Final Exam: Jumping Shot
I want you to introduce your self teo, the world okay, I'm cliff linderman and it's been just about a year that I got introduced photography and I saw scott's actually wanted first warships I bought stupid crazy like crazy, stupid like where was it? Crazy crazy, stupid like ok, so this was an enlightening workshop today and the last two days even though it's all crazy stupid light, this wound still was like added a lot thiss really kind of, I think semen and all the concepts together, but I'm a martial artists for thirty five years I've been a martial arts school and this was going to be a hobby. But it's too expensive so it's not a hobby thinking way I saw the shot when us who wanted to shoot this, I'll take it because I'm thinking that's what I kind of primary and shooting is is action and I thought about when we have our car convention way always got that big auditorium stage and I saw that I go I want to do that with, like a jump roundhouse kick or a split kick and will be perfect ...
for it let's. See what right now and I'll shoot, okay, great, so you want to do the jump, all right, so why don't you explain kind of like how you're going to achieve that jump shot well obviously we don't have a big theater here so I'm going to simulate it but you know when I looked at your the picture of it you know the lights are spread apart your rear lights that would just give a silhouette without the front light probably maybe twenty feet apart so well bring him in in here and so I would put the lights that would be hitting the subject from the kind of the side right probably at full power it may be less here but full power and and then I'm gonna front light uh as my subjects jumping up and I would want to get a lot of the ambient light in there someone to shoot a maybe around so you won't eliminate the ambient light, right? Actually I want to keep that because I want it I want to get a lot of that back theater in there. Okay. Yeah. So you know what? That first in what theater so check that out because that's I want to capture them they have lights back there. Um no, not necessarily. So hee it's dark I mean, they bring it down and get some you know, the lights and the only thing that you have to be concerned with if you're allowing a lot of ambient light in is that you may get um, you're not going to get stopped that action? Yeah. So in that case, and I would, uh, adjust my shutter speed to get rid of some of the ambien life. Right? Let's say this exercise, we're going to get rid of it. Okay, so I think our goal was to shoot at a slow shutter speed like maybe even down to a sixth of a second, but still keep this subject razor sharp. Right? So if we're gonna lower and get rid of the ambient light, what kind of camera settings do you wantto? Uh um I'm going to probably shoot it f sixteen. Okay, s o one hundred and shoot that one six of a second. All right, so how do you know if you're the camera setting that you're using? How do you know that that will eliminate the ambient light? What's a clue for you for that, right? Because there's a lot of people out there they go. Well, how do you how do you know you're getting rid of the ambient light? What what's setting should I put my camera? Uh, well, like pretty much. I know if I'm going to get a small aperture setting that I cut out the light. And if I'm not getting all the light I'm goingto bump up my shutter speed a little bit to get it but I'm looking mason to fight and turn into a black box there it is yeah yeah so you take a picture and if your camera screen is completely black uh then you know you got rid of the ambient light and so you try to go to the lowest f stop uh that will do that then you need less flash power but we're just gonna go crazy with flash and just power it with full in the back and see what we come up with to have fun all right? So ok, so who's your actually let's get things set up then I'm gonna put this here jumping from us full power on this side oh, wait let me see if everything's turned on can you get the test button on um the camera do you have that? Okay, we're good that would go up to yes. All right, here you go. All right. We'll put that one here and we'll put this one over here will generally with when? Where and when is it the same height? Does it need to be a movement war just down the hair about right, right, okay, I'm going to push that light in the middle is it in the middle does this pointing right that you basically yes ok uh I might come up a little bit more than you think turn it towards you my deck alright alright moving this way all right perfect okay um then we have our athletes yes the doctor okay you're doing us a favor then ok so let me put on a wide unitarians for you how's that without turning the camera off because we're at eighty five millimeters that's gonna you're gonna have to go way way back tio get her in eighty five millimeters that's for sure okay and let me change this for you so what I also setting you got one hundred one hundred s o okay f stop at sixteen sixteen and we'll go given that one twenty five thirteen your for your front let your magical card would be full power uh right so if we try to get in maybe uh three feet that's a six feet two maybe three feet would take a tech quarter power okay so put it as a core quarter power you know what I didn't have I didn't think it was like setting right okay great so um can I have somebody help him out holding a flash three feet in front of her thanks that she jumps great and find another flash and we're gonna put that at quarter power it's tested everything that's steve it's cool but make sure yes all right good hit the test button it seems like everything went off okay, so I guess right about here yes she's jumping up you know how to do this not would love you so yes, I need to take the live you off because then you can't see a darn thing live you I'm turning it off ok, so now you should just see everything okay, okay, you can shoot her like this you know it's got the nineteen thirty five on there so just back focus here no, I don't use back okay? Just pre focus on her and when she jumps because you're an f sixteen that's another thing if you're at high f stop you're getting more depth of field focusing so when we do something like that I just generally focus on her in a half way and I just hold it there when she jumps even though she's going to be way up here she'll still be in focus that f sixteen so I don't really worry about especially if you're shooting at a wide angle lens all right, so let's go for it both you're just going to jump around the house. What do you do spinning that we're gonna d'oh d'oh anyone not just gonna be looking out there? Yeah, yeah, you jump jump way reddy leads to that yeah, all right one she's going one to the o z sort of the suit how it happens I think we got half of her body oh that's pretty good yeah that's good right when we come away now let's do something crazy that's one twenty fifth of a second we got her razor sharp everything let's pull it down to one sixth of a second just for the heck of it and see hopefully we'll still be dark but just we'll see that hopefully that's not letting in too much ambient light but we're going to do for the heck of it and see what happens one two three it's still sharp we'll see yeah still pretty darn sharp even though there's still a lot of ambient light but very good can you do it one more time and look more into the light oh yeah now he's getting really one, two three can I do what? Just what a way to turn the house lights down at all is that you would want cliff we're still getting it was like a second razor sharp now I mean, if you did turn it down then it would look more like that picture but I mean it's all the concepts and all the things that were kind of kicking and I do I don't do kick are you going to surprise me what we're doing? I don't know I'm just gonna be looking this wait that's question maria work with two people jumping at the same time I think what I want you to jump on and let's see it come on you said it you want it you gotta do it let's go like this all right so should we both be facing because like sometimes I might have two kids that I tried this technique on and yeah so to get both of them well what we'll do is maybe put the light more front okay it's a little kind out of stop and we'll put the more light in front to cover you how's that okay we're going to fit in the frame yes this is why you guys now ready okay just focus on one holding okay hold one too hey you know what can I try this one heck of it lets you or you want to try let's try so whenever you want people really I like that what you do is you go in a lower angle you're trying down here like that way yeah, they're ready one two three I like that one what? Six of a second folks there you go that's how you make somebody jump real high just go really low if you haven't killed spirit that would help all right? You don't ask any questions yeah, absolutely actually a quick one um skeptical that come on now um jam gant are all three flashes firing on second curtain when you longer? Yeah, yeah, yeah. Perfect on dh cliff let's ask again, how was that is great. I'm ready to do this shot come july at my convention. Well, what I love is that throughout this whole workshop, you've been talking to me and saying, like you're feeling like things were coming together because you know you again, you first purchase credits to the light and I was one of your first ones here. So how did this feel as far as what were the challenges that you still kind of felt? Or did it feel like there were any jobs is you feel like it just kind of well, they want a critique today was great because it made me look it my pictures and look att, you know, lighting and seeing what other people maybe are making mistakes and learn from it, but also, I think just being around this three days with scott, seeing the light set ups and now understanding looking at, you know, short, light, and because a lot of times, you know, you know, put light on somebody, but it doesn't look dramatic, and so I learned a lot from that.