Strategies for Shooting in Difficult Situations


Strategies for Shooting in Difficult Situations


Lesson Info

Creating Dramatic Light Scenario

Finding some weird light straight up weird it's a weird room weird angles I love the light I don't love the room would brick different would different breck metal stuff lots of stuff so I had already asked the makeup artist when she was done doing everyone's hair and makeup did she mind just cleaning up a little bit so I wanted to use that window for a portrait of the bride choosing to make her a silhouette was not only what I wanted and what I thought the image merited artistically but it allowed me to negate a lot of the stuff in the image that I didn't like and I like this I like the composition I like it just fine but it's not enough for me because what is it missing it's missing that first what's missing a moment she's just kind of standing that I told her to hold it and look at it and she wass and you can tell she is and it doesn't the light is nice but it doesn't to me show the drama of that light in that scene so what do I d'oh I make a few changes same settings step back I ope...

ned up a little bit and I had her move I actually had her like aaron just start fluffing around with your veil and actually actually move with it because you can tell when something is fake versus when something is a natural movement I allowed in more of the edges around the frame because the darkness made the light more prominent again detail window distance from window ice bucket scoop like that same light, same principles, same setting principles I just couldn't find anything all that great to put the rings on or in. So I pulled these silver scoop out of the ice bucket, propped it up on a scarf so that it was at the right angle and there you go. And from there without really changing settings, I shot a vertical and then I grabbed a piece of ice and put the engagement ring on it nice and simple. If you do put an engagement ring or anything metal on ice that melts super fast it's just science. Look for the light remember me talking about that at the very beginning find the light first when you find the light first, everything else will fall in for you. You stay up here this right up here that's my assistant's dress those air her legs underneath that she's holding the bride's veil up picture with my iphone. But you can see it's a little over exposed, right be smarter than your camera. If you need to adjust your exposure to get it correct, whether you're on aperture priority or on manual get there I love that image makes me really happy susan so you say look for the light we have a couple people who we're talking about sort of the opposite problem which is having too much light for example shooting a beach ceremony it noon when you're outside and there is no like there's no trees to go against there's no buildings to create shadows the issue is that none of this is universal first one shooting a detail and I'm shooting it in an indoor location that's not the same as shooting a ceremony on the beach of course and shooting ceremony you have absolutely no say so over where it set up or where they're angled or why in the world did you angle the ceremony in this direction? The light is that direction you can't change things there you can't be overtly creative in this kind of way there because you can't manipulate that scene if you don't have a dark background to put your subject against you don't have one and you can't step in and stop the ceremony and moving around on dh sometimes with portrait you don't have it either you just have to do what you can do and now is there anything that you can do in a beach ceremony? Is there a crime? I mean it's it's hard right like my personal favorite humorously this venue that we're looking at right here a lot of times when they have their ceremony outside they are staring kind of the setting sun is over there, the ceremony is here on the light would be a great angle if you didn't have a waist high railing and the river behind it, so your options are either a silhouette or ninety two stops overexposed and they look like they're standing on the sun like I can't control that you can't change it, I can't stop the ceremony and move it. All you can do is all you can do in a situation like this. We're talking here about finding things that are beautiful and working with them in situations that you can in some way, control ceremonies are always one hundred percent out of your control, you know not to belabor the rings to death, so we kind of skipped through the rings a little a little more quickly, but I found this beautiful patch of light and it's a teeny tiny patch of light, so we went first with the groom's ring f sixteen so that the entire inscription is in focus exposure compensation down two stops because it is so bright and so dark at the same time the bride's ring is sitting on the sparkly wedge of her shoes exposure compensation three stops under because it is so bright versus being so dark at the same time and then just changing my angle of view for a slightly subtly different look

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.