Strategies for Shooting in Difficult Situations


Strategies for Shooting in Difficult Situations


Lesson Info

Brides Reflection in the Mirror Scenario

So now let's step into a slightly different scenario same room this is the same room the window over here where the dress was is hanging is where I was sitting to shoot the picture of the ring that we just looked at we've moved on through the day we've had the dress hanging in it that's my friend tim a videographer he's kind of cool we shot the dress hanging in that window is really pretty then it was time for the bride to put her veil on and get ready so if you look at where tim the videographer is standing right there take the dress out of the window put a bright in it and put the bride in tim's location facing the window keep an eye on this mirror right here you have this the bride is directly facing into that window I'm shooting right next to that mirror so that I get the bride and I get her reflection in the mirror well how did you do that? Eighty five millimeter now I'm telling my auto eso at eighty five millimeters uncomfortable shooting at one hundred sixty eighth of a second a...

nything slower than a hundred sixtieth of a second at eighty five I might start to see blur as my client start moving around I'm not going to shake the camera at one hundred twenty fifth of a second but if a client start kind of booking it through a scene they might be a little bit fuzzy f one eight I broke my own only shoot it at one for rule I s o five sixty because my camera's adjusting the so for me aperture priority haha haha exposure compensation minus two now yes, you can shoot this manually and dialling your settings exactly where you want there's nothing wrong with that and I don't shoot aperture priority because I don't know how to shoot manual ay dio to me what the way my brain works and I see a scene like this is okay my camera meter is going to look at this it's going to see all of this darkness here and it doesn't like it to be that dark. It doesn't want me to have a history ram where the blacks go way up on one and it wanted to go really dooly dooly do like a little bell curve, but that's not the way I use light I use bright, bright light and dark dark shadow my history ram often look like you instead instead of a bell curve simply because of how I used the light. So what it's going to do is it's going to say, ok, I've got to make this back here not that dark, so if you trust your camera meter it's going to bring all of this up to a proper exposure then what's gonna happen to your bride's face it's going to be two stops blown out so basically what I'm telling my camera is, listen, take what you think is the right exposure and bring it down to stops, then I've got what I want that's just how my own brain gets there maybe you take a meter reading off of her cheek and exposed that way, maybe you dial in the exact correct settings on manual, maybe you walk up and pop a light meter in front of her cheek and go that way. There's twenty different ways to get to this picture this is just how I do it eighty five millimeter one hundred sixty eighth of a second one eight I s o five sixty because my own tobias was working for me aperture priority because I'm working with natural light exposure compensation dialed down minus two to combat that really bright light, I now have a correct exposure on her face and because I've exposed correctly for her face, the background darkens down right in tandem with it sort of makes sense you're nodding, nobody's, falling asleep for left, yet so should be doing pretty good same room, same scenario, how the bride is facing the light here here's my window right here her dad came in to see her for the first time talking to her dad, talking to her mom, and they're just talking like I didn't step in and interrupt a moment or anything like that. I just sort of gently scooted mom in over here. She'd been talking to her dad, and her mom was standing like on this other side, and I was like, hey, do you mind just going around on to the other side? The light from the window is coming through, bypassing the bride and it's illuminating dad stayed and it's also putting really beautiful light on mom's face. The bride's face is dark for me, that's. Fine, because to me, the story here is about her dad and about her mom. Not so much about her.

Class Description

Wedding photographers can’t wait for perfect conditions before they work – when the clock is ticking and people are waiting you have to shoot, even in less-than-ideal locations.

In Strategies for Shooting in Difficult Situations, Susan Stripling will show you how to troubleshoot common calamities like; a wedding party getting ready in a room with no light or family portraits slated to be shot in a terrible location. You’ll see how Susan has handled difficult shoots and crazy lighting challenges and get insights and inspiration for overcoming your own difficult situations.