty five I prefer to two hundred so I'm gonna back up into the same shot and go to two hundred why do you think that is a yes what's your foot there sean for just a second. Let me pull that a little bit well it's it's for me it's more instead of depth of field for me it's more about the perspective in the background so so think about this so all lenses have the same perspective nobody seems to realize this but lenses all have the same perspective what varys is where you're standing relative to the subject right? So think about this if I could back up and go out to two hundred at the same head size I'm saying less of an angle of you in the background so let's think about this let's say let's say I'm doing a head shot and and my two hundred millimeter is this is exactly what I want this is the head stuff that I wanted my two hundred but I showed up and all I have is my fifty so if I move in here with my fifty and get the same crop, my background I'm seeing is all of that. I don't want to see all of that, but with my fifty in place, if I back up to where my two hundred would be if I had it and she with my fifty, I'm saying everything, but if I cropped into the same head shot, I have the exact same perspective as my two hundred would get me. So if you guys, this is a good tip. If you guys forget your long lens on a shoot, back up and shoot from where you would be standing anyway and crop in and you get the same perspective what's great about that is the ability to move things closer in the background like reflectors like accent lights like having assistance like a fence post orestes are a dumpster that's enough shot all of that I can get rid of by backing up in zooming in or cropping him with a lord shorter lens makes sense. Okay, let me do one more shot here of this you're doing pretty good right there just kind of lend me a little bit now just turn your head that way right there, get your eyes right here, mason turn your head a little bit more right there good, good good one more a little smile on this was just a little come on oh, yeah well noted there you go that's it good good good let's do one more of those let me get you sitting up a little bit straighter and now just kind of lean straight this way a little bit and I'll turn your head right this turn you had a little bit more right there that's it right there good, good, good. All right, we got you alright, relax for a second. All right? Any questions? So we just did additive we just did transmission way just did reflective questions absolutely one question everyone noticed that you are on two hundred why did you not go lower when we're in such a bright light? Because because two hundred seems to be the native bottom end of most cameras today and I'm just comfortable at two hundred I could go lower but there's no reason for it and some people say but there's a chance of getting noise of two hundred there's a chance of getting noise of twenty five it doesn't matter at two hundred I don't have any noise to worry about at four hundred I don't eight hundred not really sixteen hundred starts to show up a little bit, but two hundred perfectly fine on I'm naturally comfortable now with two hundred and, um you know uh let's see here cayenne wants to know if you could repeat um uh you were kind of sticks and ball had you using there. Yeah, the sticks or endure oh, I nd you r oh, uh it's carbon fiber this is a carbon fibre. This one is ct to fourteen ct to fourteen and the ball head is from really write stuff and it's called the b h fifty five and it is expensive and it is the single best purchase I've made in twenty years. I'm not kidding this this thing, this thing when I looked up the price after I started order and I was like, uh, one of my friends said, trust me, you'll never regret that spin it was the smartest thing I ever did l bracket that comes, you get the l bracket the ball head and you can't even get the mounting place for your long lenses and stuff and it's just brilliant everything is precision and I don't have to worry about my trop light ever again that's fantastic so nothing ever gets loose cool, good question omar from new jersey says when holding the reflector should it be angled downward up board west the height has decided downward downward always downward well, only only if you really trying to replicate that that feel and look of a forty five degree light, which is really if you think about it it's a more natural field when light is coming from below there's only two instances when life should come from below one well, three if you want talk a horror movies but the other two would be when somebody sent in front of a fireplace and they're lit by a fireplace that's to come up from below or if they're on a stage and they're lit by the front's footlights that should come from below but other than that, almost every other situation life coming from above seems tto look the most natural cool tony a lot of people are asking about would you use these same principles and shooting groups or what would you altar and I used the exact same principles shooting a group great. Now if I've got a group of twelve people it's different, sure now I'm gonna go back to him and using my flash and use additive techniques, okay? So when I walk onto a set for a job it's like, ok, what am I gonna do here? Oh, that okay, then I got to use this tool it although, I mean, I just gotta have all these tools available to me, but, you know, with a big group if I've gotta shoot ten of them here and that's the biggest translucent that I have I'm just gonna put their back to the sun and filling with flash get their eyes open to go home you know that that's the best you can do in a big group you've got everybody lies open you know so um and then just one quick last question definitive wants to know is this seems like this is a difficult location to shoot in why not just pick a spot where the light is good as opposed to a place where the light is bad and then go through all the effort of fixing it because then I couldn't teach you a thing where you go if you want to go to a beautiful park at the perfect time of day then you don't need me oh shoot yeah but not everybody can and not everybody wants to and you've gotta master the craft and not every situation is gonna be great and you don't get to pick him all the time client fix him you know so I love it and that's the reason love it gotta master the craft really let's go and get back to the craft okay have you no laces go on time way got tons of time well this is good okay so so then I want to change up a thought here before I go over and work on the subtracted there's another thing I want to do with the transmission I don't wanna do something with the two of those girls together I think so with this light let's do something a little more fashion looking so let's get them a little bit in a different position let me bring my camera back over here and I'll put them over here in fact well put well let bethany sit this time and we're gonna let you put this over this way and we're gonna let hannah come up behind her so let me get over here let's get the translucent out and I'm gonna flip my camera back to horizontal sorry so you're going to get you some help on this we're going to we're going to know you're going to get some help we're going to the set of hands okay? So here's what I want to do and what I'm looking at the shadow in this case I'm gonna rely on myself directly in line with the sun so that I can give them almost a butterfly kind of like that that glamour life that hollywood glamour look with a life directly in line with the nose so to do that I'm gonna come around a little bit and again I'm just looking at the ground I'm watching my shadows so right in here somewhere would be good something like that and then we just back up here and take a look at this I'm gonna come back just another couple of steps here wait just a little bit further, okay, I think this is gonna be this is gonna be pretty good. I didn't here somewhere. Okay, good. So let's take the translucent and we're gonna hold it over head this time come around this way just a little bit and now move over closer to hurt your shoulder behind her shoulder just slightly that's it. Yeah, and I want you guys to hold that straight overhead and you take that side and you take this side and I want you to bring it down right down over their heads and let it tip down slightly like that. Okay? You got that? Just a little bit the angle so let's, take a look. Yeah, so you can bring it down just a little bit lower and but don't get so I can see him move that way just just shift that way a little bit, you guys there you go. Let me take a look at your hand right here. Yeah, yeah, yeah. So can I turn your shoulder to me just a little bit and then I'm gonna want you guys to just squeeze your heads closer together at some point here. So until you do, you know, till I'm ready, okay, so you see that grey building in the background above the green trees where the crane is I'm looking at that as the top edge of my frame that great. Okay, so that's what? I'm that's what? My brain is what's left. Okay, so yeah, that's gonna be good. You'll you're gonna end up having to go up a little bit, but you can you're okay for right now, let's. Just take a reading again. We're gonna take a meter reading I'ma put that dome at my main source of illumination. So I'm gonna meet her. That light gets having the time of your life under here. Party is a party where's the grades some five hundred five. Six and a third. I don't want to shoot a five. Six and a third. I want to shoot at for the third, so I'm gonna go down and shoot it two thousand at a foreigner third again, I like that wide open feel I want to blow that background out of focus. Oh, five hundred. Oh, sorry thousand ueo thousand at four. In the third puts me right there at four point five. Good, good, good here's, what I want you to do, hannah, I want you to separate your feet quite a bit and turn your hips to me just a little yeah, yeah, put this right fist round on your hip yeah yeah you vamp it up kid really thought that hip out there bam there you go and I need you to spend that way for me to just turn turn turn turn turn turn turn turn turn yeah yeah yeah yeah and you get the lean back into her this way way okay you guys bring that light sort of tor me it just a tiny bit and I shift that way about a foot right there yeah yeah yeah yeah yeah that's it oh you guys look awesome right there awesome awesome your eyes right here right here right here good on three one two three holy toledo awesomeness let's just check our info oh baby we're cooking I'm going back up just a step and make sure I'm going back to my two hundred I know this is a pain and I know people are viewing her viewers are going I would never do this I know you don't have to I will wait here we go here we go here we go close close close get together let your head tip in hannah getting closer to our ten down a little bit bethany and your eyes right at me good, good, good good awesome nobody moves now let's do one thing to add to this we're gonna add and add at at at and where's my silver sewers in this one maybe that's okay, I think the silver's in this side yeah, so this case so I'm gonna try to do is add a little bit of a glamour look from below pop in the face is so I'm gonna flip this guy around put the silver on I think the silver this silver has just a good look to it I don't very often like to use silver on the face and former workshop students of mine will tell you what do you doing putting servant face he told us not to do that well I don't as a main light but I will fill in occasionally for something like this for a glamour shot and mostly I'm just trying to get the highlights in the bottom of the eyes if I can do that then it gives it a whole new look whole glamour looking it really cleans up those faces really beautifully so what I'm gonna do this place this guy go ahead and get you guys right in position hold it right back where it was not put in the ground so now I'm gonna do is because that son is that such an angle and I'm seeing that I've got clear light on the ground I can't just lay this guy right on the ground what your eyes this might be a little right now let me see you out of here just let me see your eyes wait till that's a little that's a little hard that's a little soft let me get the software silver why didn't quite do it why it's not quite enough but there's a soft silver this will be enough I'm not trying to fill in any shadows you guys don't mis understand I'm just trying to get a little bit of highlight on the bottom of the ice and it could make the silver white mix it is that's a silver white mix it's kind of a satin white yeah ok let me take a look okay good so bethany can you turn your shoulders that way more away from me yeah yeah yeah now just lean back into her a little bit hannah lean in to her a little bit closer right there came down bethany you guys close your eyes for a second julie raise your hand about an inch or two that's it okay we're getting pretty close now you guys look right up here on three one two three good good good let me come in closer it's fine it's fine okay you guys let me take another look at your right here good good and I need you to get it and I need your face is a little closer together for this shot okay you guys on three on three right here may one two three go oh my goodness push your hair back one more time bethany and let me do a couple more of this and then we're gonna move and do something different good let's do this again here we go and here we go on three one, two, three good, good, good great the only thing that I might do differently here is that bright gold that was in here what's on the back side of this one now yeah so britt just for fun go back there and get me some sunlight on their hair let's just let's just turn on the sun in the background for just a moment is for a shot here and see what happens but you can't be in the shot dude go on the other side it'll be easier to go on the windward side. Okay, you guys all set now you can come out tell you when to come in. I mean where to call before you come in. Back up that way a step now go in a step right there now wiggle it left and right. That's it right there. There you go. There you go. Right there. Okay, you guys, here we go. Here we go. Right there. Good, good, good. Nobody moves. Holy toledo! One, two, three beauty! Relax, we got it. Winning, winning. All right, thank you guys, relax and close your eyes for a second, okay, so we got additive way got transmission, wait reflective

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.