Shoot: Sunlight in Alley Part 1

 

Natural Light Control

 

Lesson Info

Shoot: Sunlight in Alley Part 1

There's a couple of things about working with flash outdoors that we're going to get into here pretty quick the first thing I want to talk about is working with um I switched over to cannon this year and I became a cannon guy and I'm using these these cannons six hundred flash units with the new radio transmitter what I found is that it it eliminated all of the stress of working with flash outdoors if you wish to make life simple for yourself turned these babies on e t t l turned that transmitter on set both flashes in this case I got two flashes out here you set those flash unit's in that mode and there's a green glowing light that comes on green bay by using these yet you turn on these things and once they start talking to each other all the light just goes green and once the light's green you know I have do is pull the trigger you just push the button and you get remarkable work so I think we'll do one first off we'll do one with just one light on and we'll bring in fact let's start...

with hannah I like this gray atonality here so let's start with you were in this great uh alleyway which is pretty grungy and, you know, then seattle birth the word grunge anyway so it's only right I look down the alley a few minutes ago there was a guy down there about a block away jumping rope in the alley. I was like, this is great this is this is perfect for seattle so it's a little bit funky back here and we're going to do dumpster pictures and funky wall pictures in the second but only just want to start with that and I wanted to do one hell let's just get you some when she just right where you are here it may be and come up a little bit closer and I just want you to stand like that in a kind of a little bit of a forty five degree angle like that. Good. I want all your weight on your right foot and just let your left foot just kind of push it right out there toward the camera like that for me. There you go. Good. So I don't want to do is I want to start off by just bringing this light in pretty close tour and again, this is that little soft box that I mentioned earlier. This is doug box and use this thing a lot because it's just it's so great I mean, you can see that it's designed pretty much to work with speed, light and all the hardware is really solid and it and it works really well it holds up well, we have a lot of wind going on out here today, so I've got a sandbag down here when you're fighting wind, this is a good tip for those of you that don't do this a lot, but if you're fighting win and you're trying to work with an umbrella, for example, you're outdoors loosen the knob so that when the wind hits it, it'll turn it and spin it like that. What that will do is save you from the breakage when it falls over because it's going to go over, but sometimes if you lose the knob, at least you'll know where the winds coming from, and you can kind of keep an eye on it. Um, so for now is bobby around, bob, let me get you just can I hang tight here for a minute? If you don't mind, just kind of keeping a close, keeping a close watch here, move this in a little bit closer and I'll drop it down a little bit here kind of like about that one of the things that I'll do here working with this flash. I'll often get myself in a situation where if I'm gonna find aiken light her this way, and then she is sort of in the center of the box, that makes sense. So if I'm office at her and I'm looking back at the box, she I've got it right in the center of the box. Well, that's fine, except that I need I need I don't care about all this life that I'm missing over here, I need to stop that and I want to get more use of the box itself any time I worked with a soft box, I want the most use I can get out of that light source, and what I found is that if I can feather this light forward just a little bit, even tow that even that much what happens is I'm now getting the benefit. Now, this is going to sound weird, but studio photographers know what I'm talking about when I do this, I'm now getting the benefit of the inside of this wall right here that silver on the inside, because now it's coming in at a different angle to the face so people mistakenly, I think, called it wraparound lighting light doesn't wrap light, doesn't bend light travels in a straight line, but when I do this, it does give the appearance that the light is rapping in the shadow a little bit. That makes sense, that's all I'm doing is I'm trying to get the full benefit of using this bucks easy way to think about it is work your subjects to the back edge of the box and you'll almost always come out ahead. You'll almost always like your picture better, so I'm gonna work her kind of the back edge of this box kind of like that. You got that? Okay, so let me turn that on. Turn that on I'm gonna first thing I want to do just for fun let's, take it and let's just take a meter reading again. I'm using a psychotic light meter. This is my seventh fifty eight d r, which is, you know, such an important meter for me on I use it all the time, so let me go to my flat. I am I am reading and I'm just going to try to get something something around something around f eight or so I'll just take a reading and see what I'm getting so right in here, I'm getting f ate at one twenty fifth, so without the flash, if I shoot it f ate at one twenty fifth, I get a picture and I'll shoot that and we'll take a look at it, let me turn this guy off for just a second one twenty five at eight oh this is good this is good look at that face would you let me back I'm just gonna move over just a little bit and you look great stand right there for a second so what I say one twenty five eight one twenty five at eight let me just double check it one thing that I do and my students know this about me or anybody that's ever worked with me I'll always check my reading twice he goes back to the whole thing about being a construction worker measure twice cut once I think the same thing in photography I'll measure twice all shoot once makes sense is your flash pointing back or forwards inside there is pointing straight out yeah but right now I just turned it off I'm going to shoot one available at first then I'll turn it on but I've turned it suit straight out okay can I turn you head right in here to me that's it perfect right there good, good good. So there's first not shot exposure looks fine if I hit the menu on my exposure I have the info uh palate on my exposure mindful looks pretty good my, um history sam looks great she's right down the center of the alley and I've got a gap on the right and I've got a gap on the left okay um I think that I think I've got my color balance set on flash I prefer to change that maybe back to daylight let's all go back to daylight on that just to keep it from being too warm with her skin tone. Okay, so that's better so let me do that one more time and here we go good great. So that's a little more neutral in the color but my my history and if you looked at the history ram it's a perfect pyramid right in the center of the history ma'am, I've got a gap left gap right? Everything is great the meter did it for me I don't have to think about it now so that's what we got with just the ambient light on and you can see that in the monitor there for those here that the students are here now let's turn this guy on and let's see what happens so now let's just turn on that I think that guy's already on there now that's on and this is on me check my color here and that link is on green there. So now they're talking to each other. I know they're talking to each other. So now I'm going to take a picture just that exactly at the setting that that I had right there just bring your bring your left hand up to your right side and just hold that hair back and just kind of holding back and you can leave your hand up there and just let it kind of just bring your fingers closer together maybe there you go right there right there yeah yeah chin down a little bit and just bring your head around right there right there right there nobody moves nobody moves and nobody gets hurt here we go okay so combining that with the ambience in this instance it's gonna look a little bit hot when it pops in it takes it just a second to get over there to fly this thing we're flying this thing about seventy feet or eighty feet into the control room yeah that's a little hot so we're going to fix that I'm gonna take my shutter speed up a bit and I'm gonna double check my flash and make sure it's all its own it's on high speed sync and let me just make sure that that flash is set two zero not a plus yeah okay and let me just look at this one real quick on that set is here okay, here we go let's try that one more time and now what we've done is we've changed our shutter speed considerably now bring your head in just a little bit this way right there right there right there. I like that a lot bring your head around let me let me just look at that over there and double check uh there we go there we go so now we're starting to see the benefit of the flash now this next one that's about to pop in is the same thing with the flash didn't fire so you can see that the flash does add a little bit of life to the scene let's do a couple of things panel let's move you a little bit further away from the wall right about there and let's move me about here and you stay right where you are in fact let's move that up a little bit higher bobby and down then tip it down before you go up so you can reach it okay yeah a little easier you learn real quickly as the more you shoot you learn little things like like when you're raising a life stand up higher than you can reach you don't start by raising up the top section because then it's like you got started on the lost section so you get that I mean it started the top section of the bottom section there you go that's good now don't just bring your head around to me just a little bit yeah there you go nice nice nice it's okay I kind of like your hand whatever you were about to do there yeah yeah nice good and just turn your head a tiny bit this way right there good, good good good your eyes right in here great great great great that looks really nice the backdrops night I've pulled a density down the background so it's coming in at a pretty low level right now I'm at one two fifty if right now that fate and I sent my flash to go high speed sync so that gives me the ability I can run that that set of speed up pretty high now and that's the thing that a lot of people sort of tend to forget and make sure you know that the modern speed lights you can set those for high speed sing nikon cannon canon calls there is on the menu fb sync f p flash what it basically amounts to is you've got the control now that you can really do some work and we didn't have that for a long time we had that sink speed that we were stuck at sixty third one twenty fifth or whatever it might have been on your on your particular system but it's kind of an issue it's kind of an issue and this kind of helps fix that so that that high speed sync okay I'm gonna do a couple of things I want to do a couple more shots here just like this and then I want to add head in something here let me look one more of those and I'm going take my shutter speed up quite a bit do the same thing just for variation here we go let me do this one again ready good so there is the variation of that so now I'm a five hundredth of a second and I'll bring it down also and I'm gonna feel slower so we can see the variation so now we're going back down to one twenty one sixtieth will shoot that one and it all depends on how you want this to appear do you guys want to appear a little bit more natural you want to hear a little bit more dramatic it's totally a subjective deal here and and that's what photography is so often it's like you know it's a friend of mine used to describe photography as the sort of the subjective use oven objective craft it's all about opinions in it the hammer's you seeing pictures on magazine covers that you just hate you know it's like I hate that picture but somebody liked it and you got they got the job not you so yeah you know so that does happen from time to time um let me just double check this again oh yeah zoom in zoom in it this last shot right there she's looking pretty good right there I don't want to go ahead now that I got the flash on I think I'm gonna go ahead and go I'm gonna warm it back up so I'm going to shoot a couple of more but I'm gonna change my color balance animal move that dial to the flash setting because I really do like that a little bit of the coolness that comes naturally within a speed light I liked offset that by using this the flash or partly cloudy either one of those will introduce a little bit of warmth. Three, two, three, two, five hundred degrees kelvin color temperature just to add a little bit of spice and a little bit of something there. That's just less artificial. So we'll shoot a couple more of those. You look great, hannah. Right there. Looks awesome. Awesome. Awesome. Good attorney had just a little bit this way and your head down and your eyes right at me right here. Good, good, good. Great. I've learned just recently to start using this back focus button on my camera and I and I never used it before. On what discovered immediately, almost was that with my shutter button push halfway from my focus, you know, you get in such a habit of holding down and re composing and doing all that kind of stuff with this system. One of the things that happens is this e t t l system is most accurate by following the exposure based on where you focus. So if I move my focus point way over the right that's what's gonna be properly exposed with the flash so you need to be really aware of that and be careful on where you put that little red floating box on where your focus is going to go because it does make a difference on where your flash goes so flash, you know, focusing and re composing will get you in real trouble real fast makes sense, so be aware of that so now I got this thing a little bit warmer bring your head just down a little bit right in there good another thing to once you hit that back focus button I don't have to touch anything again I can't I don't have to keep pushing it she's not moving so I could just keep it but don't have to keep refocus and over and over and over it seems to be working fine it's real hard to tell by that monitor how that's looking but here through my monitor that's looking pretty darn good right there I think okay, so I'm a bum my shutter back up again and do a couple more good good just fold your arms for me and just bring your arms up like that yeah, yeah yeah and bring your shoulders to me just a little bit this way a little bit more right there there you go right there that's it that's it one thing that I always try to do, I'm really a fan of a ball head so it just makes control so much quicker and easier all that's great let's do one more of those let me get a little sparkle in your eyes on this one right there good one more jump the recycle time on that one here we go. Good, good, good nice turn that off yes warmed up the picture a little bit. Did you push the white balanced more toward the blue? Are the the opposite way? So I was at, uh, daylight and I moved it to flash so here's, the thing about that some people don't some people don't know it might make it easier for you guys if I step in the shape you care okay? I love talking to the tech guys they're just like don't talk to us just talk to them what's interesting about that is that speed lights by nature are cooler than daylight. Often I think you know if you think about how flashy strobes and flak units work there there there's a capacitors and there it is capacitor is build up a charge then you discharge him, right? Well, as you change your power output you changed often the color temperature because some smaller lights the output has changed by changing the flash duration not so much the capacity of the capacity so as flash duration changes rg and be rg and beer going up and then they hit the flash and they're coming back down and they're not all three being hit equally sometimes so it tends to sometimes shift a little bit cool right? Because blue is the shortest color wavelength and red is the warmest as you change your color balance all and all I know is that with that flash at flash it's neutral if I wanted a little bit more warmth in that then I'll go above the flash on a daylight situation if I want a little bit more than neutral then I'll go to flash so it all depends I mean you really do kind of get a personal you got a personal stake in what you how you want this to appear her skin can handle just about anything we do and it also depends on the nature of the subject to ifyou're trying if you've got perfect color if you're shooting a catalogue of clothing for example the number one most important thing you've got to deal with his true colors you know that's critical so I guess I was asking on the color balance itself in the camera you were talking about shifting it by five hundred eight hundred points there if I want it warmer have shifted more toward the blue in camera well the way you're but the way your warning and I'm not changes I'm not changing my killed in color temperature, you're not I thought, you know, I'm just I'm just going to different preset, okay, I went from the daylight preset to the flag preset and then I'll go from the flash preset to the partly cloudy preset from the partly cloudy I'll go to the shade and that's where I'm getting my warmth or are less of one if I don't go into the kelvin temperature, nobody cares that's so I mean that's your time one hundred you're way over thinking this that's too much trouble that's making the light ball that zone, we're going to make life easier. I use the presets. I'm one of the few guys in my peer group that doesn't do custom white balance I never do custom my balance that's just one more thing I've got to do after the fact let's just get the color balance right when we shoot it. It's flash said it too flash okay, next subject I mean, you know what I mean? Let's, let's kind of make let's make life a little bit more simplified here. I don't think anything I can do to do a great job do it fast with the least amount of trouble possible I'm going to do it, I won't skimp on quality, you know, but I want to get it done I want to get in, get the same done and get out. You and your clients appreciate that to your clients don't want to wait all day, right? Let me get a couple more with that smile of hers and then we're gonna add another life to this thing and we're gonna line up her hair a little bit so bring your head around again little bit more little bit more a little bit more just bring your shoulders this way slightly right there. Right there. Right there. Great, great great good one good one. Let me just double check that one and that one was at three twentieth of a shutter speed which I kind of like that that density in the background is good and subtle and subdue uh, I kind of like that. So let's do this let's let's work with the opposite side of her from the main light and let me take this other flash there's other speed light and let'sjust drag this guy back here and I'm just gonna like this and kind of brian up her hair a little bit kind of accent her hair just a little bit from back here and I'm sort of going opposite what the main light is doing and again, if you can see this on the camera kind of blocked the ambience here you can see this green link light is on that link tells me that everybody's talking everybody let me don't have to think about it I know that I'm gonna get a good quality exposure on t t l e on e t t l in this situation because this is set is a slave that's my commander my master if you will and these guys are all three talking to each other because I got a green light on all three that means you're green your golden what anyway you get the idea you get the idea so I'm just gonna pop a little bit of light in her hair and I'm thinking about a meter it I don't have to meet her I'm just gonna pull the trigger and see what happens and it's gonna look you know remarkably okay all right, here we go nobody moves nobody gets hurt I have been saying that for a lot of years and it's funny there's a photographer in the bay area that's a wonderful photographer and she has always said you're moving I'll kill you and for me I always said nobody moves nobody gets hurt we just keep would come up with these things here we go good, good, good great great, great great now we got the subtlety of this accent coming in come to me just a half step bobby with that that stand look at that pop in there now you see how this separation is on her hair guys I didn't have to measure that and if I click on my info palate my densities my highlights I'm still under control I've got detail in my highlights and I didn't have to do anything so pull the trigger you get it you see why I'm using this system oh baby it's smart it's really smart are you modeling today? Good alright okay let's do another one here a little bit of a smile on this on hannah here we go good, good, good good good who? All right shawn let's bring you into this scene you stay right where you are. Let me check your head in the head height cia big difference so let's put let's do this let's leave you right where you are let's bring you sort of let me show you what she's at a forty five going that way I wantyou to forty five going that way. Kind of in a v just moved right into her like this. But step back away from a little bit so you can kind of lean in a little because you know you're tall one thing working with couples one little chip I can tell you that that is always really helpful who that might be helpful things might do that one thing that works with couples is if you've got a couple that's real close together can I borrow you for ten seconds so if you got a couple like this it's real hard to do much posing because there so touching if you can separate him slightly then they can move they can twist they can turn they could do things and still be posed together but you're not sort of stuck like you know me step when you start with couples just start with him a little bit of space between them then you start moving around you'll be ahead we need you to be taller um let's just we'll try without the box in fact well I mean I got another idea let's have that box back over here oh sean let's have you sit on the box let me back you up a little bit let's have you sit on that box right there with your knees coming right at me okay set up good and tall like so I'm gonna back you up a step because you see that direct sunlight claire it over the edge of my building there you go that's good perfect now lets you have u turn to the other forty five and you get to lean in close to him let's move you back a half step there we go in now you can throw your arms up forever just get comfortable whatever is comfortable all right so let me take a look here I'm watching that sunlight hit her hair a little but I'm not wild about that in this position let's move you guys a little bit closer to the wall just a little there we go that's probably gonna do it that's gonna do it and I'll just us down just a little bit so in this case, I'll get just a little bit on her hair and I'm also going to try to hit a little bit on his cheek. Just give them a little bit of separation back there, okay? But again, exposure wise, I'm not I'm not really doing anything yet. Oh, yeah, we got to get somebody gotta be happier. You kidding me? If I had her hanging on me, I can assure you I would be smiling. Okay, so let's, let me move this over here. There we go. Good. All I need you to do, hannah is you're you're perfect just like you are. I just need you to lean closer to him just a little bit a little bit more and turn your head to me this way just slightly right there. Nobody moves, nobody moves. Oh, sean. Oh, sean you're a lucky lucky knucklehead right there, I'll tell you for sure, you know, on camera, I don't know if you guys could see this history ram uh but if you look at my history graham what I'm mostly I'm interested in if you can zoom in on this look to the back on the right edge and look at the left edge and you'll say very subtle gaps on both sides of that history ram and guys that tells me what most people fear worst is his white shirt. What this tells me is I got detail in his wife's shirt that's all I care about I got a whole detail there makes sense I know harp on this a lot and it's a soapbox for me, but but I but I said maybe hear stories of how many people are spending so many nights working, trying to salvage a picture that they shot and that's not what we're supposed to be doing you can't put detail back in that shirt, but we can shoot raw and you miss dinner with your kids again, you know let's don't do that so I'm flying j pegs over right now because it's so easy to get him across to the control room but so far so good on this shawn let's do this for me you're you're pretty good, but I want your deeds to go this way a little bit more one thing a little bit more even just a little bit more on your shoulders just a little bit this way interesting thing about working with flash outdoors if you're working with a bride or anybody were in white, most brides were white. Yeah, they really should. The thing about working with white is I don't want my flash toe light flat into his chest, and I don't want that white. If I find photographing a bride with flash outdoors, I don't want to flash into the white flat chest. I would rather that light skim across the surface, as opposed to like flat into the surface, makes sense. It gives me highlights and shadows on the white, as opposed to flatness and white. I gotta have detail again with densities and thinking about divinci. If I've got something white, I've got to make contrast with something dark. I got to see the shadows in that shirt, I'm flying out the shirt with her she's just laying around the corner towards me a little bit this way and just coming around a little bit more court. Portman there you go, that's it now I've got their face on the same plane. There's a small, little funny rule about posing couples that I throw at you line up somebody's mouth with somebody's eyes and it puts the heads in a great position, her mouth is exactly in line with his eyes right now. And it puts her head's in a great position for great composition vertically or horizontally make sense you have a question you were going to meet her for this white shirt are no, I got e t t l baby there you go. I've got my focus point set on her face and that's gonna be that's what the flash is doing it sze give him an exposure of her because that's what I told my camera I wanted so now all three and we're talking based on what I told the camera I wanted out of this deal makes sense when tony is adjusting the hair light, how does he estimate how far away it should be and how high? Well height it depends on how tall she is, and with that head aiken tip it up and down a little bit. I don't want to much of her to be lit, so I've got a kind of high right now. I'll tip it down and show you the difference. And as far as the distance, I know that outdoors in an e t t l situation, I know that that distance of about seven, eight, ten feet is really is really pretty terrific, and it works really, really well, so that that distance is comfortable for me, and I know the exposure's going to be in there because it's all again, they're all talking to each other, but I'll tip it down and I'll do the same I'll tip it down and do the same shot and show you how it we can use it to accent her shoulders all the way down our arm all the way down her hips in a waste can you tell something a bit about how you would position the rim light, put it straight at the model or not what's the best recommendation for that for mae? I know that it you know, if you think about from my camera to my couple there's a there's a point where it's ninety degrees so so here's ninety degrees to the camera, the more I go back away from ninety degrees, the better I get with this accent and one of the things that I want to make sure that I do I don't know where I'm looking work my cameras, but one on one of the things that's really important for me, especially for you guys to understand is that I want to make sure that this accent light doesn't hit the tip of her nose. I don't care where I place it, but I'm not gonna let it skim the tip of that nose because it makes her nose look bigger and you guys are gonna try to retouch it later you can't build a nose after you've blown it out so I know that if I'm over here there's a danger of me hitting the tip of her nose when I get her in position here I just eliminated that has been initially make sense that's great that's great man see is wondering do you use a great card? We're not finding necessary I never do great car great card has one job and a lot of people misuse a great card um ah great card was you guys relax for a second but don't go anywhere great card was designed for measuring and adjusting exposure exposure is based on an eighteen percent great card people all over the country using a great card for white balance and and a great part card was never designed for a white balance there's not a camera made that says average great balance, it says average white balance and the reason is this it's real simple? Most great cards aren't great most great cards have a little blue in it are a little green in it and people I know people that are using custom white balance using great cards and they can't get their color balance it's like well, because you're trying to use color on grey don't use color on grey doesn't work tony on that on that hair light are you setting it on? Zoom it all or you just letting set twenty four millimeters it is it's kind of get her it's gonna get on just fine do you ever use the friend l too much trouble and because I'm not the guy that does that I mean I know nature and wildlife guys that'll go out in the woods and they'll use the friend l uh and and really focus that narrow of light down where they wanted uh I don't do that that much cool antonio vic from arkansas would like to know is the meeting of the tt l flashed based on how the camera's meeting meeting is set up for instance center waited her spot or major it is thank you but but it also has to do with where you focus right? So if I if I said that well let me let me think about that maybe it's not maybe it's overridden when I turn on the t l system and turn on that I think maybe it is overridden because I know that mike can't a guy talk because I was confused one day my candid guy said well wherever you change your focus point two that's where the detail exposure is going to be ready okay so it's the answer is probably not okay it has to follow my focus fantastic so let's do this let's let's simulate late afternoon sun by just taking my little warming gel this is just a full cto orangeville and I just keep these things in and all over my camera bags, if you open the lid on my back, you'll see green and pink, and I got these things all around me. Uh, they go everywhere I go because I use them all the time for just for having interest in my picture, and I just take it right over there. What food packaging is that from? This is this food packet this's oscar mayer, hot dog. But it is it's, just a color correction gel. You know why we're using the studio to convert tungsten? Look today, lighter day like to color or what? Whatever we need to do, but I travel with a lot of gels and and I use them all the time I'm using for color correction as well as for creating little drama. And here, it's great, because I can put this back here and it really will simulate a little bit of a look of sunlight lying there hair a little bit, so we'll try that and see what happens. You guys know what I'm doing, and all the viewers know what I'm doing, but you know, your clients don't know what you're doing. All they know is wow, that looks like the sun back there, yes, write the check, because because, well, it is art. We have to pay rent okay let's let's take one, shall we? You guys good and I love that you're right you know what your settings perfect sean just bring your head to me a little bit this way a little bit more right there and then handed just lead to him just a little bit it's lean right in there yeah yeah yeah yeah yeah and just turn your head this way a little bit more you know let the top your head just go I think running to him and chin down right there stop right there. Perfect perfect nobody moves, huh? Magic magic what was it? Charlie sheen said winning winning tiger blood that's good. I'm going to another couple of doing number right here hannah right at me now you guys are engaged you're smiling, we're happy. Holy moly were so happy we can standing o my guys let's do that one more time let's do that one more time something's moving slow battery wise okay, here we go. Good catch. Perfect. So you see that little wink of, like coming on her hair now and it works pretty what a skin is kind of concentrate on here I can lower that down just a little bit maybe and put a little bit more down here on her arm and we'll see a little bit better separation down there just a bit and he's getting it a little bit but not much from this position I come around just a little bit this way go ahead and get back like you work for just a second let me just take a look yeah, right in there I can kind of get him both a little bit something like that you want to be real careful from this position about that? Because that's gonna flare right in my lens and I can't save it there's nothing I can do to save it. Okay. All right, so let's five let's try one more right there and then again I haven't taken my meter reading you know, I just took my initial reading so I know what this is, what the density was in the shadow areas but I got plenty of light here this is this is pretty fun now I'm lighting up the wall just a little bit, which doesn't really make me mad actually it's not a bad thing let me just spend this just a little bit, but I just want to be careful on my lens. Um I always work with the lens shade I won't ever work without one I've dropped too many lenses I'm not a guy that uses filters a lot of you guys will use the uv filter wrists, hazara sky or whatever as lens protectors I hate filters because they're two more surfaces to more reflective surfaces that can pick up flare so I'm not a filter guy at all, but I do have a lynch it on because I've dropped lenses before and it's not a pretty thing they don't bounce like they should I mean, thank you just make him bounce it would be okay, but they don't bounce so okay, so this is looking pretty good. Here we go. Here we go and just leave straight to me like this come right my way. Yeah, yeah, yeah, yeah. Right there. Good, good, good little sparkle in your eye. Just a little bit handed that's it one more of those one more. Hang on, hang on, hang on. Here we go. Good, good, good. I could sell that. You guys, I can sell that one to this couple, so it is hard to see a little bit there's all sorts of things that you can do. Teo, uh, give yourself a little help outside. Those are a good man. Products are great. Those little viewers you guys use those those who've been here just they're just made to fit on your camera and it just gives you a great place to zoom in here like this and check everything without the ambiance being an issue when you're shooting outside um one of the things that my workshop students and know that when they're going to take a class with me usually by the end of the first day we take a piece of black gaffer's tape and we cover up the lcd window and the rest of the week in my class you don't get the look this is the part where they go what the idea there is simply this I don't want you to use your your monitor here as a crutch for your photography use your meter use your brain use your thought use your foundation that you know to be true well we do here often is we get lazy and we shoot look that's not good let's do it again let's fix it shoot look again let's shoot let's look again let's adjust that all this closed down I have stop shoot look again really waken do better I think I think we can do better I think we can get closer to nail in those pictures if we just slow down just a little bit and think about what we're doing that's the goal for me that's the goal okay, so does everybody get this? Can you see how working with this detail system how simple this can be? I mean I haven't touched are adjusted anything on this set up at all I had to make take any readings I'm just running my shutter speed up and down in my exposure on them looks great on my history. Ram, you know, shows me right down the center. I mean, I mean, on the right edge, it is exactly white with detail. It is just a sixteenth away from the white, without details. I'm the happiest guy there is right now, you know, the worst thing that can happen for a guy on tv. It is for that not to have worked way worked. We fooled him again, you know, thank you, canon, for making me look good.

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.