Wedding Photography Weekend

Lesson 21 of 49

Lighting Ratios


Wedding Photography Weekend

Lesson 21 of 49

Lighting Ratios


Lesson Info

Lighting Ratios

so now way got to get in okay we've got this flash positions set up now what do we do with it make it look the way that we've been talking about making it look this is the easy part so we're going to get into lighting ratios which is essentially how much light is on you're subject compared to how much light is in the atmos uh surround thank you surrounding ambulance so the first one is simply feel like you can do feel like with the flash but we prefer to do fill light with a reflector yesterday we had some decent light on people we added a reflector to fill in shadows and this is what it looks like adding reflector we usually don't do feel like with a soft box because why bother why set this whole thing up and then just at a teeny bit alight the only time will do that as a family group shots is adding a little bit of light like that but for the most part I'll just grab a reflector and add some light so now the next ratios it's we're just having more light on her subject we just keep sa...

mpling the light upon her subject this is what we typically start with flashes what's called three to one which basically means this don't get too worried about the ratios and damn it we're gonna show you how to make this super simple we're just made making sure you also know we you know that we know you know what we're talking about three to one is basically when the flash is twice as bright as the background like whatever light is already there which just means your subjects a little bit brighter than everything else this is three two one lightning from the bride's face to the background you notice her face is nice and bright we have detail in the sky and she's a bit brighter than everything and also doesn't look extremely flash heavy it doesn't look like oh my gosh is this crazy powerful light on it it just looks like there's a beautiful light on her it looks great so that's three to one lighting so then you can take it from that level and keep increasing the difference you could make the background darker and darker and have your subjects stand out more and more so now you can go toe for toe one which means your main light is three times brighter than the background light and this is what four to one five one lightning strike letting rich the numbers seem off but trust me it is correct that means there's one part light that already exists you had two parts light with your flash or twice as much to gets added to one which equals three toe that one lighting it sounds really crazy that's why we don't get into the technical mathematics of it just remember that the subject's bright in the background like different amounts so as you can see here is pretty obvious there's some flash on this normally the sky doesn't turn navy blue and normally the foreground of a subject is a dark and they're bright right so have you see there's a flash on that so this is more like four or five toe one lighting where the background has kicked down my two or three stops super cool this is actually I really love some people don't like that look they want their something more natural so you can stick to the lower ratios three toe wanna fill light so when we are out at a wedding has mentioned you don't have time to dick around and just try and figure out what's the best power of light how do I set the exposure in my camera so we used a light meter and oftentimes the light meter can seem it looks very confusing because there's a lot of numbers and you have you have no idea what's going on there so you look at that like I'm not using that but it's actually very simple and we will break it down for you so that the important thing to know is that the camera has an incident light meter you can only read light bouncing off something else and it cannot read flash unless you have a t t l flash speed light on top of it and has no idea how much light is coming out of your off camera flash it has unless you're hooked up to an e t t l system we're doing everything on manual and the reason we shoot on manual is because we get consistency and we'll talk about that mormon consistency is the most important thing with editing so we use the light meter because it takes the guesswork out I could do a light meter on a shot and set it up in five seconds and I've seen other people guess their way to success and it takes them ten minutes I'm gonna click maybe the background needs to be darker maybe the lightning would be bright and that's fine but at a wedding they don't have to wear shoes time sometimes write my client's going do you know what you're doing and I'm like yes just give me one more second instead I can pull out the meter go click and know exactly what I got that fast on the meter never lies because it reads that flash and knows how bright it it's so breaking down the light meter really quick so we use this iconic l three fifty eight and you will see why this meter in particular so awesome as we get to the end of telling you what the numbers mean so on the top left you can see those of the modes of meandering itjust means what are you trying to meet her you trying to meet her ambient light like the sun were shane or that kind of light light that's already there um or you trying to read flash those are the basic too so the circle with the little lines come out is the sun if you hold down mode and use the big swim a bar go overto the lightning bolt that means you're going to meet her flash in some way so we're meeting flash we haven't set on flash monitoring so the next thing that you see this number here's the shutter speed and it's not one twenty fifth it's one one twenty fifth if that makes twenty fifth of a second the little one is over it so that number right there is the shutter speed and you simply adjust that by spinning the big dial the next one is I s o you hold down s o button keep it held down and spend the big dial again and you change the ice so very simple and easy to do and then and most of the time when we're shooting flash outdoors or shooting at one hundred because we can shoot enough eleven or we can shoot up to depending on how bright it is outside so we almost always keep it out one hundred when we move indoors and may go up yeah so then the next number you see this number here is your future is europe's top so once you set those other things manually what you we'll talk about doing you will then press there's a button that you can't see which is on camera right right next to that lineup from f stop there's a black button you press that button the flash goes off hits that meter and it tells you here's the f stop that's the lightest coming out and if you set your camera those settings you get a perfect exporter every single time so the question is how do we get the ratios how do we know if the flash is bright enough for dark enough for whatever so the last one check that out flash percentage what what is that when you take a meter reading this little percentage pops in and it goes forty percent or eighty percent or twenty percent and I used to look at that now is go what does that mean because I used to do the math I used to go all of that if the backgrounds f ate I need to be a death eleven to be one stop you know and it's complicated but what this does is when you take a flash meter reading with the psychotic l three fifty eight the best lightning on planet retails for one forty forty nine ninety nine um when you take a meter reading it does something really cool as that flashes coming to it it quickly reads the ambient light that already exists then the flash hits it and it reads that and it does a calculation between the two for you it does the ratio and it says in this case it's a seventy percent on the screen right what it's saying is I have seventy percent flash I have thirty percent ambien which means three two one lighting whoa so when that's a seventy percent if I set my camera settings to those settings and take a picture my background will be darker than my subject and the shot look amazing that's how we do it says eighty percent it's for the one that says ninety percent it's five to one lighting so we just powered up and if it says sixty percent what do we do power the flash up it says seventy percent what do we do take a picture it looks awesome that's literally how we do it it's literally that simple does it work in every situation no because sometimes you'll be down here in the shade and it's very dark and it says seventy percent but the sky that's in the background of your shot super bright and the meter's just reading what's going on right here so we have a solution for that too which will talk but that's what makes the meter so great and that's how we're able to do things so fast is because it does all the mathematical thinking for us and we didn't think earlier but seventy percent on the three to one lady ratio that's a great starting point that's always where we want to start anew unless we know we want to do high drama immediately then we'll automatically power up until it reads eighty percent or ninety percent if you've got a ninety percent all your photos and look like saks exact part two

Class Description

Being a successful wedding photographer isn’t just about taking gorgeous shots, it’s about creating an incredible experience for your clients. If a bride feels great about the services you provide—from your first meeting to your wedding day demeanor to the final delivery of the album—then she’ll be a happy customer for life and recommend you to her vast network of friends and family.

Zach and Jody Gray not only produce beautiful photos, they take great pains to ensure that every aspect of the wedding day is well planned and executed. In this weekend course that includes actual shoots of a bride and groom, Zach and Jody cover all the components of wedding photography, everything from marketing your business to finding the perfect lighting sources to posing your subjects to picking the best shots.

By describing their humble beginnings and explaining how their modest start-up grew into a thriving business with clients across the country, Zach and Jody will inspire you to pursue your own wedding photography dreams.

In this class, you’ll learn how to:

  • Establish a strong connection with your clients.

  • Identify the essential gear you’ll need for your shoots.

  • Use light rigs when natural light is unavailable.

  • Understand lighting ratios, strobe lighting, clamshell lighting and more.

  • Figure out which lenses to use for each part of the day.

  • Build up your network and attract more clients.

  • Market your business with your website, sales calls and word of mouth.

  • Review your images and find the best shots.