Off Camera Flash
Now we've got to talk about flash off camera so this picture of bill gates who was wonderful to work with I didn't have a whole lot of time the gentlemen seem to have something else to do other than hang out with keiko and I but I can't imagine why so this one here we have to go in early we have to set up were only given actually a couple of minutes to set up and then we're told we have to leave the room so how did we go about lighting this well in reality it wasn't that hard so let me point out the items that we used to light it and then we're gonna talk about how we actually fire the camera so when we lit it on the main light source is a speed light one single speed light is all that let this okay with the shamir a this is a schmira twenty four by thirty two inch soft box this is probably my main when I'm on the road my main go to soft box uh and I kind of always used sameera soft boxes I actually have one and you're going to see an image from in a while that there's one coming up th...
at was shot with a thirty two year old soft box and it works fine so the way this works okay I'm gonna show you how we mount the speed light and there's only one other element in this photograph remember is playing with this reflector earlier while we literally on the dark side of the image here which just took a light stand we just hung this on the light stand and that was it that's how we lit it. So let me show you a little bit about how all these pieces come together and how we make fire as faras the mounting off thes a little of the speed light in here it's gonna shoo the the first challenge is how am I going to get it to fire that's the challenge? So there are a couple of ways that we can work on this. You know, there's always a chord. The problem with the cord is you can only go as far as the court is. The other problem with cord is, I think, as I demonstrated when I was tethered a few minutes ago as I tend to trip on cables, so I'm not a big fan, of course, so we have a couple of other ways to do this. Okay, one of those ways is an infrared system. Now, for those of you that have any of the newer cameras with a pop up flash chances pretty good that you have an infrared transmitter now why don't I use infrared transmitters? Well, their line of sight they don't work very well in bright light if there are too many people in the way they're not gonna work will they were going to small right room you bet they'll work just fine if you are going to try that and even if you go to another system okay it's still a backup and I'm a huge fan of plan b and plan c whatever that isthe big fan of that okay, so you must make sure if you're going to use this that you pop up flashes up you're going to need to go into your menus and I'm not going to get through each camera separately okay? You need to go into your menu you need to go to the flat find the flash function you need to scroll to the flash function then you need to hit commander mode then I need to set it away but the time have done this my subject's mind is wandered or they've left is it a backup? Yes so I use it no on the night konya is actually a way to set it on one of the custom function buttons so at least you can get it there. I haven't found it on the cannons yet again it's not the best system in my bag I actually will carry on an external infrared transmitter remember I said I like plan b and c you know I will carry that I can tell you you know I like radio's ok I'm a big fan of pocket wizards I'm going to go into them in a minute however should you want to take a picture in langley virginia I guarantee you your radio is not goingto work okay if the president's nearby the chances of pretty good they have jammed all the signals gotta have a plan b so let me talk a little bit about the types of pocket wizards by the way on these if you're going with an infrared transmitter I forgot to mention this is is important though should you be lying with an infrared transmitter you do need to set your camera on a remote setting. Okay now on a night s p nine hundred it's really easy some of the cannons air really easy. The five eighty e x two involves a lot of holding the zoom button and scrolling around the s p eight hundred on the night kansai whoever designed that system had a great sense of humor it's like well designed this and watch the photographer's fumble anyway this one's pretty easy again to me this is the backup so let me show you a bit about pocket wizards and the ones that we like using so pocket wizard has several different kinds of radios so I'm going to run through them rather quickly this is like my bucket of pocket wizards so there is one and here's another one so the base unit for them now this is a fully manual unit this is ten channels and fully manual on we just we need one receiver on the camera and a transmitter and this is just a good basic unit it will function I've never tested it to find the maximum rage I think about three or four hundred feet with this and the reason you have channels on any of these because if we're all going to shoot next to each other unless you want to take each other's pictures we need our own channels. So that's why so this is the basic unit it's about one hundred dollars it's it's great little unit okay, then you come up to this this is the plus three. Okay, this has a lot more features. This is about another fifty dollars and this particular unit I can use it transmitter receiver I can use it to boot signal's this has a range of about eight hundred feet. When this first came out they actually sent keiko and I a couple and said, would you test them? And I said, sure and we set one up with a camera and a strobe in the studio on push the button and it worked fine and then I went and stood in the courtyard behind the studio work fine there and I went out into the alley working great there I said you can't get on the phone let's see how far this thing works so the studio's right in the middle of downtown boston one of the old brown stands and I made it about a block and a half away before it began to fail eso we figured about eight hundred fifty nine hundred feet so and if that didn't work this has the ability to boost the signal so I literally and I'll show you an image shortly I literally could take one of these and stick it if I wanted to go fifteen hundred feet away I could take one of these put it in the middle shoot the signal from the one on top of my camera to this this will take the signal in and shoot it back out and you could just get I don't know how many of these you can string together but you could do that along the other thing that it has its really cool now we have our groupings ap sandy so I could have four groupings oh no if I set one power supply on d that becomes group date and we joke about this keiko and I quite often will get these really nice assignments we're gonna hide by a big corporation on their bring us somewhere and we'll have to do a portrait of a ll the executives over a day or two or three on dh I have this thing you know keiko is with me and she's like the standard, so I light all photographs for five foot high japanese woman all my pictures air let that way, which kind of causes me a problem when the third person who comes in is six six and doesn't quite have as much hair is keiko does and rather than say, hey, keiko, turn that light off, he doesn't have much here, I can just go to be, which is going to be my airline life pushed the button, I turned it off, I can control it right here, but we're still fully manual, which means that I've got to control each light manually. Okay, well, we were playing before with t t l, right? We like tio and tl was through the lens for those of you that wanted to guess, um so I'm going to come over here to this case and this is sort of this is what I use a lot, so I'm gonna take this out and this is a stack of pocket wizards the's are the ones we use, so we're going to break these damn you have tohave a receiver for each toby in, so right here we're gonna have one, we're going one received, so this is called a tt five it's a flexed twenty five this khun b a transmitter or re saving either when I can put it on the camera or I could stick it on the flash and let me pull this stack apart now this one fits on top of the camera only this is called a tt one it's a transmitter and the only reason you use this as opposed to one of these it's just a smaller profile that's it they actually just came out with a way to power this from the camera so this is going to go on camera as such and then there's a procedure preparing them okay there's a member he said there's a lot of information here we've got these five pins and there's a lot of information going back and forth so sometimes it takes a couple of tries I mean don't slam this on the cameron think I'm going to know what the first frame because sometimes you won't depending on radio interference you know and you know where we are right here in the creative live studio there is an awful lot of tv satellite dishes right around this building so let me kind of show you how the pieces go together so what I'm going to do okay is I'm going to turn everything off all right that's the first thing I'm going to do I'm going to make sure that this is on here properly if it's off that much okay with signals aren't reading properly make sure that guy's locked in don't put this on anything metal, so we just sort of said it here and now we're going to go to the one on the camera on and we'll make sure everything's off now I find that with the night kwon that I sink it initially a two hundredth of a second. I don't have to stay there, but that's, where I start now, there's one more piece I actually haven't talked about this is called an a c three controller. What this enables me to dio is I have my three groupings a, b and c so I'm gonna make my main light a my hairline light be made my background light see, they're switches on the top and you probably can't see it, but it says o m and a right off manual automatic so I can set each strobe individually from the top of the camera to be off automatic or manual, and then I've got these little wheels and these little wheels enable me to dial the strobe up and down. So while I'm creating a photograph of you, if I decide that my hairline light is too bright, well, I just go over to be and I dial it down, and in the meantime, I haven't broken the relationship with you. On you know to me one of the really important things about how do I get a portrait toe work the way I want it toe work is my interaction with my subject so we never go photograph anybody without researching them even if it's just in the car I want to ask them a question I want to show them that I care about what they do not know why am I here? I got another assignment in ten min that's not going to get me a good photograph okay? And I need this relationship to not be broken it's really you're my subject it's all about you and I'll set you know I'll talk to my subjects and I'll say it once I have a picture I like I'll say to them take a look at the we're creating and I emphasize we're creating because I can't create the picture without them so this is a joint venture between all of us everybody involved and I I incorporate my subjects into this once I've got the test shot that I like I walk over to him and say take a look what do you think about what we're doing and go wait wait wait I was to do what does this look better? Can I see the next one? What happens a lot of times with that is your ten minutes all of a sudden becomes much longer period of time you know as long as there aren't too many handlers involved who were pushing the person out but generally mean I have scientists say to me all time yeah I got a five minute window and we did one you'll see later on where the john doe they thought were going to shoot it in ten minutes at ten o'clock in the morning and we didn't start shooting till ten thirty at night but we kept the guy there half the night and made an amazing picture so anyway I've got a lot of freedom here so let's see we're gonna turn everything off here everything's off and I'm just going to kind of set this guy here for the moment and flip this antenna up on so I'm going to start with the furthest point I'm going to turn on my stroke I'm going turn on my pocket wizard and look I got my channels a b and c and actually if you look here you probably can't see it but it's a c one and c two and off okay see one is configuration when it's not channel one you can go into the pocket wizard software you just plug this into your computer and you want to constantly upgrade firm where they're constantly improving it so minor actually said on channels to in ten they come out of the box on one in two and we left one on too because when I teach workshops I want to be able to hook my system and with someone else's and put it on channel ten because I don't want to look my system in with other people's, so I'm going to set this on see one right now, and hopefully we're gonna get this to work. Well, that popped, okay, so we know those two were talking. Now I'm going to come over here and I'm going to turn this on the tt one, and I'm going to turn my camera on and now I'm gonna push buttons now saying with the infrared zits line of sight, well, we can take this and go across the street and light up the building across the street, and I could stand in this room it's not going to matter, and now I'm gonna put my a c three controller on on course. I'm looking at it sort of work. Do you ever notice when a stroke doesn't work? You take the strobe when you look at it, it doesn't work and it always works at one time always. All right, so let me kind of get this set up just a little bit more let's look at making a couple of photographs with this guy, so I'm gonna come over here too. My career is soft box and you know when you buy a soft box okay you by the soft books and then you buy a ring that pertains to what you're using it all so this ring here is designed for speed lights and we have several different designs for speed lights okay but let's say I want to use this with my dinah lights which are my brain to studio strobes the ones that I use not my brand it's the same soft box so the only thing we're going to change is the rings you buy the pieces you need and that ad on the others so anyway because we this is the ring that we chose I'm just going to pull this little piece off and sort of flip this guy around this is how I do it daisy and we're going to screw this in here it's got a quarter twenty thread quarter twenty threat is one of the two standard threads and photography the one on the bottom of your cameras quarter twenty okay then the fatter ones or three ace so we're going to screw this game together and by the way underneath the soft box I have one of these little umbrella clamps that enables me to change the angle of the soft books what time that and put that in make sure antenna's up hopefully this is all gonna work that's good now all we need is a model quick quarter the model so we're going to get some of these other toys out of the way we're going to be playing with all these toys it's really good when the photographers hiding behind all the stuff isn't come on over here you're not getting to sit down on the job police not yet maybe in a couple of minutes you can sit down on the job all right that's kind of nice let's see we're going to get okay so as you can see we keep our fingers crossed because she could see I put a huge amount of effort into doing this that's c we're going to get here and uh let's see that's good about therefore just with the fun of it that's kind of cool let's go towards the light off go to the light girl let's see we're going to get fun you know so we put vast amounts of effort into read it and we didn't put any effort into reading the light I'm sorry uh okay let's pull you away from the wall not too far and we're gonna play around with this a little bit turned towards lates come up closer to the light I have a saying you know big light sources in close we're going to give you a better life bigger closer better is my saying on dh let's see we were right on top of it so it may be a little blown out come on well, let's, dial that down a bit. So so what I'm going to do this is it was a little leased to hey it's live what you want so if I decide this is too hot, right? I'm just going to come to the top of the camera to this controller and I'm going to dial it down and it's kind of interesting when they designed this they actually made it. If you want it to go darker, go to the darker side I can guarantee you know photographer came up with the f stop scale, right? Because if we did, it would be one, two, three, four, five, six and is that a pocket wizard? Peace? Yes so these pieces yes you buy them separately and you by the number of pieces that you need and then you add the three try not to be overexposed this time turn the camera and ricotta work way much better that's good look and go towards the light a little bit but say come on so how'd you do that that's a neat one it didn't sink love live demonstrations! There you go. Okay, so that's nice let's have you faced the other way? I know that that other way cool let's gonna bring our light around a little bit here and I'm just going to play around and show you some of the different ways that you might like let's be really you know this is your choice you know you're the photography you're the artist you get to decide which piece of equipment you want to use because I just refer to the seizure just hammers these are our hammers you know which piece of equipment you want is what effect do you want so let's try that again that's nice let's see here now you notice as they brought the light around we're starting to get some drop off on the near side of the face well let's bring that light around a little bit more let's see what happens that's great kind of linked to it I want you actually with your head pretty much the same for comparison this is the longest time ever quiet by the way well, we're a little under on that one let's give it a little more light so I'm gonna come back to my control and turn it up a little bit make sure that's on automatic camera okay? So I turned it off so now we're getting some shadowing on the dark side of the face and let's say, well, you know, I'm really like and I'm liking this but this is going a little dark what away do okay now what I'm going to do is I am thank you. This is a great part about working with keiko. She seems to know what I want before I know I want today's, eh? All right, so we're gonna take this and we're gonna grab the umbrella clinches happens to be here so you know, with this one too realistically oops a daisy I could throw it on the ground hey, before I forget, as long as they're throwing things, any piece of equipment you have that has a handle like this if he handles a spring loaded so you can pull them out and change angle if you can't get a good grip on him so what I was trying to do before I threw this was I could just do this or actually you had that clamp. Thank you. Cake. So, you know, we used these tons of these clamps, you know, and you can buy them at the photographic store, but go to home depot is like three bucks for a bag of um and no, and then I could just clamp things together, okay? So I could do this on thea other thing that let me show you is the flex phil holder, which is down there, I want to point out, you know, that all of this stuff that I'm doing right now you could still easily do a ll this working alone okay, there's not a ton of gear that we're carrying generally, you know, the light stands that I work with for most of my things on location or nowhere near this heavy I used much lighter stands I think the ones I used cost about forty bucks on, you know, light stands like any of the grip equipment. The on ly time you have to replace it is when you leave it somewhere that's the only time a chisel the stuff last forever and while I'm on the topic of leaving stuff somewhere, I want to show you something I don't know if anybody noticed, but groups all over my gear, right? You'll see there are white labels, okay, that has my name and my cell phone number on the chances of very good if you leave something somewhere and they confined you people will call you up and say sorry you left the camera here full you want it back so you know best forty bucks and insurance that you khun by is go to the stationery store and buy a forty dollars waterproof label maker, stick your name and cell phone number on everything so ok, I'll take that from you now miss cake another way, by the way to hold these things is you can buy these arms on, you can just sort of set it up so easy and if you're working alone you khun let's bring this guy out on then we can clamp it in here. Uh, we're just gonna turn this a little bit. My kirk yeah, that looks about right. Uh, so I can clamp this in here and this in here and now I got my reflector in place and the cool thing about these, you know, aiken chan, I'm hiding back here high. You can change the angle of this, so if I and again, I would probably be using lower stands on if we have any lower stands around, but if I wanna filler in on, I've got a little too much shadowing down in here. You know, this is sort of rude you can't really see, but I can fill this in or I can go and I can put it this way and this is one of those pieces of grip equipment. I mean, the whole thing costs like forty bucks and you'll see shortly we use them for booms for the hairline lights we used for all sorts of stuff. So what I'm gonna do is I'm just going to make a frame here, so let me get this I'm just gonna triple over some light stands his camera bag that is but it's very courageous to leave it where I can trip on it okay in that case I'll leave it all right so now we're gonna kind of do this before I got off on this little tangent we were talking about how we're starting to get a little too much shadowing in there so we're gonna leave this guy here on let's come back and see if we feel that in all righty let's see, we're going to do don't forget to breathe way get okay let's bring that reflector and closer and if I want a warm it up a little bit okay I can flip it around thes things come on old different sizes somewhere we have ah fifty to a bigger one so it's kind of do this let's hook this guy in that's going to go like like that he says with great hope in his voice bring it in nice and tight there you go let's see, we're going to do way having fun yet okay good, I was afraid I'd have to tell you but I'd say we're going to get hey I put her to sleep cool, but I also feel the light end, which is what I wanted to show you. Let me show you what we're playing with this let me let me show you another kind of cool trick so I'm gonna take this one out completely pass this back to a juma's keiko if I can and I'm gonna we'll trade so you know we talked about foam core early I'm going to show you a way to make really nice light but you can't take us with you I mean it just doesn't fit in your volkswagen oops a daisy but this these are all just lighting tricks there's no right or wrong to put this on me I would want just a little bit higher I'm actually hiding the models from you guys is what I'm really doing yeah all right let's say we get this to work that's good that's great we're gonna get you let's see if we've successfully bounced light around come on say that life okay now I can pull that in tighter okay we do this more often with a couple of sheets off to buy three phone call we just tape them together and that works great but obviously this is not a location thing if you setting up a little studio somewhere we have tons of this stuff lying around the studio let's kind of keep going and talking about more ways I'm not going to squish you in there oh my god I was afraid I was gonna lose you thank you very much here you go he go all right anybody have any questions on where we're at at this point definitely always have questions online d photo just a general question what you shooting on e t t l manual? Sure. So most of this stuff I'm still exactly where I was when I started the first section by camera is on manual maestro biz on e t t l is that always the case no there's no absolute but generally that is the way that I'm working in these situations question from joe the flow does rick prefer soft boxes over umbrellas and if so, why yes and absolutely, uh I'm not a big fan of shooting with photographic umbrellas I like the control that I get out of the soft box I found when I was shooting one occasion when I did shoot umbrellas I'd be shooting a picture like this and I had all of a sudden go wide eyed look up on the corner and find spill so you know I have a few small ones that I use once in a blue moon when I can't get anything else in there but I would much rather use this I much rather use my flash bender we showed you a couple of flash bender's keiko is actually going to hand me the xl one which now becomes a smaller softbank's thanks very much. This is great so this is a large one obviously this does not fit in the back of your camera bag and I wouldn't really walk around with this on top of my camera but it's smaller than that it's a much now we're profile I could get it into some small spaces um this one here this is kind of cool so this when you buy this thing this one comes as a kid so it's you've got the flash bender and actually people the front off flash band you have an enormous reflective surface and there's a reason they call the thing a bender okay, not that you're supposed to go on one but that you can bend the life so if I wanted to we'll do this in a minute if I wanted to be lighting her and I wanted the light to start to drop off well, I have to do is start bending it down and the other thing that's really cool is you can use this as a strip light so it comes with a smaller front panel on dh as you can see with all my gear, none of it looks like it's ever been used. So anyway, this is kind of cool. Okay, so now here I am spreading out the light to a certain point when I go to a strip light whether it's the road one or a sham era one I'm controlling where my life goes and I can control the light by putting barn doors on it or usually in our case we may cargo bows out of literally out of cardboard um and control the light I mean here if we look at this photograph which you look ravishing and dunning you know, we've thrown light on the wall in a little while we're going to start adding colors to our pictures once they start adding colors I don't want my white light on the wall so let play around a little more let's change up how we're doing this okay, so let's take a look at another one we're gonna take this guy apart here and let's take a look at our rogue excel so just push this off to the side again I want you to see old variations again I'm not saying this is the one you have to use, you know, sometimes the best one there is is the one you have because no matter how cool it is if you left it in the car it's not much good there's there's this old line and photojournalism about how important piece of equipment is is directly proportionate to the distance you are from your car. So if I really need that lens it's like three miles through a swamp okay, so we're just gonna put this thing here and this late stand again is a little high, but so let's say I want to use the x l which I've cleverly taken apart, so now I will really put back together actually, I want I used the strip light and keiko put back together I like this thing I think this is really cool and there's some fun stuff we shot with and again this takes up no space put it on a small light standing then we'll put him I mean we have I brought one light stand across the country with me this is it because we have a bunch of these because I can from in my suitcase on you know are they the best absolutely not do they work yes but I don't want to drag thirty eight twenty of these across the country and you know the price of shipping your gear today so outrageously expensive I miss those days we used to be able to show up you know goes to the skycap and given a fifty dollar bill but twenty cases on a plane you can't do that anymore okay so this guy's going to mount sort of like this the head has to be locked up because the way to this is enough to pull it over so we're just going to kind of set this guy in here that's gonna lock it in place but it about that point quite that point a little tighter make sure this is in and now if I wanted to slightly change the angle of my head this is when my umbrella clamp comes and you can use a small ball head or an umbrella clamp so it's just angle this guy down just a little bit thinking hey, I sure hope it doesn't fall not that we ever dropped this gear let's see what happens so we're we haven't done any real tests so let's just say we're going to get okay let's go more towards the light but style this down a little bit so we're working with a narrower beam of light its a little harsher you know big light sources they're going to give you softer life that's pretty nice light though you know for something you can throw in the back of your camera bag and you've got your speed like your pocket wizards on taking up any room on dh you know, this is really nice just bring it around a little more and play with it someday you have to go to work and stop playing groups a daisy not bad and I have to say it it's it's it's a little warm in here for those of you out there you can't tell but it's actually little warm in here so this might be a case I mean you're a model I would say we could fix your makeup but if you were the ceo of a bank I need to suddenly put on makeup and I find it's not really good to say to them in front of the associate hey, you're crazy put this on so we actually kind of do it very subtly so but look this is nice light I'm gonna lower that down just a little bit we've got you know some fairly harsh shadows because it is a fairly small light source let's bring that about like this on let's give it a go let's see what's gonna happen here come back to me that's beautiful why do I keep looking at the camera not bad not bad at all but spread this out a little bit okay let's see what happens now we've got one light up high let's see what happens if I go fooling so I'm going to move this camera bag out of the background that's all right I hate to run down the street with this on my shoulder my god I'm not quite your wife photographers like see how much junk they carry I wish when I when I was a young shooter you know working for your pee where I started and then going on being part of black sir I wish somebody told me things like don't jump off a platform with sixty pounds on your shoulders you're going to pay for it much later in life let's say we're going to get so we're gonna go this little wide here on we're going to experiment and see we come up with we didn't come up with anything what a great demonstration rick let's try that again okay so we need now to bring our reflector back in but you know, I mean that's not the ideal situation for a full length picture. I would like a bigger light source. So let's, play with a little bigger light source. Please. We're going to we're going to actually let's. Switch this out. Let's, put a full size let's. Put a full size one of these on full size. A rogue let's, get a little smaller lights stand. Well, I'll just switch this around, okay? So that you hold a sec, please. Thank you very much. By the way, this clamp this's a great clamp. This thing here, you'll notice that has a shoe on it. Okay, so I can use his toe. Hold reflectors, aiken, bend it this way and used to hold the foam core to kick back up. There's a picture that keiko when I discovered yesterday, which we're going to play with in the next segment when we took this and we just clamped in tow a railing this's, a really good little piece of gaffer equipment that we used a tremendous mouth thiss particular one is made by manfro it's, this particular it's called justin clamp. There are a lot of variations on it. I think justin's, the guy who came up with the idea that he was an art student, do something then again, like I said this grip stuff you buy it and it's just last forever you know, the problem is you you by it a couple of pieces at a time really cheaply and then all of a sudden you realize your toolbox is full of it okay let's see, we're going to get on that ms kegel thanks. Oops oh, she turned everything off to see if I was paying attention. Okay, so what tends to happen? Okay when you turn everything off andi you notice I'm just threading this right into the bottom of the pocket wizard I find it's best to do the pairing process again so I'm going to shut everything down and we're going to start over again make sure that's in there I'm a big fan of the last thing I let go of is the strobe um although there most of the time they survived for now se said most of the time and I'll tell you I mean this my gear you know I teach a ton of these workshops it's really nice people invite me all over the country will be going home we're going to europe going to do when we actually and we did a siri's in europe while back but when I do an actual full workshop I bring a lot of toys so my gear gets used by tons of people when it's your gary you're going to be the only one using thes pocket wizards right here these air president used by a thousand different people so on the fact that this works pretty cool so I'm going to set the camera two hundred I'm going to turn everything off again and let's give it a go here so we're going to start remember we're going to start with turning on the stroke then we're going to go to the pocket wizard to see one and now I'm going to come to this one the t one on top of the cameramen turn that on and I'm gonna turn on the camera I'm gonna hope once talked to each other remember I said they always work when you look at him you do need to give it a second you know to recycle oh I'm done that could be the best picture of the day and you do need to give it a couple of frames with the information to go back and forth all right let's see what's happening remember I want to get my focus box on my subjects face we should have hopefully a different feel from the last image because hopefully to be more than just the floor not bad okay so all we did was give you a slightly bigger flash bender we've got some really nice light, you know, small stuff he could throw together keeping your kit let's bring our light in a little closer let's have returning shows someone that's great thank you that's cool c we're going to get here all right? I'm loving it how much do I love my job really that's good I have to tell you if I was actually working I wouldn't be stopping him waiting so chad hot I'm going to turn it down that's all we got to do is right here now if we take this and we set it on manual this control that is plus and minus three stops this control becomes if I've got it plus three it's on full power and then I could knock it down six stops right here okay, but I'm still playing with it on t l I'm still not gonna be able to see it let's go so let's have you go lean against the wall let's try to do this let's throw a couple of shadows yeah, they go wow. You know, it's just like photographing a bank president they always do this. Yeah really? I don't think that would work did it what? He would look into the camera and that one let's see what happens we're a little under let's come back up here we go okay, do they love the post again? Your problem is you're just too shy that's the problem fun guy look at the shadow okay, so I've got against the wall. Let's actually play with that shadow. We're going to do this in the next section. Let's, play with him now, while we've got it going. Okay, so I'm gonna drop my life. All right? Let's. See, we're going to get here. Okay? Do your thing. Yeah. Ready? Go influence. They were supposed to wait for me to lead there she is pretty cool, huh? Okay, so the two of us put an enormous amount of forethought into this photograph. Okay, so this is the kind of stuff we can do on the fly. You need somebody to jump. That's cool, that's really, really fun, you know, and it's, that simple light source let's, keep playing. Oh, I'm sorry. I have a question. Is it the tt five that allows you to use teo if that is correct? That's the one? Yeah, there are a couple of other brands. I've tested a bunch of them. I'm happiest with this.