Strategies for Shooting in Difficult Situations

 

Strategies for Shooting in Difficult Situations

 

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 there 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 battened down but I put it on the ...

bed is 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 would 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 bangle 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 up and then I got in tight and started moving my angle and you can see how the light changes on the bride's face as you start to move and then you move around her the lightest here the bride is here and I go from here all the way around her and I end up with the window at my back. But as I move around her that one light source looks completely different because I'm coming at it from completely different angles. This is the same light source. This the image on the right is with the light source it's kind of over here, so I can't really move off of camera but the brightest here the window is like I wish I had a laser pointer the windows sort of over there and it's coming at an angle in this one the window is at my back so the light is directly on the bride's hands so if you see a light or you see a window or you see the sun you don't always have to use it from the same angle and approaching it from different angles gives you vastly different results to your images and sometimes when you find light it's not where you think it's going to be this isn't a winery in connecticut and I was trying to find a place to photograph the bride and groom because the winery was still open to the public before the ceremony so I had to deal with people wonder I mean that's my assistance that she can wander around all she wants but like the dude in the jeans he's not with the wedding he's just like hanging out you're gonna wind you won't leave it's full of people people are wandering around I can shoot but I can tell the people to really move we're shooting outside it was like one o'clock in the afternoon it was really hot and the bride and groom got really hot I kind of wanted to bring them back inside I didn't want them to be miserable so we came back inside we walked from the left side of the frame which is the front door and we were walking into the winery and I saw this this was like the second floor observation deck look down over the winery, but it had florida ceiling windows, 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 what's going to come through and balance off of the ground and bounce up and illuminate them a little bit, but it's going to make you can't even see it in the behind the scenes picture this amazing room of light around them, and if I use the right linds 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 bridesmaids 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 coming go lay it down I was like, yeah, absolutely come on in you guys help f three two when I bring in bride's maids I goto for five why did I go too f or five? I want more of their faces and focus on guy 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 with her dress? No do I actually care about the dress being laid down on the ground? No it's not really what I'm going for what I want are the moments of interaction between all of them when I give them a task to dio they forget I'm there, they start talking to each other they're looking out the window there watching them set up for the ceremony and then I get an actual 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.