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Strategies for Shooting in Difficult Situations

Lesson 18 of 18

How to Shoot Difficult Light Scenario

Susan Stripling

Strategies for Shooting in Difficult Situations

Susan Stripling

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Lesson Info

18. How to Shoot Difficult Light Scenario

Lesson Info

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 that you 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 right there is absolutely nothing wrong with taking a bride 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 had the...

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 then 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 used 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 00:01:59.994 --> 00:02:02. click and fire and it looks like these, change your 00:02:02.91 --> 00:02:05. settings manually. Roll your exposure compensation, 00:02:05.51 --> 00:02:08. dial down to get to the exposure that you need to. 00:02:08.78 --> 00:02:11. Whether it's against a white background or a dark 00:02:11.14 --> 00:02:13. background, be smarter than your camera. 00:02:16.67 --> 00:02:18. You wanted to getting ready room with no windows. 00:02:18.79 --> 00:02:19. How about that? 00:02:20.97 --> 00:02:23. I'm literally standing in the doorway, that's all 00:02:23.58 --> 00:02:27. I had, it is an l shaped room, and it looks like that 00:02:29.2 --> 00:02:29. I wasn't joking. 00:02:31.37 --> 00:02:32. It also looks like that. 00:02:34.07 --> 00:02:37. If we step back, you see that that lamp I plugged 00:02:37.68 --> 00:02:40. it in, plugged in, the lamp turned off the lights. 00:02:41.0 --> 00:02:41. There you go. 00:02:43.97 --> 00:02:44. There you go 00:02:45.71 --> 00:02:49. if I did not have an existing lamp in the room I would 00:02:49.06 --> 00:02:52. have used a nice light I would have used a flash I 00:02:52.2 --> 00:02:55. would have used anything that I could to create light 00:02:56.08 --> 00:02:58. but you could use that lighting scenario 00:02:59.52 --> 00:03:01. to get the bride ready you have to be a little bit 00:03:01.56 --> 00:03:03. more careful you have to be a little bit more vigilant 00:03:03.5 --> 00:03:05. you have to make sure she doesn't turn the wrong way 00:03:05.59 --> 00:03:07. but if you don't have light make light 00:03:08.67 --> 00:03:12. and one good one how about family formals when it's 00:03:12.29 --> 00:03:13. raining and you're in a tent 00:03:14.54 --> 00:03:17. that's fun and by fun I mean not fun I know this well 00:03:17.95 --> 00:03:19. this is one where I was like I don't know what to 00:03:19.69 --> 00:03:22. do I don't know what to do I love these people so 00:03:22.33 --> 00:03:24. much and I want to make beautiful images for them 00:03:24.06 --> 00:03:26. and they're so nice and it's raining they've been 00:03:26.72 --> 00:03:29. loading things in and the side of the tent over here 00:03:29.71 --> 00:03:33. was open I had them stand just enough inside the tent 00:03:33.78 --> 00:03:36. that they weren't going to get wet but that the outside 00:03:37.02 --> 00:03:40. was my backdrop but you see how bright that is out 00:03:40.11 --> 00:03:42. there and you see how dark they are there 00:03:44.07 --> 00:03:44. off camera flash 00:03:46.47 --> 00:03:49. I had my assistant standing behind me and slightly 00:03:49.15 --> 00:03:53. to an angle with the flash on full power so that I 00:03:53.38 --> 00:03:55. could illuminate their faces and make them match their 00:03:55.91 --> 00:03:56. background. 00:03:57.67 --> 00:04:00. It looks like it's sunny instead of pouring rain 00:04:01.91 --> 00:04:04. and there you go so to recap before we throw this 00:04:04.49 --> 00:04:07. back to you guys for some questions I know that there 00:04:07.24 --> 00:04:09. were a million of these case studies I know they went 00:04:09.37 --> 00:04:11. really fast I've got the books online if you want 00:04:11.77 --> 00:04:14. to buy them it's all of these and more case studies 00:04:15.4 --> 00:04:18. but to recap look for beauty and unconventional places 00:04:18.85 --> 00:04:22. that's kind of important parking lots weird silver 00:04:22.93 --> 00:04:26. getting ready rooms reception rooms try to stay open 00:04:26.3 --> 00:04:28. minded hey instead of getting ready there do you mind 00:04:28.98 --> 00:04:30. getting ready here 00:04:31.6 --> 00:04:33. it's hard not to get in a rut when you shoot fifty 00:04:33.93 --> 00:04:36. weddings a year when you are constantly working in 00:04:36.51 --> 00:04:38. the same locations over and over again don't beat 00:04:38.5 --> 00:04:40. yourself up if you feel like you're starting to get 00:04:40.29 --> 00:04:43. stuck the person who asked earlier about what happens 00:04:43.6 --> 00:04:46. if I feel like my toast images are boring they're 00:04:46.57 --> 00:04:50. not going to born your clients it's them in your pictures 00:04:51.8 --> 00:04:54. it's okay to default to the easiest option but you're 00:04:54.53 --> 00:04:56. looking at a scene you don't have to be like okay, 00:04:56.54 --> 00:04:58. I could make this crazy creative thing but I have 00:04:58.16 --> 00:05:00. to go to the car and get my flash and I'd have to 00:05:00.5 --> 00:05:02. you know or you're like oregon issues the window and 00:05:02.38 --> 00:05:05. that would look really nice it's okay to default to 00:05:05.22 --> 00:05:07. the easiest option, you don't have to beat yourself 00:05:07.08 --> 00:05:09. up for not being one hundred ten percent creative 00:05:09.64 --> 00:05:12. all day long, all the time, and it is a marathon, 00:05:12.26 --> 00:05:16. not a sprint. Pace yourselves seriously, so find the 00:05:16.75 --> 00:05:17. light. First, 00:05:18.7 --> 00:05:19. choose your background, 00:05:21.1 --> 00:05:22. decide how you're going to compose, 00:05:24.23 --> 00:05:25. choose your gear wisely, 00:05:26.75 --> 00:05:30. wait for the moment, do not spray and pray. Thank 00:05:30.16 --> 00:05:32. you for putting up with me, and if you want to find 00:05:32.65 --> 00:05:34. me online, these air the multiple different ways you 00:05:34.87 --> 00:05:37. confine me. I post animated image today on instagram 00:05:37.61 --> 00:05:40. and image today on my face, but business page, I blogged 00:05:40.16 --> 00:05:43. for photographers on the dynamic range dot com, and 00:05:43.49 --> 00:05:45. these are the millions of ways you can find me.

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.  


user 1c7bd6

Wow! Fabulous course! Ditto with the above reviews! Thank you, Susan, for giving us such helpful information for shooting weddings in such challenging situations. You have such a brilliant and quick mind for making the magic happen! The camera settings by each photograph was so very helpful. Since I didn't write anything down I shall be in search of your books. Susan's class is a must for anyone considering a career in Wedding Photography. Thank you Suan and Creative Live!

Kat Penniman

As the description says: MAKE SOMETHING OUT OF NOTHING! Spot on! Thank you Susan for sharing what you know and helping me become a more creative photographer despite less-than-perfect scenarios. As photographers, oftentimes, we find ourselves placed in a position where we are expected to create beautiful photos in the midst of difficult situations like low light scenes or crappy background. Her explanations are very clear and she definitely knows her craft. She cares about her clients and she's determined to give them great pictures despite what's thrown at her. If you are a strobist or use flash in most of your work, this course is not for you. But if you a natural light photographer and sometimes struggles to take photos indoor where light source is very challenging, take this course! You won't regret it!

Jessica Lindsay-Sonkin

Susan is amazing. This class is a pile of case studies, with behind the scenes and camera settings, to help you find the light. There are parts that can be repetitive, but that is because Susan is passionate about helping photographers memorize this message and put it into practice. A worthwhile watch!