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Strategies for Shooting in Difficult Situations

Lesson 16 of 18

Shooting Different Light Angle Scenario

Susan Stripling

Strategies for Shooting in Difficult Situations

Susan Stripling

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Lesson Info

16. Shooting Different Light Angle Scenario

Lesson Info

Shooting Different Light Angle Scenario

Sometimes, instead of shooting with the sun at my back or the window at my back for details, I shoot almost straight into it, like so it's just sitting right on the window sill. So don't be afraid to look, you know, if you have a way of usually doing things, don't be afraid to look at it in a completely different way and come from a completely different angle, and I was able to work through with her necklace there and her bracelets. They're in the same spot with the same settings and her earrings. They're in the same spot with the same settings, and then I changed things up. I had my assistant hold her necklace in front of the window like that exposure comp, too. Oh, because when you hang it in front of the window it's being tricked in the reverse way that it's usually being tricked for me, it's east too much light instead of too much dark, and it thinks that I'm trying to make a silhouette and I'm not. You have to be smarter than your camera. And then I put the necklace back down. But...

I put it on the bed of velvet that had been sitting on. It completely changes the scenario, because instead of sitting on the white window sill now it's sitting on the blue velvet, it makes the light so much more prominent because it has something dark to play off of. And the exposure compensation went back down again. So continuing moving through, we've got another getting ready scenario that we know that I was shooting all those details in that's, the same window right there. I had the bride stand right in front of it, and then I'm gonna go through these really quickly and show you the light can change as you move your angle. It goes from this. And the setting stay fairly universal. What does changes I go around is my exposure compensation, because the light is hitting my camera differently. So I got in tight and then I backed up, 00:01:59.684 --> 00:02:02. and then I got in tight and started moving my angle, 00:02:02.36 --> 00:02:05. and you can see how the light changes on the bride's 00:02:05.3 --> 00:02:06. face as you start to move 00:02:08.17 --> 00:02:11. and then you move around her. The light is here. The 00:02:11.33 --> 00:02:15. bride is here, and I go from here all the way around 00:02:15.99 --> 00:02:19. her, and I end up with the window at my back. But 00:02:19.33 --> 00:02:22. as I move around her, that one light source looks 00:02:22.44 --> 00:02:25. completely different because I'm coming at it from 00:02:25.8 --> 00:02:27. completely different angles. 00:02:30.47 --> 00:02:33. This is the same light source this the image on the 00:02:33.73 --> 00:02:37. right is with the light source it's kind of over here 00:02:37.35 --> 00:02:40. so I can't really move off of camera but the brightest 00:02:40.89 --> 00:02:42. here the window is like 00:02:43.57 --> 00:02:45. I wish I had a laser pointer the windows sort of over 00:02:45.86 --> 00:02:49. there and it's coming at an angle in this one the 00:02:49.71 --> 00:02:52. window is at my back so the light is directly on the 00:02:52.16 --> 00:02:56. bride's hands so if you see a light or you see a window 00:02:56.33 --> 00:02:59. or you see the sun you don't always have to use it 00:02:59.55 --> 00:03:02. from the same angle and approaching it from different 00:03:02.12 --> 00:03:05. angles gives you vastly different results to your 00:03:05.43 --> 00:03:06. images 00:03:07.57 --> 00:03:10. and sometimes when you find light it's not where you 00:03:10.81 --> 00:03:14. think it's going to be this isn't a winery in connecticut 00:03:15.12 --> 00:03:16. and I was trying to find a place to photograph the 00:03:16.65 --> 00:03:19. bride and groom because this the winery was still 00:03:19.65 --> 00:03:23. open to the public before the ceremony so I had to 00:03:23.42 --> 00:03:25. deal with people wonder I mean that's my assistant 00:03:25.44 --> 00:03:27. that she can wander around all she wants but like 00:03:27.49 --> 00:03:29. the dude in the jeans he's not with the wedding he's 00:03:29.66 --> 00:03:31. just like hanging out drinking wine you won't leave 00:03:32.78 --> 00:03:34. it's full of people people are wandering around I 00:03:34.95 --> 00:03:38. can shoot but I can tell the people to really move 00:03:38.57 --> 00:03:40. we're shooting outside it was like one o'clock in 00:03:40.76 --> 00:03:43. the afternoon it was really hot and the bride and 00:03:43.84 --> 00:03:46. groom got really hot I kind of wanted to bring them 00:03:46.17 --> 00:03:48. back inside I didn't want them to be miserable so 00:03:48.69 --> 00:03:51. we came back inside we walked from the left side of 00:03:51.03 --> 00:03:53. the frame which was the front door and we were walking 00:03:53.51 --> 00:03:57. into the winery and I saw this this was like the second 00:03:57.63 --> 00:04:00. floor observation deck toe look down over the winery 00:04:01.11 --> 00:04:04. but it had florida ceiling window so I had this amazing light coming from up and behind them which is where I like my son to be. I like the sun to be high and coming from behind and then I saw this background this plum wall and I thought if I use this light first of all it's going to come through and balance off of the ground and bounce up and illuminate them a little bit but it's gonna make you can even see it in the behind the scenes picture this amazing room of light around them and if I use the right lens at the right focal length with the right exposure compensation with the right composition this does not look like it's taken in the lobby of a winery and the light is beautiful and then I have wonderful clients who gave me a wonderful moment and moving on from that in the same winery we had been over here for that first image I wanted an image of the bride by herself and we've still got this high light coming from up here but I moved her further in so that we would also have light coming from the other angle also so instead of just straight overhead it's also coming in from the side so when I action that sandra telling her how to stand and hold her dress but then you have light that's not on ly coming from up high it's also coming in from the side and it's the same principle so I brought in her bride's maids also and I was they were standing around behind me and you know if you're shooting a bridal portrait and bridesmaids show up and they see you putting stuff together they're going to fix the dress like I don't whatever they just want to get in and fix the dress there like she's holding it could we go lay it down I was like yeah absolutely come on in you guys help f three two when I bring in bridesmaids I go to f for five why did I go too f or five I want more of their faces and focus and I told them to do this I'm like yeah come on in mess with her dress lay it down do I care about the messing 00:06:01.672 --> 00:06:04. with her dress no well I actually care about the dress 00:06:04.66 --> 00:06:06. being laid down on the ground no it's not really what 00:06:06.91 --> 00:06:10. I'm going for what I want are the moments of interaction 00:06:10.3 --> 00:06:13. between all of them when I give them a task to dio 00:06:13.73 --> 00:06:15. they forget I'm there. They start talking to each 00:06:15.53 --> 00:06:17. other. They're looking out the window there, watching 00:06:17.03 --> 00:06:20. them set up for the ceremony. And then I get an actual 00:06:20.01 --> 00:06:22. natural moment of interaction.

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!