Shoot: Three Light Setup
Let's get our night cons out ok let's get our, uh pocket was your job and let's do some three light set ups? How many? Great. Okay, so what we'll do here is bring okay, so what to do here is I'm gonna get rid of this flash this this camera and you take this for me, okay? He's put it on the table over there yeah, and what we're going to do here is we're going to build our own light I want to use the ambient light here and try to get that in there we're going to start building this light try to make it nice and wonderful it's going to take us a little while because we have to actually set everything up from scratch this is usually in the studio and be like we're going to take a break and after the break we're going to show you love so right now we're doing is I'm just gonna walk over there and walk through this cycle so you guys gonna follow me? Yes borrow jen get her into some warm clothes are gonna be good. Okay, so let me talk to you and show you what I'm doing here we're going to sho...
ot with the nikon d three yes, we're not gonna be shooting with the nikon we're going to use a pocket wizard many inflect system and these guys are made for nikon you know what? I didn't even check to make sure the zahra programs, right? So I might not a program he's, right? And we only have two flexes. Okay, so we'll do two lights and save three it's fine. Okay, so what this is this is a mini misses a pocket wizard transmitter that uses radio signals, and so we'll have to make sure it's all good on top of that is this thing it's called on a c three allows me to remotely control my flashes. I can turn them up or down using these little dials on the side and it's so nice because you don't worry about the position of the flash and making sure it can see, you know that kind of stuff. We'll be using that, um and I'll show you another thing. I'm just gonna come over the uniqlo um on the front here on this zone controllers what this is there are switches and dials, so this switch here allows me to be and auto mode that's what the a is I could be in manual mode, which means I can control everything in manual mode. And if I'm on the white side of this dial that's a that's full power all the way down to one hundred twenty eighth power and zero is three stops down from full power and in a is just full tl so aiken turn flashes on and off and I can control them was this thing is pretty cool and so what we're gonna do over here is we have uh what we call some flexes so here's a flex right here this is a radio and it allows me to control this flash remotely and so this is a little bit different so when we're controlling our flashes from pocket wizard you just turn it on you don't set it to remote you don't set it to anything here is turn it on in full tl mode and then the flex is going to control all the functionality of this flash so I will turn on my flex make sure it's on I think the battery's yeah we have batteries in their duracell batteries so they might be turn that on make sure it's all good this is going to give me a pop of light making sure everything's going I can hit test to make sure it's working it is this is pretty cool it's a gentleman and get this one as well so I'm turning this one on again now that there's a sequence of turning things on with these guys first it's the flash making sure it's in the right mode which is just normal t t l mode which it is just gtl nothing else and then I turn on my flex once that's on its all good to go this is an antenna I'll put that up on the other thing I'm going to do is, um I want one of these in a soft box you have soft bucks yeah. So I wanna put one of these on there's two different zones this instantly on his own a list is gonna be on his own be so we can control these independent of each other really fun it's going to get a soft locks here so we can actually shoot some of this stuff in low light great. Okay, lock that on there. Ok? Now the other thing is, kelso, you might need to help me out here. I'm gonna have tio mount this on it takes a couple seconds, got it then I'm gonna put this on here this way. Okay, now we have these rigged up the cool thing is, um now we can move this anyway, we want you to worry about this sensor being able to see the light you can go anywhere we want the radio is going to fire that tow worry about, um all right, you don't have a junior a look at that, all right, so the first thing we want to do is test everything, make sure it works and so we're gonna go over here toward again toward the edge so keep working with some of that ambient light sort of gorgeous now that sun is starting to go down looks great so let's have you right here actually right here we're starting with son let's bring that soft box over yeah okay so we've got this nice back light back there they're going to start working with so first I'm gonna uh balance my ambient light someone do that I'm gonna shoot that aperture priority modi was shooted around a five point six so I'm going to take a shot with no flash that flash on it is often turn off mine yeah so no flash can take a shot good now this shot we don't have thank you so we can see that and we're gonna show you these tomorrow as well so you see we have a nice background starting to turn or interest is really what we want but our uh morgan here model she's under exposed me to add some light so I turn on my many so I can now fire that flash let's make sure that it's actually up and running from heading test we're getting that no fire make sure that's on that's firing make sure this is firing that would fire when fired this were not fired no fiery ok that might be a radio that's let's just use this woman yet yeah what is this one on here and c one and c one and c one oh, there it goes. Trying fire from years. No, no, this one. Okay, let's, use that one saw fox. Yeah. So the issue here is because I didn't plan on this, uh, to set these channels and thing I have to configure those in a computer. And I think I did a damn about a week ago and I change the configuration. I forgot to change it back. So that's, my problem, but the sun is going down. We don't waste any time. So let me tell you what I've done. I have my camera on manual mode. I have my shutter speed set at two hundred of a second, so I'm not using high speed sync and I want to waste any of this precious flash our I have my aperture set to two point eight because we're really now have much less light by I s o is at two hundred and so what? I'm going to first no flash turning off my flash and I'm going to just shoot jin with the sun set behind her gonna get a couple of these shots. Okay, now we have niko here, he's going to show with no sunset with ah beautiful, beautiful sunset right there can you see that, nico okay, I'm going to turn on my flash and time is of the essence when we do this my flash is set to normal tl mode no exposure no flash exposure compensation will let the ninja of the pre flash try to figure out all the settings here so we're gonna get this shot here general great up uh yeah that did not fire gonna look for more time might to back up just a hair good good good awesome thank you uh look at this look at this we have this beautiful sunset the sunset is giving us a beautiful room light on this coat and our flash is giving us a proper film it's like that so I don't play with this just little bit more I would add a little bit more flash you're using my flash explosion compensation going to play a little bit with this background um we only have a couple minutes to make this work so I'm gonna have to go fast this is something that you shouldn't try your first time out with a paying client codes good yeah things going goat come to get his son and I've seen some not in the scene so I conduce himself I'm getting too close and good looking that beautiful beautiful beautiful love it love it good and keep just moving here getsem vertical shots here we go spectacular you think oh yeah you have to turn on my vertical bit for it to which no fire no ok I think I'm taking my batteries now into their max we have extra batteries yes let's get the next batter okay no fire I think I have killed on my batteries um that's one of those things we don't have an external battery pack for the nikon so shooting that fast I think when all the shooting tonight we have killed or batteries let's do that really quickly this is the fun of speed lights too you get all that sort of drama er fun I can ask you a quick question let's ask a quick question all right j lee photo would like to notice detail work with a pocket wizard plus two in the hot shoe were only what the canon transmitter t t l doesn't work with the pocket was plus two it all tl works with the uh pocket wizard many in flex on lee so it only works if the many in flex so if a plus two r plus three you have to dio manual triggering only ok let's just make sure that we have some juice here since their batteries don't no fire no flash let's just make sure we have battery power yes sir well yeah finally okay beautiful beautiful love it we're shooting away and we're really this is when there's a couple things here that we're seeing some issues with um and that's the ninja of the of the flash years having some issues when I change my um my orientation and so uh this is one of those times that this would be good to shoot in full manual mode because as I'm adding the sun and taking this in a way it's confusing how much flash it needs toe have and so um let me just shoot this with no sun and then we'll shoot this with son in the shot and the sun in the shot we get a lot less flash and so I don't know nico if you can see this or not do that okay two beautiful so again we're also having issues from shot to shot from this shot to this shot the flashes having so much power an external battery pack would really really been official mistreat a couple more you can get the cannon one point two and an external flash also having someone that knows what they're doing on hand to help out really really helped out okay began this flashes really doing a good job and I love that and our light is changing so drastically I need to take my shutter speed down quite a bit do that love it? Uh yeah that's terrific even take it down a little bit farther good, good I love it and take my flash exposure compensation up we're going to show you all these the shots tomorrow as we go through and for you guys that are watching the shots later you get the benefit of editing she's really cool so now we're going to do is we're going to shoot tethered with this guy and during a modifier on your flesh now we're going to shoot it with no modifiers but what I would like to dio show you another technique here so john can you hold this for second good? Another technique we have here is this this flash we have we have the sunset picture and so like they were going to even get the sense that picture of the cannon this flashes is firing a light this way and if you notice our model is this way she's tall she's no wide right? I like tall not wide so what we want to do here is take this flash and we're going to switch it so that we take the orientation from horizontal to vertical I like to do this again we have this problem with this being pointed down so we're going to try to see if we can bounce that in there so we'll have john doing this to try to see if we can get that right there, okay? And I'm going to zoom this manually to about fifty millimeters let's try some shots okay this one I'm going to really push this I'm going to shoot at one point two shoot at one point to hear and see what my ambient light is that's really gonna be over exposed we're gonna go for it and you can see that is way over exposed which is sort of like you know what we're gonna do is we're going to try our high speed sync here we're going to take our s o down a little bit don't take this guy uh I love that and we need to under expose that background so I'm gonna let high speed sync doing magic this a little bit here we're doing that a little bit more out of this ok so why is this working when it didn't before we don't have a flash modifier the light is a much less you know after overpower so much brightness we don't have like flying off of the uh the water here but really getting some really nice stuff you're not going to shoot this in raw because I want to do some adjustments to this in post production so I can show you later some of the tweets that I make I'm gonna back up just a little bit over here love that let's have a generous and you lose this way just a little bit kelsey can you move that chair for me? Yes and trying to make sure the flashes pointed at her you're good you're good ok showing too much we're getting unflattering light from our flash you see it looks sort of like a flashlight let's grab uh ace umbrella and it really has the light just getting lower and lower we need less and less from our flash we can do a lot more with it I'm gonna shoot you stick up more here this just beautiful and I just love it yeah, so for that we're not just this back you could see that some of this stuff you really have to do it quickly you could be high stress that's your season through one of the things that I find interesting a lot of wedding photographers and uh, shooters they're doing this kind of stuff almost all have at least a friend to help out and now you know why? Because you need a friend health out it's really, really difficult to do this on your own ok, well let's see let's see if it fires at all this lens is one of those guys that it has an issue look at that so by adding that modifier look how he softened the light it's really, really terrific we're going to do that one more time we're getting some, uh getting a little lens flare here. Here we go. All right. Yeah, I love that you want to increase our shutter speed just a bit, see if high speed seeing doesn't steal away too much of our flash it doesn't that's gorgeous I like that really works okay I like the shot that we got earlier with our nikon I think that's the winning shot we had the best results from that set up and I think that we have what we need but what I want to do is see if we have more questions um one of the questions that somebody asked and I want to answer right now and that is can you use the ambient light as the key and the strobe for the phil we can so let's have you turn around this way, okay and just, uh come a bit more toward me come over here. Okay, kelsey just put this over here here's the joy of the one point two lens you guys stand right there. We have camera operators have cannon susan have a house uh everything is behind us. Okay? I have a one point two lens which means the boca is going to be vocalise she's all right. And look what we got. Our key light came from our sun right behind us are phil light came from this light over here and that philip is a little bit punchy. So let's take that kelsey let's move it so it's a little bit back a little bit more directional to the back of her head where we go and move to the side just a bit more there you go good want to back up just a little bit we have susan and kind of the whole crew back there and you can't even see the crew in the background you see our we've switched that up you can definitely do that and so yeah, I like doing that a lot everything with using the the ah flashes a kicker light you know, after use modifiers as much to get more light out of them we have mark some questions about gels s o o one question is from a j wood would you recommend a cto on the flash for sunset photos of the model yes um I would because as the sun is going down it's getting more and more orange and we want to have our model to match that a little bit that's where you can sort of uh uh play around with quarter half full cto gels um I didn't put ours in the bag so we know what we're getting so yeah, I know impotent bags I didn't match the right one so we're good. All right, so, um another question. Oh, thank you. Kind of another question from delia oh um if you did not have the sunset to illuminate the background how would you increase ambient for example of trees were in the background instead of like if trees were in the back and instead of light so it depends on what how the light is coming in if the lights behind the trees, you're going to have a really difficult time doing that and you might not be able to do that if the song was hitting the trees and you're in shadow um then you've got sort of open shade and you can do the same exact thing slow down the shutter speed increase the ice so it's going toe raise everything you're gonna get more ambient light and so it really depends on where the light is falling but like right now what we're gonna do is we're gonna try this, okay? We're going to shoot this way the sun is over here there's no sun there so john kelsey kelsey let's bring that flash this side I want to see if we can raise the ambient light where the sun is not behind us. Simon so I'm gonna shut off the flash for now. Yeah, so son is gun sorry son. Ok? And I'm going to shoot just a picture that is exposed normally they have no flash. Okay that's pretty beautiful. Thank you. One point two lens. Okay. And then what I want to do is I'm going under expose that picture just a little bit, okay, but increasing my shutter speed so my background is under expose a little bit so what we can do here let's have this on should be on this side, but we'll leave it on this side for now and just turning down on, uh, okay, we'll see if this will fire if you can see it. You might have to. I'm not sure you can do that with this. Here it goes, it fires. Okay, so what we have is that same exact situation that you just talked about, where you have a background that's not illuminated by the sun. How do we increase that background? Well, I have to do is right now you can see that the backgrounds underexposed slow down my shutter speed, so I'm going to slow it down to forty eighth of a second, leading my flash with same place, and you can see I just drastically increased that background exposure so it works the same way. Take your shutter, slow it down to get more light, speed it up less like that impacts the ambient light, not the flash. You can control them independent of each other.