Shoot with Low Ambient Light Indoors
So we'll move into, shooting into low ambient levels and how we introduce a constant light source now, like something like the Icelight, and we talk about the Icelight a lot because it's something that we use a lot. It was designed by one of our best friends as well. Regardless, it's a beautiful light source to use. We use it the barn doors a hell of a lot just to control the spread of light, because it has such a beautiful soft spread, we do need to control it a lot as well. Most of the times though when we're working with a continuous light source, we wanna have within present within the image, a suggestion of light that makes sense for the Icelight or for the continuous light to be in the shot as well. We saw too many images early on in the piece when people started using a video light, where the light just didn't make sense for it to be present within the shot. We would see images shot out in the forest, and then there'd be this backlight of video light, and you'd just think to you...
Or flash (mumbling)
Yeah, or flash (mumbling). Like, where did the light actually come from? It's a dark forest. There has to be some presence of ambient light level in the shot in order for it to make sense. So you see this one here, in terms of, the barn doors actually just slither in the light on the bride there as well, but actually shooting, them, Rock, you're shooting through a doorway, yeah?
Yeah. I shot, I went on opposite end of that and I shot through a door. I mean, there was ambient light there to begin with, and there was light coming in from another doorway on the other side, but it wasn't enough for what I wanted because there was lights on the outside that I wanted to just underexpose and give me this nice beautiful warmth in the image. So we got this. So that's the shot we got, shooting at 90 degrees to that. Okay, so, very very simple.
We tell you about having that presence of light, and within this shot here, you can see what sort of the excuses are for the Icelight to be present. The Icelights actually illuminating the bride in this shot. My assistant is just behind that wall. With barn doors, illuminating the bride. We have a chandelier present in the image, which we understand is illuminating the dress, but the excuse for that light to be present in the shot, is not only just the chandelier, but then the light that is behind her, that little lamp that is behind her. It makes now, visual sense, that's there light present within the shot, so that the Icelight can be there. It's just not popped out of nowhere. That's always key to tying it back. Now, as photographers, we know that all of that light can't do that. It can't happen. But, we need that visual excuse there for the brain. That's all it is. It just becomes a visual excuse. Even if we're looking at areas like, this one. Now, that hasn't got an Icelight in it yet. That's the before shot. This is actually inside a ceremony. The ceremony was in hall, not much happening with the hall. What I did notice, though, is behind them, we see a black curtain, and in the black curtain, were these little Christmas lights, or fairy lights. They weren't turned on, they were turned off. After the ceremony had finished, I'd asked the groundskeeper if he'd turn them on for me. He did. It made a beautiful backdrop, so I shut off all the other ambient light. I kept the Christmas lights on. I illuminated the bride and groom with the Icelight, and we get that. It almost looks like they could be outside next to a bridge or something, doesn't it? But, they're literally inside this dark hall.
But even if it's there just to pop light and just to have a light direction. I remember I was at this wedding very recently, as you'll see, it's kind of, it's extravagant.
They love flowers.
They love flowers. It was a visual nightmare though, looking at this place. It needed light direction onto my subjects in order to bring them out of the image, in order to pop them out of the image. So in this case, the light is just off to the right hand side, illuminating the bride. In this one, the groom is actually holding it behind them. So, with he groom holding the light behind them, they become ring lit, and I have definition of them out of all of that craziness with all those flowers. I mean, kind of a crazy wedding. We don't shoot weddings like that all the time.
No, not all the time.
But it was good.
Even in scenarios, once again, when using the Icelight as backlight, but this time, shooting, I'm shooting through a chandelier in this room that really had nothing to offer. I mean, we got fluorescent lighting above and then, for some random reason, there was a chandelier in the middle of this, (lightly laughing) it was really odd, but anyway, we took it. I stood on a chair. Shot through the little crystals of the chandelier. Put an Icelight behind them, you can see the groom there is holding it and this is what we got. Nice, gorgeous, beautiful image. The warmth is added by, obviously, the tungsten light that was being filtered through these little crystals from the chandelier. But just, once again, creating something out of nothing. As wedding photographers, we need to think on our feet, we need to be able to look at all these things and make something out of nothing.
Yeah. Sometimes we haven't got all those flowers to work with. So, you know.
No. Or these random chandeliers in this room with nothing else.