Strategies for Shooting in Difficult Situations

 

Strategies for Shooting in Difficult Situations

 

Lesson Info

Setting Up the Scene Scenario

So shooting a reception room very pink reception room no, this is not with my actual camera this is with my phone. Yes there's picks elation and worry and it looks horrible because it's with an iphone this's not a nikon picture but this is what the reception room looked like and if you take a look at the centerpieces on the tables and what the tables looked like they were actually the tables were actually lit with pen spots they had just been turned off for this picture because they were eating dinner and they didn't want to blind them with lights but what can you do? You know you're shooting these tables you can see kind of how far apart they are but you want a reception room to feel intimate you want it to feel like all of your family and friends are near to you the tables are close together it's a cozy experience well, here we go. Settings are the same on both images nikon d three s uh back when eddie three s was the thing seventy two, two hundred two hundred out of two hundredth of...

a second now I broke my four hundredth of a second rule why nobody's moving? I can hand hold at a lower shutter speed as long as I don't have to worry about people wandering through the frame and getting motion blur because my shutter speed is too low um three, five, forty, five hundred after priority exposure compensation zero because I had a pretty well balanced, um, exposure. The scene was very well balanced. Nothing too crazy, bright, nothing too crazy dark didn't trick up my camera too much. I was able to trust it, but what this does at two hundred millimeters is that beautiful linds compression, that sort of perspective shift where you feel like your background is closer together. These tables in these details and everything, it just feels cozy, and it feels more intimate. So that's how using your focal ink can actually change the way your picture feels, which I think is kind of cool same room for stands now we're talking about changing everything that I've done. Seventy two, two hundred, two hundred uh, now we're an eightieth of a second to talk about that f two eight thousand manual when I'm on manual, I'm dialing in everything I know what using after priority otto eso is gone, I'm making all of my decisions myself. The reason why is because I'm using an off camera flash and I'm making all of the decisions for that thing. Two you can see where the light is hitting her face it's pretty easy to tell that my assistant is standing with the off camera flash on the other side of the groom from an angle because the light is bypassing him and lighting her directly and eightieth of a second why can I shoot an eightieth of a second now but I couldn't oh my gosh but I couldn't before well the reason for that is because he's in flash because my flash is freezing my subjects if I've got a bridegroom running through a field and I'm on africa priority or so on and so forth and I'm shooting them an eightieth of a second well they will be blurry because they're moving but here I'm using an off camera flash at quarter power it's freezing my subjects also an eightieth of a second is a slower shutter speed what you see these candles up here you see everything kind of coming in in the background the slower shutter speed is allowing me to let in more ambient light the ambient light is showing the warmth of the candles it's showing the warmth of the room if I'd shot this that you know a two hundredth of a second she'd be lit and everything else would be dark not not pitch dark but it would be much darker the flash should be starker the background would be darker at an eightieth of a second you khun let in more ambient light so don't be afraid to play around with the power of your flash the shutter speed that you're working at and you're so as all three of those things come together to get the right type of image, play around with it don't do that at a wedding do not play around with it at a wedding because you should never be experimenting on your client's dime set up a teddy bear in the middle of a room make your kids sit down for a little while shoot your dog whatever you have to do to get there in my studio we actually have a styrofoam head her name is belinda and I use her test light why not have a question you just looked all serious always wear just dazzled by your beautiful lighting backdrop over there great stunning way do have a couple people asking what meat oring mode you're using matrix matrix but that said I'm not really using it it's selling matrix because it's what it said on I'm meeting in my head and again I'm not saying that like I am super awesome I am majoring in my head I've been doing this for fourteen years if I can't meet her in my head at the end of fourteen years I've got a lot of problems so we'll see it's well I mean I have a lot of problems but meeting isn't one of them but I could look at a scene and I can say exposure compensation down two stops just because I've been doing this a lot this is where the experience also comes in when you do it with anything that you do when you do it over and over and over again you get better at doing it quickly bad analogy the more you shoot the more you're going to be able to see you know my assistant now who is not a photographer sanders not a photographer and she could walk into a reception room right now and say oh okay quarter power on the off camera flash right I'm like yeah that's right because she's been doing it so many times with me she can look at the rooms look how big it is how far is she going to be from the subject and she could be like, okay, I get it and she sets it so the more you do it and the more you practice if you're trying to take exposure readings off of faces or cheeks try spot but try to not have to rely on it and one go ahead yeah, that actually leads into another question from four people want to know do you check your images on the back of your camera or do you just know what exposure compensation do you for the most part I just know it's a reflex I look at the back of my camera but I'm not really looking at it like I'm just kind of like click but I'm not like staring at it I just look at it because it pops up and it's right there, but I don't test I used to test all the time or something wrong with that at all I just don't have to anymore because again experience, but if you need to if you need to take a test shot and look at it there's no shame and that do it however I have to get there and what we're talking about the flash msm, enza says do state one quarter power for you flash or do you change it? Depending on the scene it changes depending on the scene, we're going to show you some formals where they were shot at full power sometimes it's eight power if the room is small, sometimes it's half power of the room is a cavern it really depends what I don't do is like during the first dance if I'm set on my flash power, we don't generally change it during the first dance as the couple dance is closer to my assistant and away from my assistant all change either my shutter speed or my eyes oh, or something comparable on my camera again same scene, same room off camera flash just gone and now I'm working with on camera flash so you can see that they're lit but the light isn't coming from a very specific angle so when it comes time for party dancing like hard core, you know, breaking it down dancing, I don't put up lights in the corners. I really don't work with my off camera flash all that often it's mostly just on camera flash. So d three s twenty four to seventy eight twenty seven. My arms hadn't gotten tired enough to sufficiently put that down yet. An eighty eighth of a second again freezes my subjects with the flash but still allows an ambient light and it's not always an eightieth of a second. Sometimes it's a sixtieth or a fortieth or a fifteenth, depending on the room, you have to find your sweet spot. F four issued almost all of my dancing it f or I s so one thousand, and I use my own camera flash on auto. It was a great tip that my husband gave me a few years back on the nikon feed lights with the nikon camera's auto for me provides a more consistent on camera flash result.

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.