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Shoot: Silhouette With Flash

Lesson 14 from: Think Like a 10K Wedding Photographer

Scott Robert Lim

Shoot: Silhouette With Flash

Lesson 14 from: Think Like a 10K Wedding Photographer

Scott Robert Lim

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Lesson Info

14. Shoot: Silhouette With Flash

Lesson Info

Shoot: Silhouette With Flash

We talked about just getting a silhouette by itself and so we're going to try to simulate this shot so we're going to what we're going to do is try to create about black box in here okay, so is there a setting in here that you could set your camp because having cameras that's okay uh have life and minds the best anyway so wait, you said I think it's just going to get worse because I'm just getting tired and stuff comes out of my mouth okay? So, uh eyes they're setting that you could put in your camera where if you take a picture even in this bright light it's going to look very dark no, I s oh, hi shutter speed. Okay, so let's try let me see if I could do this here so let's assume we're shooting yet maybe there's a lot of ambient lighting here, you usually have to do this in very low light to make it really work and there's a lot. I wouldn't do it in this situation because it looks a little bit too bright ambient light, but but we're going to try it anyways and we'll get the effect of ...

it. Okay, so I'm turning on my camera and I have battery power and here now so I could see everything so I am at come on it's connecting it's connecting either try to set my f stop at I want to see what it looks like a f eleven that's that's what I like to choose the lower the f stop that I could make it dark the less flash power I need right so I'm always trying to use his least amount of flash power because I go my entire day my wedding usually on just one set of batteries in my camera usually and I have about four flashes you're your can't your tiny little flash is usually will get about one hundred to one hundred twenty flashes at full power so that's why I don't like using full power one because it's gets slow recycle speed and another reason why it's going to eat up your flash power and for some reason this just says us be connecting did the light room thing back there not turn on we are well we're going on all right whoa well okay so even at five six it looks a little bit dark in here we can do it wait wait to see this this mayan live you I'm gonna take it off live you yes I take this off okay, so I think I can do this so I'm going to turn my eyes so too one hundred ok, I'm going to set my f stop to f eleven okay and let's have our model come out here you're going to come out here and you're gonna pose and stop does anybody want to oppose him? This is your opportunity to make a fool of yourself in front of a lot of people does anybody want teo you guys do find does anybody just wantto post him that this is a consummate step yeah, there you go yeah, okay. Yeah okay, yes, we're going to look this way and kind of bring this hand up kind of like a guy smoking the guy cigarette is there guys cigarette okay kind of thing that you yeah you don't want so switch up and you don't want your hand touching your face because we're going to try to get a silhouette so just pull it back a little bit right there and turn this way and then pull your hand off your face so it's just by your cheek a little bit right here just barely rest with um can you see his his line ever let me save him this stark so I'm taking a picture and looks completely dark now. Awesome. Very good. Good hand. Okay, so now oh, guess what I have my flash is all over the place, so I'm going to pull off one of these flashes right here, okay, now, um we're gonna go with this because this is what it is right now I have a purple gel on here so we're going to do purple okay, so his well yeah he's kind of wearing purple so that might work but we're going to do the back light purple and so according to my chart, if you look at my chart my chart says at f eleven to properly exposed a person it's at half power okay, now I'm going to do something a little bit tricky I'm going to talk about the inverse square law that's at six feet okay at six feet, my chart card says half power right? And I'll actually let's keep it at half power. The reason why I wanted at six feet is that I'm going to get the farther away from your subject that more spread you're getting and so the more coverage or getting if I move it closer I would on lee set it at one eighth power two stops but I'm only going to cover this much distance but I want to cover all of him so if I could get one person let's leave let's make him purple on this side so if someone could come over here and hold this flash right back here and if I could get another assistant to help me now guess what? This is what I love about my flash oh my gosh, I ran out of receivers what do I do? Do I go on to scott's website and buy more? You could but I go you know what? My flash has a slave mode and so when it sees another flash go off it'll just fire if uncle bob viruses flash it will also fire too but in this situation I don't care so it just needs to see that light and go off and I'm going to set this to one half power at eleven hold it right about here right there okay and then did I even set that a half hour powers all the way up on one down okay and the reason why I am going to hear the reason why I'm going this way instead of this way does anybody know because I want the light coming out like this to cover him is that correct? Okay, so now he should be properly exposed are you guys at the same distance? I think you need to come up a little bit. All right, all right turn your face this way the new profile sound of you okay and one two ready? Okay. That's almost right because that jealous is can you mo come up at gels leading and then your hats black too so it's not quite ok come up, cole sir a little bit right there, okay, now let's try and see and I don't know if you're funny well, it's not right. Okay, let's, try it again. One, two, three that's. A little bit better now. He's. Not totally. Okay, I'm sorry. I'm gonna go my way just for a handout and I won't turn her face away that way. Ok, come up this way, but more so that's how you see what's happening there, right? But I'm not creating a profile, so I want a night craving that outline, so I'm gonna have to repositions. Seems so I could see that outline and that's a little bit better right there on the next one and let's, turn it sideways. And if you can come directly behind him a bit and your breath behind him more so you're lighting up the back let's, take a look at it. See, this is that hard. Just experimenting around hoops that flashed and go off probably didn't see that other last going up. Okay, so that's more of an outline, but you kind of get that one, the other flashing guard. But the next one, you can kind of see an outline. Okay, so now you can create thank you very much. You can kind of create that situation anywhere that you want to oh, you want to take your still your chair, okay, perfect, so you can create this shot anywhere you can practice it a little bit more see what threw me off is that it has a purple jail on there and when you put a purple gel on there that's probably taking away at one and a half stops of light so my normal calculations there sometimes it doesn't work if I would have sent my white balance to tungsten I said it we'll do it on the next one uh it'll make it all blue because what happens is when you set it on the little light bulb the white balance what it's saying is there you are shooting with a lot of orange light in the room I'm going to put a blue filter over everything to cancel because orange and blue are complementary colors when you mix them together it's neutral turns into grey okay and so that therefore because you're shooting an orange light I'm gonna add a lot of blue and it's going to look normal but I wanted to look blue and I'm using white light so it's gonna look blue the next time we do it okay but that's kind of how you create a silhouette shot and because I'm making it a black box in the room then you're not seeing anything else other than that silhouette so that's great so if you happen to be shooting a groom and he's not in he's like in some kind of budget motel and the background doesn't look good you can always go back and do some of these funky shots like this and get a nice profile of you can actually have him we'll do another shot where you're just using flash and we'll do another shot that with the iphone so let's see if right ok so that's kind of like what we did to create that shot so you practise it you get your flashes you get the started with f eleven at half power and about six feet and you just mess around for ten minutes and you're going to nail it you're going to know exactly how to get that shot you know different body types are a little bit different but in general is just gonna nail it right sandwich lighting so we're salvaging from the two sides how to create a silhouette okay, so that's what we did there that's the formula right there if you download if you buy purchased this program get all these slides for free to tell you all these formulas okay, now we're going to do this interested in doing this okay so I created a black box but I want to create who has iphones with flashlight moon on it or or smartphone you guys gotta get him out all right so we're gonna get three people in the background we're gonna do this we're going to create three people back there running around like crazy creating squiggles there were going to have two people holding on the flash we're going to shoot this at f eleven I know I'd f eleven it's dark in here so we can do it so would be a half eleven and this time we're going to put that flash at uh at eighth power and I'm gonna open up my shutter speed two two point five seconds so it's not I'm sorry is not going to look like this because this was in a very, very dark there was like four times is dark where I shot that here you're going to see a lot of ambient light but I just want to show you the idea so it's gonna be brighter but you're still gonna be able to see the light scribbles okay so let's set up this shot and let's go for it and see what happens so let's have our same wonderful model come out and you pose in the same way all right and then we need uh who has the iphones want to step up come in the back you're going to be running around like crazy back there and then I need just two people okay? This is good impress the heck out of your bridal party because this is how you could get your bridal party all into everything you're gonna have the bride's maids of the groomsman or whatever what their iphones run back there and go crazy okay and now I'm going to do f eleven but I'm going to set my shutter speed teo very long so let me see actually I'm going to cheat I'm going to see what it looks like before I take the shot just to see what it's gonna do you see how much light we have yeah it's gonna be a little bit brighter two seconds but will kind of get the idea um, maybe if I go to f sixteen trying to make it darker in here so let's go to f sixteen then so I got to change, so if I changed my flash power so I changed it one stop than instead of eighth power I had it, I'm going to do it at quarter power and we'll try it come there and this is instead I usually do two and a half seconds, but now I'm only doing two seconds so you got to move your little heinie a little bit faster, okay? Because there's a lot of ambient lighting here because we're recording, but typically I wouldn't do it this this is too much like you guys got to do it in a lower situation, okay, so okay, so you're gonna have to move to or else you're gonna be in the picture so you circles and usually were good and you can run around and you got to move so you got to do this or whatever and then the person's got you just gotta move or else you're gonna be in the picture what's that yes give way front you're in the middle of your back okay and big what yeah whatever just go for it okay, yeah I do do I need two more assistance there and so we're gonna go quarter power huh? And I've got to remember to send my white bounds to tungsten too so this one's on slave so how about this somebody just go right wear the thing is that six hundred dollars right here right here and then you're going right here just going to go right here oops you go right here right here you're gonna go right here because we're going to light his face up okay you're gonna go you're getting closer three feet about some right there okay I got my shutter going here you guys uh sort already let me make sure I get you in the picture first of all everybody okay one two ready go oh, wait a second the flashes didn't go off you gotta test that one's not going is this not enslave mod flash boat didn't go okay this has got to be an s mode right there don't touch that I just keep it right okay sorry close your eye subject I want to test it want to test it now don't don't just gently lean on that because your shoulders are being scrunched right yeah I want to keep your sex scene deck elongated okay there we go let's try it again if you see what you did one too ready go ah yeah that's there's a lot of ambient light in the room and that's why you're seeing blur when you do the shot see that because there's a lot of ambient light entering my sensor and adding to the light that was there so it sort of works you get the idea that you could do the scribbles I need some lower let's try it again oh yeah I got to go to tungsten that's right I gotta go ten stant hi rails with no doesn't matter uh let's see how do I do this uh okay I'm going to tungsten here the little lipo ok so we're gonna make it blue if this was really dark in here this would really work but um well one two ready go better ok so it's gonna be blue uh and you're going to see but you're going to see a slight blur in there but you get the idea right you totally get the idea we can't make it dark in here but if it's in dark it looks awesome right you khun like if you had a couple I demonstrate in this last workshop you khun somebody could just make a heart like this around them and it looks very cool so you can have fun that's how to be creative all right so you get the idea for that cool thank you thank you very great assistance there um I'm going to put this jail back on this is from chris kendrick photography high from colorado are using rear curtain sync with your camera um I'm not mine is rear curtain see okay, but it doesn't matter in this case because what happens is when you rear curtain sink when you do movement then you get a trail behind person if you do front curtain then you're going to get blurring in the front and then bam it's going toe fire hit the flash so but the person is stationary at this point so it doesn't really matter and I'm not moving the camera anything like that so we're curtains think I uses you said it not cool and I know we're going to do some dance stuff yes you like having the rear curtain sink on for that for those image yes. Yes okay. Especially if you drag your shutter yeah and you click it and you move it at the same time but you can do that right? I don't know what the chat rooms is like one of you two are going to be firing this I don't know what they're suggesting out there okay still let's so that's what you can do right, uh, you can have. You can also do that shot where you fire from the front, and if it's darker, then you're going to get more contrast in the lighting. This was still bright in this area, but I shot that f sixteen also so. But if you're at night, you're going to be cool. Okay, so basically, there's price comparison, mike triggering, set with three flashes, and I take you out to that sushi place tonight equals this same price as one price there. So, that's, why I like going to manual. Any manual system is going to be a lot cheaper than any t ell system, regardless of my system or whatever.

Class Materials

bonus material with purchase

Master Flash Guide.pdf
Day 1 Segment 1 Best Job in the World.pdf
Day 1 Segment 2 Headshot & Posing the Groom.pdf
Day 1 Segment 3 Posing the Bride.pdf
Day 1 Segment 4 Posing the Bride & Groom.pdf
Day 2 Segment 1 Crazy Stupid Wedding Light.pdf
Day 2 Segment 2 Lighting Review Group & Dancefloor.pdf
Day 2 Segment 3 Wedding Workflow & Money Shots.pdf
Day 2 Segment 4 Starting from Scratch.pdf
Day 3 Segment 1 From 0 to 5K.pdf
Day 3 Segment 2 5K and Beyond.pdf
Day 3 Segment 3 Creating a Luxury Brand.pdf
Day 3 Segment 4 Seventeen Ideas to Change Your life.pdf

bonus material with enrollment

10 Percent Discount.pdf

Ratings and Reviews


There are a few courses in CL that just keep giving - they exceed expectations - on numerous levels. This is one of those courses. For context: I am not a wedding photographer; i do not aspire to be a wedding photographer, but i saw a re-broadcast of this course and thought i have got to put the pennies together to order this as someone aspiring to be a better photographer. Here's why: The title: think like... In a lot of business and coaching approaches, the way to get better we're told is to be around people who are further ahead than we are - who are as close to where we aspire to be as we can get. Think Like a 10k wedding photographer is an invitation to get insight into how i'm already thinking in this headspace or where i'm not. is this course for you: If you're not already a 10k/wedding (or gig) photographer, there is likely something of value here for you. THE COURSE the course is v.grounded - from the ttitle again - that this is a course about photography as a business - and how to get to a place where one is thriving in that business. It's clear there are steps to getting up the ladder towards 10k, and Scott Robert puts all the milestones in to understand when to up prices, how to pace gigs, how to schedule weddings, how to start. But this course also excels at covering off what's included in creating an excellent wedding photography experience for a particular type of shoot: luxury, glamour, style. This is not documentary wedding photography - though the skills learned here can be applied in that space. Here - just take a look at the photos - people who want what Scott Robert Delivers want to be glamourous, exciting. And Scott makes the point - that looks "natural" but it's constructed, and so we have to know how to engage with people in order to construct these results. Thus the course offers Posing and Shooting techniques for photography - using natural and flash light using flash and video light posing men; posint women; posing groups how to get the checklist of wedding shots from dress to cake. And how to get the business. This course is worth the money just to get the tips for posing - you'll use them right away whether you're doing corporate shoots or what in the us is "seniors" portraits. THE KIT A particularly inspiring element of Scott's work is how minimalist the kit seems to be. No strobes; just speedlights. Lightstands and umbrellas. And small video light(s). Considering the shots he gets that seem so constructed, it's fantastic to see that they are constructed fundamentally with a set of modelling principles about the human form that work work and work. The BUSINESS As said the progressions for the business side to move from a starting photographer to a 10k photographer are clear. The detail is good. The motivation, unflagging. Participants who want to get there need to do the hours of practice. There are a couple people who have used Scott's methods to get from starter to 10k shooter so it's possible to see their path. - One who was a videographer mayn't be as inspiring because already pro etc, but it is cool to see a pro in video testify to the value even for him of scott's approach. LESSON the best advertisement is word of mouth you have to have the work to get that endorsement. Scott is the one person on CL where you'll hear him say he's not working on his social network particularly, but on the quality of his portfolio and referals within jobs to get the jobs - it's plainly working for him. For him, it's clear he wants to be regarded as the best photographer - not the best customer service that trumps adequate photography. THE INSTRUCTOR As other reviewers have commented, scott's attitude is amazing. He has a burning entrepreneurial spirit and a drive to be successful to support his family - which means getting to a point where he's shooting fewer weddings for more money in order to have more time with his people. Nice. No matter what area of photography you're in, there are insights to be gained from this course. Related Courses There are a lot of wedding photography courses on CL. The others i've seen are Wedding Cinematography, Doug Gordon Wedding Project, Master the Business of Photography (which turns out to be based in a wedding business) and Start and Grow your Photography Business (also based around weddings). These all have good things to teach. The biggest contrast to Scott's is Sal Cincotta's Business of Photography - in that course while there is a goal for his teams / shooters to be professional and get all their shots at the wedding and deal with the unexpected well - and there are great tips for how to cover your butt if there's conflict about being able to take a shot or who wants what shot - the focus seems to be way way WAY more on the sale in the studio and selling all kinds of prints. This is v.much the flip side of Scott's work where the focus is on getting the wedding (and why he actually likes 5k weddings more than 10k weddings - fascinating). For scott, it seems the 10k is about figuring out what the package is in terms of what's the difference between 10k vs 5k - and what you promise to deliver in that experience vs SC's focus on what are the materials produced that are worth that charge. And how the wedding can be used to hook people in for life - for portraits, baby photos, seniors etc. Kevin Kebota's class similarly has some nice stuff around bonuses vs discounts. I can see a very interesting panel discussion on pricing btwn sal, scott and kevin... For scott, it's not about shooting the lifecycle and getting money off prints: he does weddings - some engagement and boud. around that, but it's the Wedding that is the star - the quality and amazingness of the images - not the number and size of prints. Perhaps this is a weakness in the course not to go into that part of the deal - but i didn't find it so. What's great is that he has a dropdead line in the sand too: if you're doing X and you're not getting to Y by Z, do something else! fantastic. he even has a part time shooter plan. COol. He also knows how and what to outsource: so will you. He's also cool about how long it will to take to start making a real income. (and what's the difference between a 3k and 5k wedding?? you'll learn). Why would you buy this course? If you're a WEDDING photographer, shooting under 10k /wedding then this will be interesting - lots to learn about what's possible in a wedding context, and seeing examples about how "natural" can be constructed. If you're just considering weddings and want to understand what it would take to make a living or part time living as a photographer here IF YOU WANT TO LEARN ABOUT POSING -- there are lots of CL classes involving posing and philosophies of posing so why this one? 1: Robert is v.good. that simple: the way he's translated everything he's learned about posing into heuristics - in other words rather than memorising poses, you learn heuristics about what to set up for any shot to get more from it. Fantastic. 2. Posing in the context of a live wedding under pressure is a litle different than in studio 3. We see posing for different lighting conditions/contexts for an event - in this case a wedding. Powerful stuff. What's also cool in the demos is that you don't have him doing tethered shooting, but focusing on teaching posing and having the class learn it. That's cool too. IF YOU WANT TO LEARN LIGHTING - and not spend much on lighting kit and get great results this course is inspiring. INSTRUCTOR - v.engaging - doesn't suffer fools, i'm betting; expects committment to do the work to get to aspirations. EXCELLENT. heck i watched most of this with a friend who just found Scott so compelling, in particular how the posing section worked, it was just that engaging. hope that helps. good luck on your mission.

Kerry Sleeman

This is the best Creative Live Course I have purchased, well worth the Money! Scott is fantastic and has a lot of great advice! Even though I am not a wedding photographer I am a Boudoir Photographer and has given me a lot of ideas to help my business. ! Thanks Creative Live Amazing!

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