Shoot: Outdoor- Manual and TTL
Kind of what we did before, but I want to just do one more now that I got my life's working macy, I want you to come forward. This is a shot we do and I'd already did a little bit but I want to do it again and explain it a little bit better I want you over here what you turn this way a little bit perfect I don't want to put a hole through this through this roof, sime gently putting down the easy stand so let's just say I love my t t l here it's working I'm happy love it just like we were doing, but I'm having problems over here for one reason may be it's not reading the signal. Maybe my batteries are dying. I don't understand an easy way to mix tt all manual in the same actual group is I can come over to my camera and I can actually turn this flash by holding down the mode button for three seconds into manual on lee. So now this flashes tt l this flashes manual, they're gonna fire in the same group. The only problem is I can't control the power of this flash anymore from my master flas...
h, just like a regular flash, like the vivid tarin son pax, I have to manually control this power so I would come over I would adjust the power and even on the new six hundred it's going to say individual slave when that happens so I would adjust my power or move my subject my flash back and forth to get the light that I want and it works really really well so if you're batters are dying you don't know what to do you don't have any more batteries this is a great way actually back up a little bit this is a great way of mixing tl and manual in the same situation and you'll get the good exposure on both did it go off I can't I can't say if it went off or not okay come forward come forward there you go make sure it's angled right perfect and I do this a lot with the tt on and they start see it but I'm too dark so I'm going under I'm gonna raise my exposure toe one stop under instead of two and now you can start seeing him once you look off that way perfect macy I give me tough look perfect love it now just to let you know this is what even exposure looks like that's what the camera thanks his proper exposure so it's picking up her and throwing away him because she is more important and she's out front so I'm gonna go back under maybe tear my flash on and get exactly completely different look just buy under exposing and then over exposing my flash as a general rule there is no exact science this guys and I actually fumbled around because I'm trying to explain stuff there's no exact science what you need to look at you either in bright bright sunlight your exposure compensation and your flash compensation are gonna be farther apart and low lights sunrise sunset inside where you're were for background and your foreground we're very close your exposure compensation and your flash compensation are going to be a lot closer so in this situation in the extreme light exposure is going to be way down I'm I'm a stopping a third two stops under my flash compensations gonna be way up I'm three stops up almost I met the max of these little guys can go as the clouds come over the sun those we get closer and closer until the summer go down and they would be even so there's no exact science on how to actually set these lights up it's set for that kind of general roula phone so in this situation we're using tl we're using manual all in the same situation I can adjust the power from him if I need to I can also adjust other aspects come come up here I want you to do the classic look I want you come here and turn around this way I want you to kind of hold on look and this is what I do when I'm not when I'm when we're actually doing a session, I come up and I said, watch out back if I'm gonna want a session, I want a position she didn't know what I'm talking about, I will little come over and say, look, I want you to love on him, I want you to put your hand right here and he's dying, laughing and that's what you want when you're set doing a session because by him laughing, it breaks the ice, it gets that I'm scared to be in front of the camera. It also has affected because she knows exactly what I wanted to do now, so I wanted to come up and kind of just do one of these right here put a hand here, you want to do it again because you were laughing like that? So it's, very easy for me to explain that it breaks the ice and then I confined to know I want to turn a little bit this way, you're fine right where you are, I posed them already have my exposure compensation set where I want now they're in the new pose, I see the sunlight and then I just moved my lights where I want it, I love that look down a love that that looks great I think the more you can embarrass yourself and play the part of a goof ball and have fun with it, the better it works for your clients because they realize they're nervous they're not used to be in front of camera I know what I had to do my engagement session I'm a photographer and I did my engagement session at pink hole out of san francisco did it and I love the guy to death but I was nervous I didn't like being in front of the camera so it's a good it's a good thing to be in front of the camera every once in a while to realize what your clients go through look down too bright because I didn't adjust my flash count but my background is exactly where it needs to be still too bright look down don't even look at me sweetie wait there we go I love the bright rim light coming from that light I like the lighter main light on her face and it gives me so if you're having a hard time getting the lighting her eyes like we talked about have a look down don't even have her look at the camera complete takes it away if you're in bright light like he brought up his sunglasses put telling to put on the sunglasses it's in the sun is your full sun it's gonna look great in the images then you don't have to worry about the raccoon eyes under their eyes. It's fashionable. Don't be scared to do this. So for me, I could have got her eyes on that shot. But I like the look down it's. The more romantic takes his eyes away. The image is all about her. I mean it's the classic post everybody does it. But my point is, I do this pose in these horrible lighting conditions because this shot and several other ones are extremely easy to create and not have to worry about perfect lighting pattern. No, sure. So this to me this day is probably the most nightmarish lighting for me. What I experienced because tell the shock but because been running the whole time I came up here and I could not believe right, and specifically we have bright sunlight and then we get this a lot in seattle. Bright sunlight. But we also have these extremely thick clouds dark, thick clouds that keep continuously moving into the sun and blocking that light every five minutes. Can you offer any advice to those of a shooting under those that's what a v is made foreign tt l I'm telling you that is avian tl world right there if you understand it, because, as I said earlier, the clouds are coming over, the clouds are going away. We're on this. This is like a giant diffuser to begin with. So everything's bouncing up it's, queenie it's hard to understand. Hard to see but what a v does once you happy with your background it's going to stay there and if the cloud comes over, the cloud goes away it's gonna automatically adjust your shutter speed to keep up with it so you won't have to think about anything great. And those changes situations where if you're in manual mode, you're constantly adjusting stuff left and right up and down back and forth and I can't even see my viewfinder right now. Yeah, and so it's very, very difficult for me to look in there so I would need, you know, some kind of some kind of loop, like a goodman or something to be able to see that again, that takes away a lot more time for me to adjust. And so it's just much easier to do a v t t l shoot let a just and a it took me a while. I'm not gonna lie. It would take me longer now to get going than it normally would it took me longer here than it normally would take me in real life because I was trying to show the steps but this was not easy, I mean, just dialing and it was very difficult I couldn't see anything normally, I'd have a loop and I could look and I would be able to see it, but I mean, this is like shooting film at first it's a little better now, but when we first got out here, I was like, this is yeah, yeah, this is like old school day, this is how we challenge are installing a phone with a little bit there's, no question, but I mean, I hi, doll it and of course, we got a lot of stuff I'm not worried about what the photos look like. I'm more worried about the bagram exposure in the foreground exposure not really the composition in this class? Yeah, great. Thank you. Absolutely. All right, one more and we're gonna get going. So let me kind of review I have radio popper on this doing tl and and what radio transmission? I have this light and optical in manual mode, so I have about as extreme as you can get and aspect the optical is the farthest one away and it's still allow me to shoot and pick up the sensor, so I don't want you to think that you cannot go twenty thirty, even forty feet with these optical flashes because you can sew well yes I feel that you should if you're going to get into flashes you need a radio transmission device like radio popper it's not a needed necessity because you can actually reach very very far now with that said you can also do other flash because we don't have up here but I want to explain we can mix and match other flashes with the manual aspects of it or do what I was doing earlier we'll put it over here sorry with the radio popper junior the thing I like about this sorry they mean to flushing yes the thing I like about this is the radio of war but now I lose because it will not do any optical I had a question like that last night and so I wanted to cover it before I forgot in order for a junior to trigger another flash it's gotta have some sort of other radio popper on it in the radio popper family you can not do optical once you lose some sort of flash or the s t three or two which is a flash is just a uv light so we can't see it you cannot do you can't use the radio poppers anymore so remember if you're going to use tl you have to either use a control t l like the pocket wizard system the new pocket was her system or true teo tl through your cannon flash through the nikon flash with the radio popper system which will transmit the signal or you could just do the optical which is to me the greatest advantage of this set up is exactly what I'm doing now I have one radio poppers set that I purchased I don't have enough money for another one and I could still do the optical it's the only system out there that allows you to do that without having to mix and match without having to learn a new product without having to learn a new learning curve because if this went bad or that went bad I literally was just take this one off and go back to optical and everything that we've learned over the last day and a half won't change it will all be the exact same I'm just taking shots show that they're gonna go off so they all still fire now what I want to show finally is probably one of the biggest drawbacks that you're going to come in contact with with tt l I'm gonna put this flashback in t t l you can go sit down I'm going to use her don't you just stand right here you're fun so let's say we're doing a dance let's say you're at the wedding and there's a light behind her your life and you have it in t tl and this one's in t t l and I'm gonna shoot and I'm gonna raises up the plus three I'm actually looking like a fool because it worked detail work better than it should have generally speaking t t l would never this just shows you how accurate tt ellis t t l would usually not go off if I'm giving that flash directly into my camera and it is so that's actually great because the problem is what happens when this tt l doesn't meet oring it sends that pre flash of one thirty second back to my camera well, this is sending it directly through my limbs so bright that it shuts down all my other flashes. So while I tried to show you the failure, the tt l's not even failing on me, so generally speaking, if you have a flash directly behind your client like this, you're gonna need to do what I just did a while ago and turned this flashing the manual mode and you won't have that problem. I've also experienced this when I photographed on old sixty six mustang I was getting reflection of the flash coming off the chrome bumper back through the mai lin's calls in all my flashes to shut down so I changed the angle just like bounced lighting we talked about and it worked fine or I could go to the manual mode and we'd be in good shape I can't see anything, so I apologize creative live it's so bright I don't have my glasses on all right, so with that said I'm gonna put a radio popper back on over here actually, I want to use this is main switch it up a little bit show that you can yeah, I almost wish there wasn't as much sun today because this is bright manz made texas or dubai give me uh turn away from the camera then look turn away and look just your classic put your weight and a perfect simple simple nothing fancy turn your body a little more towards me you're the nice esseker perfect weight on the back legs nose towards this light part but look at me perfect look right here. Perfect actually look off kind of that way like that love perfect a little too much light so I'm actually like the back light so I'm just gonna move this back not too much more perfect. So I want you to see I meet it on the same thing about moving the light from here tio here I lost almost all light so that little bit of movement completely kills your life that's how fine tune it is but I like my back light so then I was just going to adjust the distance a subject for this light to get the light exactly where I wanted it so the reason why I put the radio popper on this one is because this is an optical would not work so I put the radio popper on this one. And then use this upfront where optical would work.