Wedding Photography Weekend

Lesson 23 of 49

Strobe Lighting Examples

 

Wedding Photography Weekend

Lesson 23 of 49

Strobe Lighting Examples

 

Lesson Info

Strobe Lighting Examples

you'll carry on and we'll talk about how we use this strobe practically threw out a wedding day yes so um we're going to talk through some different images as well and show you guys sort of some of the practical ways that we use it why we used it so this right here was a great example and like we mentioned before maybe ten to twenty percent of our portrait shots are done with the big off camera like that we've been talking about so this situation right here we're with this bride shooting a bridal session and it was freezing out and cold and snowing and we only wanted to go out very temporarily because it was snowing and cold out so we shot most of her portrait's inside her house and a lot of target would be going on well if there's not a beautiful window I'm screwed you know what I'm gonna do so this is actually shot in her living room that's their tv cabinet behind her and they had some interesting lights shooting on that so we took up the off camera light stuck it way to one side and...

sort of short let this bride like this very rim let her and also we get a beautiful portrait just sitting right inside the house and we did that same procedure we darken the background by one stop filled in with that flash boom also we have a great exposure so this next shot is actually another wedding january eighth on my birthday this is erin and paul and same situation it was freezing outside really snowing so I didn't want her bride freezing all day so this was actually in the lobby of the hotel yeah we're inside the lobby and it was a very some of it was cool but there was busy and we found this one little spot where she could sit down but the background wasn't very amazing so we got in close we let her as you can see from camera left and then we actually threw a little five eighty in the background to kind of backlight her pulled in really close boom we create this beautiful portrait image of her and notice that giant catch light in your eyes guess how close the soft box was super close so he moved in and really really close to get that beautiful soft light and did this indoors so you can see how simple and easy this process is this next one this is ah one of our favorites we were shooting in this beautiful courtyard and we have this beautiful son she was in the shade in this open chain we could see this guy but she was standing in the shade we have this nice vignette of trees kind of around her and then this beautiful sky hitting this beautiful building where they were getting married at this place so we did that same technique where I looked up into the sky with my camera under exposed by one stop turn my flash up until it matched that exposure on my camera put on the sixteen to thirty five boom and this bride said I want some like fashion he looking shots can you do that we're like sure and sure enough she posed it up for us and this is it on the wedding day of the bride we probably shot photos over for ten or twelve minutes and this was one of them another example here wedding day strobe usage sometimes you can get into an area where there's no light whatsoever and you can simply turn the strobe on even if it says one hundred percent on the meter it's totally fine and if you pull back slightly especially on a cool reflective surface like this we get this great vignette right because that's where the flash is sort of trailing off to the side so we same thing here and this was a super skinny model looking bride so we've glamour let her straight on as you can see and because there was no ambient light if we let her from the side she'd have a sliver of light everything else would be completely black because there was no fill light at all so he purposely led her straight on she can handle because she was skinny and pretty she's done some modeling for us since then actually and bam we get this really really awesome shot something really cool to ism you know now we have our bride let you have the beautiful blue skies and we're even pulling in the scene because something interesting that you have to keep in mind when shooting on a strobe you do not get to pick your aperture the meter tells you what appetizer you're shooting at so now you can no longer make the background just fade and be all soft you have to shoot it at eight or whatever and so your composition now becomes all the more important so how you're lining things up in the head space you know you don't want to put in an awkward situation so it's making now composition becomes all the more important ways questions sort of during the break to with with our live audience I'm talking about stop that you have to be forced to shoot at if it's bright outside your f stop is gonna be pretty high faa eleven f sixteen in the in the middle of the day if it's late in the day you can shoot it at two and there are ways around that and we'll kind of show you that later with a neutral density filter that we had done earlier which is basically just putting sunglasses on your camera to manipulate the aperture but a lot of the times we're not messing with that that's too much to think about it a wedding's we're just shooting at like in this case we're probably at half ten and here on the super's hot stephen and scarlet wedding one of our favorite weddings of all time these guys were just a joy to work with amazing wedding beautiful day and as you can see scarlett's total rockstar so she's posing it up for me and we went out this was like as you can see the sun is actually to the top right of the of the frame there it was right out at this time of the day we were shooting it probably eleven I used a bit of a longer lens offer some shots later on which still gives you a bit of a compression but the background is still super and focus but we can create these really dynamic beautiful images right on location also shooting indoors um we talked about this what if there's hardly any ambient light what do you do shoot your lowers power setting and slowed the shutter speed down until you drag in some of that background light so that's what I did for this shot we set the camera with a flash ofthe two camera right shot the light in which is a really cool spot we picked this really cool when no in the venue we were shooting in and I slowed my shutter speed down I think a fifteenth of a second to drag that background light because it was just some window light from another window so it's very very dark light so you saw yesterday than natural lip portrait that we take pride so you know we're out there shooting natural shots finding good light were lights reflecting and open shade and all this great stuff and then we'll bust out of strobe and get some cool shots like this and so we do this as well for the bridal parties so for the bridesmaids and for the group in we'll do a shot maybe with a stroke at least one sometimes tio feeling better how much time we have so here's a great example you know this is that wall you saw earlier with the other bride on this is kind of a popular spot in nashville so we shot against the same wall because we know the light looks really cool when it bounces off that ten I like shooting off reflective surfaces like that and we got them all in a candid moment looking at each other smiling and boom we're able to get a great candid moment same thing here this is a wedding we shot for photo vision what was our bribe a just followed us and this is a great uh you know a super bright time of the day it was like two o'clock in the afternoon the worst time to try to get a group shot of everyone and beautiful light but we have beautiful light that we brought with us so why not just use that so we got them all looking up at the camera boom when we take this really stellar point did you have a question yeah light because it looks like it's right behind you are right and like center is it or do you have two lights going honor and this shot the lightness glamour lighting all of them straight on okay so it's it's just a camera left at this point right over the top of my head literally like I'm ducking underneath it to take the shot and then the sun is coming in from the background lighting that lighting them from the back and that's typically what we'll do for outside on location as well put the sun to their back or forty five degrees to their back we don't want that trick with the sun and using the sun as a secondary light is just don't let it hit the nose when the sun hits the nose it's too close toe their face if it's hitting them in the shoulder in the back of their hair or straight behind them perfect so forty five degrees over their shoulder or straight back usually to go to same thing here with this groom and you notice the background line on the left image it's kind of lighting the side of his face but it's not hitting his nose so and again forty five degree lighting him on the left shot because he looks really tough masculine it gets that sort of three d effect look looks photoshopping like if you look at his face it looks like I went in and did some things but it's just that lighting bouncing off his chiseled chin this's just on location we happen to have a little bit of light it was actually pouring rain uh for that wedding up until that moment we've got some really still report to the groom and then even trying to incorporate something from their wedding if we can into us and let shop they got married at the country music hall of fame so this is a great quote from dolly parton's I set the groom up course what did I do I forty five degree let him because it looks really masculine frame that so that you could see that quote from dolly parton so you knew he was at the hall of fame boom got and this is the lighting that day was horrible this was like the only place we could stick him away that he was in the shade and put that light up and we got this great shot this is actually an interesting technique here too this is uh scarlett stevens wedding again man they're so they're so awesome we just have to keep showing him um scarlett love stephen dot com go check it out but here he was deep in kind of the woods here and when I let him just him this uh these leaves to camera right we're in complete shade so they were just kind of a blob and I didn't like that so what I did was I had my assistant turned the light so it hit him and the trees at the same time and gave me some shape and dimension on those on those leaves you may have noticed that shot of scarlett's steven in the field to the grass in front of them was lit up I purposely had our assistant tilt the flash down a little more than I normally allow in orderto light up the ground in front of them to give it more depth and texture so that's a little trick sometimes we use here's a really cool shot that I love that we did of our january wedding that we had last january um we're all the groom's man it was a winter wedding they got their cool coats on we went this tunnel and all the sudden it's like you're thinking about lighting one two three four five six seven people at once with one light how do you get all their faces exposed properly it's a very simple trick as you can see the camera or the flashes to camera left and all you have to do is the guy standing just to the right of the groom are sorry are right his left um nothing you know his name and I don't know his name but you simply point the can't flash two thirds of the way through the crowd furthest away so the flashes to look camera left and it's pointing at the guy just to the left of the group or to camera right the guy's second from camera right and when you do that it's called feathering the light source and what happens is you can even like evenly lit exposure across all their faces I didn't dodger burning either faces so that gives you that even lighting across all of them demonstrate that really quick with yeah I don't know if we can show our student point back and show pullback of show the students faces here so if I was going to shoot these three ladies right here these gorgeous ladies and I wanted a light them straight on and be easy because they're all evenly lit they're on the same plane as my light source so my light's gonna come out and for the most part it's say it was f ate it would be faa faa faa across all their faces from right here easy to do and by f ate he means when you set your camera to f eight that's the perfect expression but as soon as I put the flash over here maybe I want I don't want to glamour like jamal I wantto loop like them all so I moved in a flash over here what's gonna happen well the light's gonna hit her first blow her face out and by the time the light gets to you you're gonna be dark especially if the light's very close to you remember light and clothes falls off fast it's very close to you it's gonna get dark very quick so one option could be I can run across the street and because I'm way over there with my flash by the time it gets to you guys it'll kind of evenly like you well that's not very practical and not a good use of power and the light source is really small samwise hours getting contrast he's so instead my feather the light source which is I simply turn it two thirds of the way through the group which would be I pointed right here so as soon as I do that what happens look the flashes even pointing at you the more but the spill of this flash is still going to hit her and now it's pointing mostly at you so you're going to get the brunt of it but you're further away so it won't be as bright and you're getting kind of the mid range so you're all going to now evenly get lit and in the studio they have a monitor lamp on and they kind of go all evenly lit or they'll go meter meter they'll keep clicking the meter off to make sure it all says f ate or whatever the readings supposed to be but if you simply use that rule appointed two thirds the way through the group you get a perfect shot almost every time so when we're shooting families we got all the family lined up and I got the flash off the one side cause I don't want it in my way I have my assistant point of two thirds of the way through the group towards the long end take a shot I just double check it and you can see clearly all their faces or evenly lit I would do it at the wouldn't it be a little bit higher tonight you know the incorrect would not me on there unless I was shooting indoors and didn't want the light spilling somewhere else most of time it's all way only use it very rarely foreign north this great goods what somebody fired you use for that size of crowd is that safe enough to do I mean ideally we could do a bigger soft box awesome but we take this one soft backed by thirty and as you can see every shot you're looking at us from that exact same clocks every single image so here again all the groomsmen were hanging out in this hideously ugly upstairs place but they had some cool windows so let's put him against the windows I'm going to slow my shutter down until that light starts to creep through as you can see creating that cool hayes and I glamour lick them all because I couldn't move the flashes you can see you can see both sides of the wall there was no way to move the light inside so I glamour little mall but because we have that sort of like creeping around that adds a cool effect and they all look like rock stars here we love to use the skies the back as a background so if you have an open sky this is actually the direct sun behind them this is back when we used to use like a thousand watt light which we don't use anymore but the other thing you can do is take out layers of diffusion it makes it more contrast in the light source but it gives you more power so we shot these guys this actually ended up in the album so we shot these guys all seven of ems straight on with the life but I moved to the side and when you do that it creates a highlight and shadow just because you see the shadow area and we were able to tame down that sky looked really cool in black and white I thought like that so and this is a great trick to do too you just get down really low and you just see this guy so little did you know they're standing in field and right next to them is this big like plantation house but you have no idea because just like how is that framed the shot yes I do that quite a bit with the groom the groomsmen here's another cool example of um shooting groomsmen that are tricky you know this was a situation where the groom came out we knew him already but the groomsmen got there I realized he's about six to eight inches shorter than every groomsmen so he's like this little like and he's cool guys got the cool glasses he's kind of fifties you know about these other guys are these big huge guys and I'm like I'm going to make him look like the groom the dominant guy because he doesn't want to be the pip squeak and everything you know and I'm sure he has been because these were his best friends so I said how can we make him look like the man without you realizing he's actually shorter so what I did was I put the flash up just where it should have been actually glamour let them which is the easiest thing to do with a bunch of guys you know shooting straight on but then just make sure you get a cool angle on them so they look cool and I had the groom get closer to the camera which makes him obviously get way bigger and get down low so he's supposed to be lower right because he's crouching so in your head you look at it and you go well he's supposed to be lower than them but then he's close to the camera so he looks bigger and then they're all standing up and they are big guys but then everyone looks masculine but he looks like the domine that person in the shot and this is course one of their favorites and one of my favorites from that and we had until his chin up a little bit into the light because remember we have guys standing and you have been crouching yeah so this is a good example to he was probably two and a half feet lower from the soft box and the other guys but tilted chin up a little bit he's got a little bit more defined lines because the shadows air longer on his face but it still looks really really cool you can see how versatile that this soft boxes it's incredible this is a wedding we shot uh at this is it right outside this sturmer horn symphony center a great venue took all the groomsmen out and have a really impressive building I purposely put the minutes um shade that's a usually might go to if you're shooting into the sky and the sun is coming straight down like that on you know you could notice right behind him there's a direct sun you can see that they're standing the shade of a tree you can see the tree line I don't want my clients looking straight at the sun we're having like to deal with because you khun have them look right at the sun and then overpowered with the flash and then dark in the background still but then they're like glaring into the sun and that's not cool so we usually try to throw him in some quick shade and this was like one o'clock in the afternoon believe it or not but we got this really dynamic shot in the city and the skyline and all the cool and you look at this and you think it's photoshopped but it's not and that's why I was saying you know the look of these images are all achieved in camera have to be honest until day before yesterday we had photo shop cs too finally bought cs five because we needed upgrade so I can create put text over images for something I was right so here's another shot with a bunch of groomsmen again using that kind of dominating put the front guy down low but this is something again called layering um where if you if I stood up and took a shot there just standing in a field you know some trees in the background when I got low you eliminate the horizon line you don't see you know everything else in the background all you see is the sky them because the camera's solo this is what the twenty four to seventy twenty four millimeters now these little blades of grass which are about this big look like these giant you know stocks of grass or something it looks really cool so you've got this foreground elements we've got them on the second layer and then the sky and it looks like they're standing on the edge of the planet it looks really cool and it's all just done shot right in camera I didn't insert them or take anything out or clone anything nothing like that another shot trying to incorporate action you wanna talk about something to keep in mind is one with strobes you can't shoot us fast how you normally do when you're used to shooting with ambient light because your stroke fires and it needs a second or two to recharge you can't shoot us fast but then the other problem is you can't just tell your client all right let's run across this field and I'm just going to shoot you with the strobe no because right here is where you are meter this's where light is exposure from here to here with strobe could be night and day so they have to pretty much sin here and oftentimes I get our workshops too we'll have um our attendees the model be appear and they're like okay now squat down and they take a shot like third dark what's wrong with my camera the flash well you meter right here for the face and now you brought them all the way down there so your subjects that you're shooting they don't really have a lot of room to move so how we grab this shot didn't a couple little tricks is we actually had them make we meet her this area then we had them run by a couple times so when they got to that area snap right study in you know make sure when you get right here you guys there you know excited and then so just kind of doing those little tricks are feeling out things to say to clients to get them to engage in have real moments when they're stuck right in the situation we've got a lot of clients come in and go I want candid photos like that and I'm like that's not candy totally set that up you know but they're like but the emotion between the two of them israel because they were having fun running hanging out together and having a ball had just got married so this it's cool you know same thing here you know an awesome wedding with blake and andrea hey had this very expensive car that a friend his own a bentley and he was dying to get a picture with it so this is actually four o'clock in the afternoon leave it on someone I was still coming through pretty bright but we've tamed it down for the one lighting knock down that sky and got a really really cool dramatic shot of the two of them really cool same thing here using the uh environment to vignette your image nap images naturally I'm not a really big fan of vignette ing photos that much for the most part especially their sky in the shot but if you can use a lot of times I'll look around and go oh there's these two trees and there's this open spot a sky let's put their heads or their bodies right in that opens father sky like them and then those trees will create this cool natural been yet which I really really love you so here's a shot of sunnyvale way shot their wedding um this fall and I'm super great couple and we love this is where they got married so we wanted to incorporate that in the shot so we set up our strode powered it up it will reach seventy and we tweaked until it looked like how we wanted teo and lola anything that you could do again to incorporate something that they care about and this is the altar they got married on you know so this is very important to them so let's do a beautiful portrait of the two of them standing on the altar same thing here these guys got married in miami beach um awesome wedding and we had shot a bunch of natural portrait's a bunch of fun stuff our flash and falling over at one point we thought it was destroyed and broken but it sort of came back to life in a couple hours later somehow it was the old bag amon a heavy one and uh so we set it up on the beach is a sun sun was going down and we grab this really cool portrait of the wind blowing you know through there through their hair and getting this really fun image of the sky in the background you know that's the sky has sort of his blue tone at this the sun as it's starting to go down gets cooler and cooler and cooler temperatures so the temperature of the sky could be seventy five hundred eighty five hundred ninety five hundred calvin well the flash comes out of the same all the time about fifty five hundred calvin which is a more orangy color compared tto eighty five hundred so as that sun starts to set you can start to get a bit of a cool their sky the cool thing about ellen chromosome they actually have some adaptors that you can stick in there that changed the color temperature of the flashes it comes out so you can stick one in all this and it goes from fifty five to sixty five hundred kalman and the sky's gonna get richer warmer while we're talking about color yesterday we were using custom white balance because we were shooting a naturally when you're shooting with strobes you just simply set your white balance to the little lightning bulb which is its hold your camera that you're shooting on flash so if your flashes your dominant light source the white balance you just said it to you don't it's a custom white balance you can just set it right they're gonna have consistent color this comes out it exactly fifty six hundred fifty calvin all the time so it's very very accurate culture so we just wanted to show you a shot of we will use the strobe for family portrait at a wedding if we don't have beautiful light outside and we'll go ahead and use it inside so we use that south box and this is just an example of a low power setting make sure the backgrounds one stop on the exposed boom family looks off we'll talk through it so now we want to talk really quick about adding a kicker light which is really fun and then we're gonna take a good chunk of human aid coming up which I'm really excited about keeping questions rolling in so we want to talk about adding a speed light from drama if we have a day where it's not so bright or it's later in the day we can add a low powered light like a speed light which let me grab it really fast and drag it over here so we will literally take this bad boy we got it on a little stand or we have it on if littlefoot stand so it can go on the ground and we have a little trigger set up to it and we can fire it off in the background and that's a really dramatic effects to it so you can see in this shot right here on the screen we got our soft box off to camera left but then right behind them on camera right you see our little flashback there you see it and it's got this orange gel on it which is going to add this really cool orange effect of that background light so it was later in the day it is you can see it's still a really bright sky and when we exposed for their faces behind the scene shot shot by my wife's mom parable a dot com just getting everybody's got so anyway way knock down the ambient light and then we turn on that back on flash and it's we don't do a lot we could go back there and meter it get complicated but all we do is we turn it up until we can see it and make sure it's not over exposing anything and when we do that we get shots like this really really cools we framing up to get this great sky you can see all that orange light sort of shooting around them that wouldn't be there without that five eighty as a lot of drama and dynamic and there's no math calculations that you have to do it's just super simple you just kind of throw it in there and watch your blinky is if things aren't flashing in the background it's not it's fine it's it's not it's not too bright and if you can see it it's bright enough we keep the orange gel on it to make it look a little more orangy s so here's some of us building a little shot I walked outside and I turned on the five eighty flash at full power and I set my exposure in my camera so the background was one stop under exposed from the sky from where I was going to shoot into and we'll talk through that process later starting that process so I fired a quick shot just to make sure the flash had enough juice to shoot through and as you can see plenty of power so then I didn't like the position of it so I moved it slightly and I went oh that looks a little cooler shooting those shadows on the wall like that and then we thought all right let's put the bride in front and light her so he did that so the flash would be right behind her through that gate and that this shot of course it's not on so here's the shot with no flash in the background just the foreground flashing us knocking down the ambient light pretty heavily now we add the flash in the background and boom that kind of makes sense pretty simple in the position of its out also really simple we keep it far enough away from her toe where it's not remember light in close gets dark fast so if it's really close to her it's going to be super bright and then dark so we move it five six eight feet away from her so it sort of spreads the light out I don't mind the background light being small in contrast the front light we want soft beautiful background light small in contrast so you can sort of see that sequence of building that image boom boom boom and all of a sudden we got the light and we can fire a way and we get really dramatic shots so here's one more we're going to build for you guys so this is the final that's a final image for a room and here is sort of how we built into this image so the first shot this is the ambience is us under exposing the background by one stop so as you can see looks like crap pretty terrible and then the next shot what we've done is now we have our stroke and set up our strobe wanted a forty five degree light on you know you get that little diamond on the eye guys always look cooler with forty five degree light um and then were like could be slightly cooler so then we decide we're gonna add a flash in the back and we hit it right behind his leg and most people wouldn't notice that they just think oh that looks cool it's got that texture in the background just add some depth and stuff to it so now we've got this cool dramatic shot of the groom final result looks really really cool question or is it facing you it's actually pointing straight up any time we're in a tight little space like that are putting in a door frame I pointed straight up because I wanted to light sort of the archways and then some of the light will spill over and hit them another question yeah it's just sitting straight on the ground the flashes usually come with that little foot so use that pointed straight up and uh you have five days and four thirties to you is there a difference of twenty use it's just the way we use that for thirty usually for reception background light because we don't need a lot of power and cheaper it doesn't cost as much of the five eighty we use the five eighties when we need a little more power because the four thirty has a twenty or thirty wants less of power from the five eighteen so here's one more bride and groom final shot as you can see we have the main light on the front we've knocked down the ambient light and then we have that flash sitting on the ground right behind them pointing straight up into the trees to add this sort of warm uh light over the top of them so very very cool

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.


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