How to Shoot Difficult Light Scenario
This is the palace at somerset park it is in somerset new jersey this is the reception room it has three huge windows I'm going to show you very very quickly how I used all three of those windows to shoot the details this is the bride's shoebox it's her invitation it had one of those paper cut like the laser cut into the paper sort of a folio thatyou open I put it straight on into the light bring shot in the reception room don't be afraid to try out different rooms reception room detail shot bride goes to get ready in a room with no light I said hey instead of getting ready in this room with no light you want come get ready in your reception room we made sure nobody was going to come in she got ready in the reception room why not write there is absolutely nothing wrong with taking a bribe from one room to another if time permits and the bride is willing first look it was one o'clock it was july is about a hundred degrees and they didn't want to go outside so we use this window I had th...
e groom face into that window shut off all the rest of the lights in the room and we did the first look in front of that window one there's your settings for those of you who are setting crazy and I let the moment keep going and then I turn them towards the window and use the window toe light them so you can do multiple things in one room don't just think so, because I use this window for one thing that I can't use it again. Keep using it bride getting ready by a window on a show you very quickly. I know we're coming towards our end if you trust your camera versus if you understand your settings if you trust your camera versus if you know what you're doing. So if you trust your camera meter and you click and fire and it looks like these, change your settings manually. Roll your exposure compensation, dial down to get to the exposure that you need to, whether it's against a white background or a dark background be smarter than your camera. You wanted to getting ready room with no windows. How about that? I'm literally standing in the doorway that's all I had it is an l shaped room and it looks like that I wasn't joking. It also looks like that way. Step back. You see that? That lamp plugged it in. Plugged in. The lamp turned off the lights. There you go. There you go. If I did not have an existing lamp in the room, I would have used in I flight I would have used a flash I would have used anything that I could to create light, but you could use that lighting scenario to get the bride ready. You have to be a little bit more careful you have to be a little bit more vigilant you have to make sure she doesn't turn the wrong way, but if you don't have light, make light and one good one, how about family formals when it's raining and you're in a tent that's fun and by fun I mean not fun, I know this well, this is one where I was like I don't know what to do, I don't know what to do oh, I love these people so much and I want to make beautiful images for them and they're so nice and it's raining, they've been loading thing then and the side of the tent over here was open. I have them stands just enough inside the tent that they weren't going to get wet but that the outside with my back drop but you see how bright that is out there and you see how dark they are there off camera flash I had my assistant standing behind me and slightly to an angle with the flash on full power so that I could illuminate their faces and make them match their background it looks like it funny instead of pouring rain there you go. So to recap, before we throw this back to you guys for some questions, I know that there were a million of these case studies I know they went really fast. I've got the books online if you want to buy them it's all of these and more case studies, but to re cab, look for beauty and unconventional places that's kind of important parking lots, weird silver getting ready rooms, reception rooms try to stay open minded hey, instead of getting ready there, do you mind getting ready here? It's hard not to get in a rut when you shoot fifty weddings a year when you are constantly working in the same locations over and over again, don't beat yourself up if you feel like you're starting to get stuck, the person who asked earlier about what happens if I feel like my toast images are boring, they're not going to boring your clients, it's them in your pictures, it's okay to default to the easiest option, but you're looking at a scene you don't have to be like, okay, I could make this crazy, creative thing, but I have to go to the car and it had to get my flash and I'd have to, you know, or you're like, oregon issues the window, and that would look really nice it's. Okay, to default to the easiest option, you don't have to beat yourself up for not being one hundred ten percent creative all day long all the time, and it is a marathon, not a sprint. Pace yourself seriously, so find the light. First, choose your background, decide how you're going to compose, choose your your wifely, wait for the moment, do not spray and pray. Thank you for putting up with me, and if you want to find me online, these air the multiple different ways you can find me. I post animated image today on instagram. An image today on my facebook business page, I blogged for photographers on the dynamic range dot com, and these are the millions of ways you can find me. So do I.