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Lesson Info

Putting it All Together

Let's get into the budget. Motel shot now sometimes. Okay, Sometimes we get hired and we shoot in areas that are not aesthetically that pleasant sometimes. And so we get a situation, and, Oh, here. The groom's getting ready. Here. Why? Oh, I got to shoot something in there. What? What could I do to create a shot with impact with Sam shooting the group? Uh, any time anywhere. And I could pull it off very quickly. What type of shot could I do? And what I'm going to talk about now is eliminating the ambient light. Okay, so where's my camera? So let's say we're in here, okay? Is there a setting that we could that I could put on my camera if I take a photo even in this kind of light here, that basically my back of my screen would still be dark. All right. Is there Is there a setting that we could use? For example, we can try it. I know these lights are kind of bright, but usually when I demonstrate this, I like to set my camera at F 11. I s 0 100 Let's see if I did this or else Yeah. Okay. ...

So I'm gonna set my camera at F 11. I s 0 100 shutter speed 1 25 and that if I take a shot, it should be pretty dark in here. So, Neil, if I could get you, Teoh kind of just straddled his chair. And let's just do a test shot, okay? We're just stand up. You don't even strap. Just stand right here, okay? I'm going to see there's a lot of, like going on here, but I want to see Move up closer. Yeah. Okay, so if I shoot at F 11 hopefully my flashes won't go off. Okay? I took a shot, and it looks completely black, right? So what did I just do? I created a black box. There's no light. I my f stop is so high. My eye is so is so low. And I've made my sensors desensitized it to light that this ambient light is not affecting the light. It all. So guess what. I am in full control right now. I am only going to allow you to see what I want you to see. So if I give him f 11 worth a light, you're only going to see him. Isn't this great? When you're in this budget motel situation, all you can do is shoot him and nothing else in the room. And if you add more than one flash to give it some off, it might look pretty terrific. You want to try it? Yes. OK, so let's have Neil stand here and let's use two flashes. Now. This is great. We're going to shoot at F 11. Okay? At six feet. What does it say? Oh, you have the card, huh? Shoot. Wait. I brought those cards. What did I do with them? Ok, well, anyways, I'll look at the side of my flash because it happens to be right here. But I haven't memorized. Anyways, if you're at six feet what? My flashback on the chart. It says that I should be at half power. Okay, at six feet. Okay. So if I decide that I want to go three feet half the distance, what should I put my flash power to two stops, right? So one stop would be 1/4 power. Another stop would be eighth power. Do you understand that? So I'm going to set one flash at eight Power. Someone want to be my assistant and hold this. Yes. Oh, right here. Okay, sorry. Okay, three feet away. Right here. Can someone hold this right there and then we're going to get another flash at eighth power. And who? Who else can help me? But this is a power. Yeah. Okay. We're gonna hold that right here. So you're gonna look this way, Okay? Right. And you're gonna move in a little bit. I like to turn the lights sideways. Why do you think that IHS turning the lights sideways? Because I can I can show more of his his body this way. Right. So if I turn it this way, the light would be just on top. But if I turn it sideways and I would get more of his body, is that correct? OK, so, Neil, you're gonna look this way. You're gonna look that way towards that light, and then you're gonna pop your hip relaxed. Just put all your weight on one leg. Exaggerated. It doesn't matter. That looks cool. Okay, well, yeah, we'll go with that, just like there. Ok, so we're gonna do here, close your eyes. We're gonna do a test to see if Close your eyes and see if that works. Okay? You're gonna move it a little bit closer and behind a bit more. Okay, I'm shooting at F 11. All right, so this should come up on string any time and okay, One shot. We've eliminated the ambient light, and we can get sort of this cool. Now. I should I didn't really concentrate. I would maybe turn his nose a little bit more, but that I could do that anywhere. Could I not do that in China? Could I not do that in Paris? Could I not do that right? I'm eliminating the ambient light and shadow. Bam. I created that awesome look like that one. Shocked. Okay, so let's do this same thing. But let's just do some variations on this, okay? So let's have you look Mawr, turn your face this way a bit. Turn your body this way a bit. Okay? Turn your face this way. Bit. Yeah. Good. Actually, turn your by. Um, no. The other way. Yeah, that's it. Turn your face this way. Right there. Yeah, I love that right there. Okay. So we're gonna what? We're gonna do is light him up with the main right here. Okay? Now this back flash, we can do anything we want with it. Right? Because what I said was, as long as the main is correct, the back is for kicker. It's for fun. It's for whatever, right? So even if we put a gel on that and turned it toe half power, who knows what's gonna happen? But let's find out. Let's just have fun and experiment. I know. See, that looks pretty correct. Right on his face at three feet. That's pretty close to the right exposure. And let's just have fun with this other flash. So where's my goodies? So I'm gonna go here and get a gel, and let's just for the heck of it, put on orange gel on there and see what happens. We will put it. Ah. Where's that flash at? Oh, shoot. Use the wrong one. Um, okay, well, I didn't bring my other flashes that could get some gaffer tape around here. I'm sure to do somewhere right. They got, like, tons of rolls over there somewhere. There we go. Ok, perfect. All right. Do I like this stuff? Paper well, and you're just you're just using that Gaff tape to attack. Hold it. I have this special plastic thing that I use. Uh, I brought the wrong flashes out. Shame on me. Okay, so this is the orange jail. Don't ask me what particular one it is. It looks kind of or just reddish. Whatever, right? We're just having fun here. So let's put it at let's just started at eighth Power and see what we get. And you're gonna go behind, okay? And then we'll just start experimenting. Will line up the light. Now, what I asked the subject is is Is that light pointing towards your nose yet? Yeah. Turn your face right about there. Okay. Perfect. Now, now, direct it like See, the subject knows exactly where that light iss. I can't. So I always ask the subject. And they lined it up perfectly for me. Okay, Great. And so let's now that's three feet further away. So once you move in closer, a bit and back a bit, Okay. Now with your eyes, Neil, look at me. You could move in. That's a good one to let me try to get taller. So Nothing went off, right? Wait, hold on. Sorry. Back off. I didn't have this screwed down, so hopefully this little off again. One to do it. All right, So this will give you a different effect, and I actually will going to modify this light, okay? I don't like all that light right on his face like that. I want a little bit more shadow. That's my field. So I'm gonna turn your face a little bit more this way, and I'm Instead of putting this light straight in front, I'm gonna move it off to the side. So I get a little bit more shadow there, and I'm gonna turn angle his face a bit more right there with your eyes. Look at me. And then let's just crank that up even more. Who cares, Right. Let's put it at half power and see what happens. And so this is a lot of light coming through. I can We can change the jail if we want to. I don't know. We could just do whatever right? And that's even if different look here. So that backlight actually doesn't even matter. It's the fun part of being creative. So Let's do the same thing, cause I like that light on this face. Let's kind of you Can you go behind him and put the light right? Sign it right behind his head. So maybe we could get at whole glowing out line right there and see what happens if I could block it with my camera. Okay. Same thing. What? Okay, now, that sort of did it. But it's shining right? As next. I want more. See how he did that, right? Maura Bright at is, uh yeah. So that's actually what I like doing is having them sit down. Because usually people are taller than me is easier. Okay, let's try it again. Now we're going to do, kind of Actually, that's cool. Let's do kind of some side lighting. Yeah, I would just kind of do it. So it's like half of his face is in shadow and see what it looks like. All right, that's cool. So, anyways, see how we can create different effects, whatever we want to do. Ah, and that backlight is you can position it different ways. Uh, and you can It's good. Great to move the light. So let's do a totally ah, side shots will turn your face sideways again. Yeah, do that and turn your safe sideways. And let's put this light kind of behind. Okay. So, yeah, so it's kind of like it outline around him. So if we don't have any of the light in front of them, what's gonna happen is is we're gonna create an outline behind him. Okay? We're just having fun at this point, all right? And that's what you should do is that you should go home, get ah, couple get a model and some assistance and have fun and figure out your own signature One shot, um, formulas. And so we're having fun. And then if we stumble across something that we like your write everything down half hour there half hour, three feet away, and you could duplicated anywhere. If the ambient light is eliminated at F 11 that shot will work anywhere in the world. You get it, and you can do it in one shot. And I guarantee you, if you take a groom and you do that shot and you do it in one shot and you're in, you know the budget motel and it looks bright like this, and you shall all here. I Just when I got there gonna think you're the greatest photographer in the world. They're going to bow down and worship you. You might even get a better tip out of the deal. So that's what we're doing. We're having fun and create. Okay, so let's do that. Let's try to create an outline. Okay? So you're going to go behind the lights. Gonna be a lot behind him, turned sideways so I could get his profile there, and then we'll position the flash so we can kind of create that outlined. Oh, that's pretty cool in the first shot. Okay, now, what happens if I did this? What happens if I created blue on his face and orange on the using complementary colors? That's what I like to use a lot of times that you guys interested and see what that looks like. Let's do it right. This could be a formula, actually. I mean, I did that for the first time. I did. Just, like, came up with the idea. Let's let's try this. So this is Oh, shoot. Oh, Well, okay. More gaffer state. Perfect. I'm sorry. Okay. I'm just taping this on basically because I forgot to bring my other flashes. Now, stay in that same position. We're going to do that same thing and will be blue light and orange light. Very cool. So, whatever. I mean, that might look great, but we're having fun here. Were just experimenting with shells and lights and doing a bunch of stuff.