Photo & Video > Wedding > Strategies For Shooting In Difficult Situations > Creating Different Lighting Scenarios In A Space

Creating Different Lighting Scenarios in a Space

 

Strategies for Shooting in Difficult Situations

 

Lesson Info

Creating Different Lighting Scenarios in a Space

Take a look at these two rooms it's living rooms it's a living room it's anybody's living room it's it's nothing fancy nothing playing it is just a nice homey wonderful living room two couches over here those are the same two couches over there that's sandra texting on the job the bride wasn't there yet it's okay, now look at that red chair over there look at where the red chair is in relation to the window I took the red chair I grabbed a silver tray silver tray sit right over here and took a picture of the flower girl shoes why does it look like this? It looks like this because the light is coming in at an angle and once I've exposed correctly exposure comp minus one point three that red chair becomes a black background there's no light on the chair the light is on the subject take out the tray take out the shoes, poppins and flowers okay, I did those things then the bride arrived and wanted to give her flower girl a gift and she said, hey, I want to give my flower girl a gift where ...

should I sit and I said, oh, just sit right there this is the sofa that has the window at her back what's happening here the little girls it's here the light comes through illuminates the bride's hair lights up the little girl f two too, so the focus is mostly on her, but the bride is also still largely and focused because she's still on the same focal plane ish exposure compensation on lee down about a stop but it was deliberate having little girl sit there was deliberate. Sometimes these things happen and you can't pick where they're going to be, but if they ask you, hey, where should I sit or if they're like, hey, I want to give my flower girl a gift you could be like, great, just have a seat right here because you know what you're looking for st house the room right next to it had these butte double windows and a nice piano, so I started off with the shoes right there on the panel you see right there the curved lid of the piano shoes put the shoes on the curb lid of the piano. It is not any sort of magic it's just me crawling around on the furniture. Eighty five millimeters f one for exposure compensation minus three because of all of that darkness, same room, totally different lighting scenario. She wanted me to shoot the invitation. I put them on the exact same silver tray that the little girl's shoes were sitting on put it close to the window flat on the ground, nice flat light I'm not looking for anything crazy here I just want it to be even so I've already showed you that by putting the rate the shoes on the piano, I get directional light now I just put this stuff directly on the floor and it's flat because of the angle of light sort of hard to see the ex if data, but the important takeaway is it's a f seven one so that everything's in focus because again invitation's kind of important then I turned around dresses in the window they're the settings so you can see I'm working through these rooms with different lighting scenarios and what's making them different life different lighting scenarios is because I'm coming at them from different angles so the dress is aaron those windows the bride goes to get ready I have her directly face into the window like that exposure compensation at negative one point seven brides faces perfectly exposed the rest of the room darkens down. In contrast, I go from there to there by just changing the linens and not moving at all same lighting pattern she's in the same spot there you go same lighting pattern brides still in the same spot remember that room with the red chair that we shot the little girl she was on? I went in there and shot through the door going back and forth with the same lenses seeing the scene in color and seeing the scene in black and white feels different, doesn't it? And for a finale I went back to the space where the bride is getting ready you see where she's standing right there I just had her sit down on the ground instead of shooting with the light at my side the way I am here, the lights coming directly onto her face but I'm in a side angle I stood with the light to my back so I'm literally standing with my back against those windows up on a little step stool or a chair or a piano bench thing was actually on the piano bench eighty five one four at one four so you see that in a quick crazy forty five minutes max I was able to use two rooms to make a variety of different images that looked like they could have been shot in a variety of different places it's about learning your gear it's about being able to assess the light from different angles sometimes it's about standing on the hood of your rental car you got to do what you got to dio I am in a high school parking lot the sun kept popping in and out of the clouds and in and out of the clouds and I was trying to find somewhere that I could go to take this great image of the bride and groom like I just saw this picture of them walking through this field. I was in wisconsin, it was amazing, and I found a path. I found a field and the light was coming from the right angle, and it was peeking into peeking out, but I couldn't get myself at the right angle, and so I climbed up on the roof of the rental car for that for the first time, I've got my twenty four to one twenty millimeter at play. I like that, linds, I don't use it a ton, I use it enough that it's sort of paid for itself, sort of worth it, but it was a good, versatile islands for this situation, but sometimes you get all of those things together, the light that ground, the composition, the subject, the gear. But your angle is just kind of off, so get down or get up or go to the side or move around, you can keep going.

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.