Shoot: Full Light and Three Light
All right we're gonna do all a lot of side again because again I want to show you don't need any radio poppers if you don't want to and I'm just your pretty you look so move over a little bit this way I'm gonna get you the center the backdrop alright so I want to just show I'm actually gonna turn this laugh right now all know that I just let's do it I'm sorry I think it's fine okay I'm gonna be even exposure for the most part I'm going to raise my eyes are really really high in here because I want to kind of show if we're outside in a sense there we go I'm trying to get even exposure on him which is this is it normally would never shoot this way but I just want to kind of show you what even exposure is for him it's a little brides all right it's a little bright but that's even exposure what the camera thanks is even exposure you got the sun coming in like crazy is what I want to show you with me so now I'm gonna do that that's even exposure so now I can and I told you how nightgown for...
cannon once you activate the shutter speed up stop t ell all I do is turn this dial in the back counter clockwise a lot of people don't know this in a v mode you just turn this dial and it'll it'll go down. So I'm actually I was actually not a navy mode. This will be a me, but I'm so not used to shoot a navy mode inside, so I even messed up. So here is a v mode even exposure gonna look pretty much the same. Yep. I just want to show you the example so avie mode god, now I'm here and I turn the dial down. This is one stop underexposed, this is two stops underexposed. So as you notice, I'm removing the sun from these images. I like to stops because now this hair was blown out by the sun is nice it's a nice little light. So now I have that done. I don't touch my camera settings again. Now if you I don't know you, I don't think you can, but if you could put up the go back to the first one if you can guys and put up the you can see one fifty of the second four point five now just go to the next one one eightieth of a second four point five I saw the same go to the next one one two hundredth of a second. I'm not adjusting anything, but the exposure compensation of under exposing the a v is adjusting my shutter speed for me and I don't care again what that shutter speed says I never look at that number that's math I want to forget about it on ly care about how many stops of under exposed I am so I'm two stops under I like that he looks horrible I'm not worried about that I'm only looking at that bright light on the back now I would introduce my flash I turned my flash on t t l and I turned my flash off let's turn it on t t l if you want to you can start posing now but we're not we're not there yet I just wanted to look straight ahead perfect I'm going to be even exposure yet and I have this flash turned off so this is the only life that's going to expose pretty flat light because I need to probably move it over for you can see it more but you notice how the sun is not such a bright aspect anymore the sun is a beautiful little hairline and then this is all t t l now I'm gonna turn your face just this way a little bit for you they'll be able to see the difference a little more better in this image I got your blinking that's awesome it is seattle but my point is looking look at the light on his face now I'm gonna go back to the one twentieth of a second so what the camera thought was proper exposure it was a one twentieth I think it was when it wasn't one sixtieth what was the first was one forty sorry I just want to show the difference it was one fifty the first one that's good enough okay ah four point five alright say medical settings with the flash now everything is blown out and this is what I'm talking this is probably where you were messing your your stuff up, which is where I'm going so now everything is blown out the sun is overpowering it doesn't look good and here's the thing so now I do this first like it talked about so now we know that's way too much light so let me lower my flash compensation so I'm worried about my flash first and now here's the problem because now you're going to start scene let me low in the flash again I got you in seattle um the flash and exposes much but the sun's still too bright so now I'll say oh, well, let me adjust my exposure compensation so now I'm gonna under expos I forgot to take it over to manual will go to get out of to reproduce so now under exposing in the two stops but now when I do that it's actually not that bad but the problem is now my flash the sun looks great but I'm a flash is too dark so now I gotta raise my flashback up exactly nightmare that's why I always say background first happy the background that's your camera settings don't touch your camera settings again then adjust the foreground your flash that makes sense I think that's going to help you in your problem cool so now when you have that then course now you know where I'm at because I'm all messed up on my way I usually shoot then you can actually introduce multiple flashes which will do now so now but he used the sun is one room light this is one room light this is my main line makes sense so starting over and I'm gonna be a navy mode so I'm going to meet her him and then under exposed even exposure right now because I'm changing is right around one sixty of a second three point two two thousand so I'm going to drop down two stops which raises my shutter speed two six hundred forty three point too because I have high speed sync on take the shot so what's wrong here tell me what I need to do for the flashback okay cool what else anything else raise this one praises okay so how can we do that so I need to raise this one and I need a lower that one so how can I do pushing forward pushing back absolutely that's the easiest way to do it or actually let's switch these out or that's all in there other thing I like about using water slash I don't have to have a certain set master in a certain set wireless so many people do that a lot of people I know do that but my problem is if one breaks and I have to remember him relabel it is what it is they're all the same to me I don't I don't care and if you notice I'm using a six hundred five eighty two x five eighty it doesn't matter as long as you're all in that feels family you can do this wireless so now it looks like I haven't just did anything that just changed those two flashes that's too far I forgot I need to have a little more sidelining but but now just by putting that cone on and feathering the light it really takes it away that's why like this product in a tight room I can easily adjust just by putting that one little guy on there and it completely takes that away now I'm gonna take this shot and I'm gonna actually move it really really close after this I'm actually going to move this farther back so you can actually see how much effect that will do you concede a little bit of a mood it forward now this lot should be really, really weaker and now you're starting to see that that's a nice balance between the sun and the room light course you can see the shadow we don't care about that but that's a nice balance so then don't touch that one don't touch your camera exposure now I could just move this in and out to find to what I want from it now when you get good at this and you practice it this literally you take one shot you'll just it all and you be good it'll be the next shot you'll have it but I'm trying to go step by step by step you could do main I prefer to do main first because mane is what's gonna be shown in the image I did the reum first here cause I wanted to balance it out with the sun but if you're outside and you put a jail or anything on there if you have the golden light you could put a goal in jail you will not be able to tell the difference between the sun and artificial you will bounce it it will all look beautiful it all look the same or you can get creative and put a jail blue gel on one side and have a have the golden light on the other side whatever you want you can do that and then just use this light to find to where you want it to be placed and if you need another light? If you don't like the ratio, you could bring another windy and over here to the be the field and pull it forward or pull it back in this setting, you could put a gel in a flash on the floor, put it up only odds are endless to give him the whole globe aura. Yes, that's what I love about flash photography, the odds what you want to do are endless and once you understand exactly what we just did, how easy that is. I'm not thinking of any math. The only thing to do first take out the sun, which is the stage lights in this case gonna put these lights where I want if that's too bright, I'm in a tight corner, I'll put this on if I'm not in a tight corner, I didn't have to put this on, I could just pull it all the way back here and it would've given me the same basic thing. Now the problem with that is exactly what we did earlier when I pulled the main back and it spread the light too far. So now kind of in a position where I can't control the light as much, and I don't like that that's why I like this little guy. Because you saw it was really bright and I didn't move it up put it on it took almost half of it away if not mohr and then you could bring it in and it literally the same pattern as the sun. So all those shots I showed you in the studio with tough guy looks or whatever they have the strong room light this is exactly how I do it outside it's no different is just you have to meet her for that son first because you can't change that that's going to give you a dark background which is kind of cool and then you bring this in and then from there you can raise it lower you could get edgy you khun under exposing you raise up the exposure where it's not so edging have maura natural light look or anything in between that makes sense that's what I want because that's the one thing here and again you have some flash challenges when you get this course, you're gonna have some life flash challenges and it's like fifteen, fourteen, fifteen number challenges, but within each challenge is almost sixty different steps because I know by teaching this you're excited your gun hole, you're gonna go home and then hey, I gotta cook dinner or hey, my kid's sick or hey, my car broke down or hey, whatever life happens I want you to have those challenges so you could go back and start reviewing everything and it's a great continual a learning process so those those challenges really really helping a lot of you're going to think why am I taking a picture of the sun at two point eight and f sixteen? This is stupid but then you start seeing the difference of what it does and then it starts allowing you to realize what a minute I can do that in this photo that I took the other day I could have done this it opens up your mind and that's that's exciting because again gentlemen of mohr experience most the time you have a hard time getting past that one two hundredth of a second that one to fiftieth of a second because we didn't have this technology and you've already learned how to do photography and so teach an old dog new tricks is very difficult cause I still like you said you spot meter because that's what I learned on and so it's very difficult to learn and that's why I love teaching so much why I love being part of the peop e especially because imaging has such educated and experience photographers but they can't be too busy working to actually learn new tricks and so I love teaching people new tricks to make more money and to me this is this is one of the biggest this is the most powerful tool in your camera bag that no one ever uses. And once you understand how to use a flash, it revolutionizes everything about your business. Within two years of today, I guarantee you, you guys here and people online. We'll have a completely different style of work. You will still be with doing what you're doing today. But you're going to be blended in a whole another look. And to me, that is the most exciting thing in the world.
Join Mike Fulton for a comprehensive course on speedlight photography — including how to use this versatile flash system to increase efficiency and expand your creative ability.
In this course, you’ll master all of the many buttons and features of speedlights. You’ll learn about each of your flash’s settings: manual, TTL, direct, bounce, off-camera, and more. You’ll explore the relationship between your camera and your flash, so you can move away from shooting in auto mode and toward capturing more nuanced, dynamic images. You’ll troubleshoot common flash issues and gain confidence manipulating the light from your speedlights to get exactly the look you want in your photographs. Mike will also cover the lighting choices that take an image from being just nice to look at to being highly marketable.
This speedlight photography course is the definitive experience for anyone ready to become an expert user of this powerful, adaptable lighting system.