Advanced Flash Photography: OnSet with Daniel Norton

let me know we could use a strip back whoever's easier just something throw some light on are we live on YouTube but not Facebook so I'm gonna give all the secrets now oh I was gonna drop off some Facebook didn't get anything all right so we're live guys welcome to on set I'm Daniel Norton this is Dave we have Dilma bill ma middle MA over here is our model she's a a ham so get ready for that and set on the mighty mixer over there so if you guys don't know we stream these now when I would do them so on Facebook and YouTube simultaneously so you could watch it either one are those places if you didn't want to come in or you couldn't come in you were on a date right maybe you're getting married maybe you're I don't know if where else would you meet at the movies you can watch from there anyways you can be the gym that's a good idea yeah but did you just go to the gym after that's no excuse not to come here that doesn't depend if you're gonna go to the gym go to the gym after you come in they could stream you the trim though so if you want to start streaming at the gym please do that I'm sure people at the gym were very interested in this anyways this is advanced splash so you've been promoted if you didn't come to base a class last week you can you just got promoted anyways so it's like the modern school system we just write it mix it a little so we're going to talk about using the flash a little bit more we're not gonna I mean we'll create some photos here but we're gonna talk more about the technical of like what we're doing and kind of how to create some different effects I just want to say because we've encountered this one we do our critique that sometimes people a my signal own no no that person that that's person I'm thinking of is not here no but sometimes people use the techniques but they don't really use it for a reason they just using it right so this isn't about like oh it's cool so we do it like I use gels or I use multi pop you find it find a place where it actually makes sense in your work and then these techniques will really shine I mean do them to learn them I suppose but but if you want to finish the photo like you can really get a finished photo you want to like come up with the concept that actually suits the tech we're gonna go through so that's my advice I gave at the beginning we I will try to say everything I'm using as I go but I often forget after the first minute right I never get through the whole thing right winters but if there's something I'm using you wanna know what it is please ask I will tell you I will answer your question right now yes you can do it with your stuff so yeah I mean I'm using the equipment that I use most equipment as long as it has the same general function will do the job you don't have to have the exact same camera the exact same lens to do a lot of these things so I'm using the the Hasselblad x1d with a 90 millimeter lens on it we are tethered into my MacBook so we're tethered which means that when we shoot our photos you'll be able to see them immediately this is super useful I recommend it whenever you're standing in front of a bunch people that are mi presenting or just in photo shoots in general when you might have a client there right because your computer screen is going to be really really accurate and it's going to show the client exactly what they're getting so if you're making a portrait you're making some product photography they can look right at it and then and you make it that clear to them you're looking at the photo now like so if you say you like it you like it right cuz you're this is in the back of the camera where you can't really tell this is the photo and we can even you're looking at RAW files we can make adjustments to them so being tethered is really useful the software I'm using is called focus which is specific to Hasselblad for tethering generally when we're not using a nasa blob we use a capture one so capture one is available I believe here Adorama if you like to buy it and you can also kinda tether into Lightroom but not really so yeah that's that so yeah we got the camera we got the model we're gonna do talk about flash so we're gonna get right into it so the main reason why I would suggest that you use flash as opposed to let's say available light or constant light sources which we will use a little bit today is control right flash by that's nature is very very powerful relative to constant light sources meaning that we can overpower and effectively remove the constant light from our space pretty simply with flash that gives us a lot of control once we can remove the light that's in the space then we can do whatever we want right of course it's also scary right because then it's all on you right because if I set this flash up and it looks terrible well exactly so that's why I have David do it anyways so we're gonna start off just by getting a basic exposure and kind of showing you how that's done again we have the hassle blood we're gonna set our camera so that none of the light and the space is going to affect our shot right this is a little bit basic I do this every time but I do it every time the way we're gonna do that is we're going to set our ISO at the lowest kind of normal ISO for our camera so within the normal range of ISO s in this case I believe it's 100 most cameras it's around 100 some cameras the basis is 200 with that person comes to every open shoot but most people that's 100 you know you may be able to go lower like I know I've got a Nikon 810 it goes too low zero which is ISO 3200 or something don't do that you want to be normal within the normal range or low within the normal range to say then you guys set your shutter speed at the maximum speed at which your camera syncs with the flash normally in this camera it's 2,000 of a second but that's not that common so I'm going to set it at 250 because that's kind of the more common place that people sink then the third factor is your aperture right we need to set our aperture what do we want to set our trap right you want to set your aperture so that the room is dark so you can use the meter in your camera as one way to do it to kind of figure out hey the room the meter says I should be shooting it at 4 so maybe I'll shoot at f/8 you know that kind stuff to make it darker or you can use a handheld light meter what I have here this is a sekonic l3o 8 X - u 5 6 4 3 8 nanometers okay it's not a it's not a Canon lens alright so anybody the Canon lens that you probably had thing alright so I'm gonna set it on ambient and basically I'm setting in my is on there set my shutter speed and we can see now I haven't taken reading it I shall do it first I'm gonna put it in front of where my subject would be typically you want to point at the lights but in this case is lights everywhere so I'm gonna point towards the camera I'm gonna get a base reading there okay so at 250th of a second that's all the leg that's in this room right point five of a stop so I could be almost anywhere really I mean you have to take into account dynamic range of your camera so I want to be underexposed right I'm gonna be crazy underexposed so that tells me that I can set it I don't know like around f56 and we'll take a shot right one of the advantages of being tethered is once we make a photo at 5.6 at 250th of a second at 100 ISO we can look at it right and we're not looking at the back of our screen we're looking at the computer so I can also check my Facebook so here I am and I'm gonna look at it I am going to quickly look at my exposure here the good little exposure did you do daddy oh it's already messed with the tourism I'm going to bring it up a bit to see if I start to see the photo you know how like if you underexposed photo sometimes and you're in Photoshop and you're like this was dark so you grab you little explosion slider to bring it up that's essentially what I'm doing and you can clearly see that even by bringing it up to full stops you don't see anything right she's not there which means that none of the light in the space is affecting my shot right I know I haven't done the flash yet at all right I'm getting there so basically I can I have two stops at least to move around as far as my exposure and the reason why it's important to give yourself enough space there is because even later on you might want to go in Photoshop and tweak it a little bit or whatever and you want to give yourself some space so that you're not gonna bring up the ambient light in your shadows so now that we're there the next step is to get a flash exposure so again you might be thinking hey hey that that's really dark so why am I here mm-hmm I'll explain so we've got our flash did we decide this use a bare head okay that's fine an umbrella okay so we have an umbrella this is the Profoto b1 X it's a mono light battery-powered mono light that's a Glo umbrella it doesn't actually glow I'm not quite sure why they call it that maybe the light glows when they know it's definitely decent-sized umbrella I actually have this backwards Dave had it the right way oh as always all right so we're gonna shove the umbrella into the the umbrella area and we're gonna basically light her up now I could lighter anyway which way that I want but an umbrella is a nice good tool we can kind of point at her and get what we're gonna get yeah there you go that's close enough large light source this tripod is the somebody's asking online with tripod is this is the Manfrotto is zero five five pro I think it's the not carbon-fiber one this so I guess aluminum oh set to the video on these light meter so you can check it out on what Facebook turn on their on Facebook okay so we've got this set up this flash actually has in it something called TTL so TTL is through the lens metering right that means that the flash itself in conjunction with the camera can set its own exposure you know in theory so or I could use a light meter which I just used a minute ago you know there's a lot of different ways to do this since we're advanced let's use the light meter cuz it feels more advanced to have an extra piece of equipment right normally you want to wear this like on a cord around your neck yes he can like look you know you know like you know what you're doing alright so I'm gonna put this into a non cord flash mode which I do by going here all right I'm gonna set my 250 alright so here I am I'm set to go get some focus yes you can see I'm set to 50 it sets hold my hand except 250 want to dry so there we go okay 251 i dryer so I don't know my aperture yet cuz I'm reading the flash which of course has not fired right so we're gonna fire the flash yeah I'm gonna point that me nope you say don't worry I'm not dangerous yeah all right I'm getting five point six eight so almost FA now at this point if you were lazy you could just say well I'll just set the camera at that because I can't do more open than five six I couldn't go to like at four right cuz that we already know that that that might bring some light from the space in the shot but anywhere five six are better I could do but I like five six is a number it's like five six seven eight you know that kind of I think we're five six eight so we'll come down almost to stop Dave's gonna use the controller to do that or he's gonna walk over to it I guess I was gonna put it on the right channel yeah all right Dave's setting it on the right channel it currently is apparently your stuff has to be on the same channel for it to work I don't know what type of technology these days yep all right that's all set all right so I'm gonna again I'm gonna you moved all right okay five six - let's give a little s little mmm couple of them are no it's going down that shouldn't matter for the mineral power yeah your power is too low yeah yeah there you go five point six it's a five point six if you don't believe me I'm just gonna keep doing out of focus so you guys can't sell now in theory we have a correct exposure so now we can like take a break have lunch whatever double we'll take a shot we're gonna look at it right the meter is only gonna tell us what it thinks is the right exposure we gotta still evaluate it so let's take a peek make a photo of that question so far this parts pretty basic I guess 15 minutes from now someone's gonna ask me a question about what I'm doing right now so oh look at that alright thanks for coming every time right alright so there we go so that's a pretty decent shot her neck hurts you know she's lit up we're gonna go over here let's go to the white balance and said it okay what's it a six thousand she seems a little warm to me but I don't really care about that again I have a raw file so I can do it I want I'll leave it there all right now she's exposed right simple as that we can use multiple flashes we could one question we get a lot of so we'll do right now is how do I set up my second flash right Daniel I watch all these you said at the flash and then you like go away and you don't explain the rest of it right I lost YouTube I guess the Facebook people were this morning ones alright good there you go I'm sorry for bashing you Facebook all right so let's you let's add a second flash all right we're back on youtube welcome back YouTube so here I am this is the Profoto d2 this one is an AC powered lights like I plug it in lucky for me I have a place to plug it in right there although there's black tape over it for some reason I mean normally if you see a plug and it's covered you probably shouldn't use it but you know this is New York we do it one all right so I plug this in turn it on this is 3a I don't want to be a what do you where's that one B that's a okay I definitely want this would be Haven all right this is gonna be see I it should be B I guess be right yeah this is b3b try that nice alright okay so this is gonna give her a separation light all right so we wouldn't we're gonna we're gonna measure this light okay are you in your spot dolma is a mover you tell me if she moves right right does the model keep moving change the explosion yes it does model she keeps going back to the same place cuz she's a dancer and she knows where she stands she's very much aware of her space but yes one of the most sought-after traits of all things that when you're looking for a model is one that can stand in the same spot seems crazy but I'll tell you after shooting years and years of catalog the fact that like a third of the pictures are out of focus because the model keeps moving is a problem so yeah miles will stay in one spot are very useful okay so let's get a reading just of this light this is we're gonna wear to match them right I want it go I want this one to also read five point six that's how we're gonna start so I'm gonna take the meter and I'm going to point it at this light and Dave's gonna fire it to two point eight three so I need about almost two stops five six seven mommy's making up things don't worry about it five six there we go do now our lights are set evenly if you are learning and we are right it's a good idea to shoot each light separately to see if it looks like so let's just shoot that light because we can do that we have that power right indeed all right there we go perfect now our hair is lit now in Photoshop what you're going to do is take these two pictures and you're gonna stick them together no all right so this looks good right so if we're happy with what the hair looks like I think we are are we happy with the hair I'm asking you specifically yes okay good all right you seem like that you know a lot about hair yeah so this looks good what's that oh you want change the second curtain yeah you gotta do it the menu by the way this is the first time in my life I'm actually reading a menu of a manual you got to go into the menu well probably cuz we're tethered we can't do it yeah you got to go here so basically I'm changing to first curtain sync which we'll talk about in a minute I found rewritten because I felt like it there we go good all right so so basically I'll explain that now since I just did it when you fighter your flash you kind of have two options I'm sorry to sidetrack but since I just went off of course anyways because I'm usually dead on course always your flash can either fire at the beginning of the exposure or the end and why you would do one of the other we'll talk about it a little bit but that's what we just changed we're making it now fire at the beginning of the exposure I mean frankly at 250th of a second there's really not really a difference but if we like it at the beginning Dave likes to be proper okay so now both lights are up there both reading 5.6 independently if you want and if you're in a small space especially if you have low ceilings or whatever it's a good idea to remediate again just to make sure but we're not going to do that because Dave's already shooting picture because he's got elbows going and stuff and questions no all right boom all right perfect so now we've got two let's going on what's wrong here winter okay what she doesn't like to highlight on the side of her head why didn't we have that in the first picture that's right because her hand was enough right so we need to be aware I think I just alluded all those pictures so we need to yeah we hated those pictures they are gone now no these guys are give me a hard time is it so oh okay all right let's try it without the without your hand pushing your hair forward and we're gonna move the like is in the shot yeah it's flaring it's in the shot it's hitting her inside of the head now if we like that let's say winter was like no no no I like that it's hitting her in the back of the head like that all shiny but it's overexposed then we can just adjust our exposure but I think we don't like it at all and by we I mean me so we're gonna change that I didn't delete the pictures of course there we go yep all right we got a blink going on there the best part about being tethered is every single photo gets seen isn't the best all right so all right now she's got her hair lit up she gets some three dimensionality that all looks fine she's really close to the background so we're not lighting the background separately but we could you know the light though oh I have an a.1 yeah so I'm gonna no you're good I'm gonna walk around randomly you never have to get other way this is a pro photo 81 if you didn't know that it they stuck stickers all over it it's like you they obviously think somebody just uh I'm borrowing this from from Seth for a minute this is basically their little tiny light it works in the same system so if I just turn this bad boy on and I said it and forget it like Popeil all right all right good good this one makes one see now the reason why I'm making certain things certain letters is because I want to remember later on which light is which right if I just randomly pick up a light and go well that one will sit on F or Q or I'm gonna go there then I'm not gonna remember later right always my key light is a right always my separation lights are gonna be B and my background lights are see if I use ten lights in the background they're all gonna be seen you know usually so basically you want to have a system you can do it however you want if you want your key light to be see that's part but always do it the same is going to make your life a lot easier so we're just gonna do a quick shot so I'm gonna literally hold it in my hand yeah I don't think I'm in the shot when I do this right oh but I am blocking the hair light yeah I will zoom it cuz it's actually in the wide section you can zoom it by spinning it manually like this which I just did so when you zoom the head it changes the angle right the angle of coverage good thing Dave's here I'm gonna meet her it I was actually we juiced TTL for this one but let's not do that because it might be complicated although this is the advanced flash class so let's do that I know he's know Dave says not to change it no all right so yes that's true we shouldn't messing with it all right well I'm gonna meter this again we want five point six that's eight eight three so I need down to stop but five six and a half all right that's good all right so here I am holding the flash as always all right I know we've got a letter in the background right so now we were able to separate our lights right so basically we've got now once you have all three of your lights up now's when you'll want to make your final choice right I'm gonna look at this I'm gonna go huh is that hair light too subtle now or maybe it's too much is a key light properly exposed like we'll play it we want to play around with our overall exposure now that all three lights are set what we want them right don't spend a whole lot of time tweaking your lights until you get all of them in place because adding lights you're amazed how I got it right behind your head I know it's impressive so just pointed at the wall dude so basically now we're there right so we can tweak as we need I think this actually looks pretty good so I'm not going to but let's say we want a more air light let's just give it like half a stop or something so bring our hair light up I will never get a perfect again you know that he's looking at me like you're not gonna get it perfect then that's all gonna be funny my arms in the shot okay maybe my arm wants me in the shot all right there we go perfect as usual so there we go all right so we added a little bit all right now we added a little bit more hair light now she got a little except I did that actually does a little bit better doesn't it yeah there we go he's happy with it it's getting the front rows heckling me he doesn't give me a hard time all right so questions about that that's pretty it's it's not the most basic that was last week that's like how you set up your flash right meter each one separately get each one set the way you want it shoot them together make final adjustments make your final photo done right collect your check now question how do you position a sea sand so it doesn't fall down okay so basically are they calling out that this one's wrong okay so basically when using a c-stand by the way this is a c-stand I'll go into C stands for a second because even though because they has a lot to do with this so C stands got a couple of components here if this one's backwards I'm not gonna blast you with light yet so don't worry all right so when you have a c-stand I don't know much as you can see you got three legs right the long leg needs to go the weight of the light or whatever it needs to be over the long leg so in the case of right now which is in the center sit doesn't run matter I usually put it forward that's pretty much my standard position if you have something like an umbrella where the weight of it is away from your subject you're gonna put it that way right the weight should be over the long leg also the sandbag should be on this like even if the light is on this side the sandbag should be on this side that's how you do a see Stan when you're standing behind thank you nothing safe when you're standing behind the C stand as I often do it personally I put one foot up and on the hip right so you want to make sure all your little knobs are on on your left all your big knobs are on the right that means that everything's going the right direction there is a whole clockwise counterclockwise screw thing I don't know what it is but that's how you do it what that means is that when I bring my arm out if I don't tighten it down all the way the pressure of it moving will tighten it if you go the other way it will loosen it and then it'll fall and that'll be terrible nobody wants that sort of it's rental gear I mean have to be like oh no it was like that when I got it yeah you know which people do all right so that's how you use a c-stand that was a little segue to nothing all right so here we go let's talk about using some of the other functions in the black look we want to do let's mix it with the in with the environment I think that's something I started to do last week for some reason even though it wasn't basic and then we got off course so this is great right this is here you are actually if you're about to open a portrait studio you're done that's it go make money that's it that's all you need no but if you quit right so here we are I mean this works no matter what you want to be f11 do the exact same thing but at 11:00 right you you understand the concept but a lot of times we're gonna want to mix our flesh with other things whether those things be an environment like I happen to be on a location maybe I'm a wedding photographer or news photographer or shooting portraits on location for something right I'm shooting at your dance recital was how would you call it there's a sort of children theater yeah performance in the theater I don't know what's it called what would you cut okay good Sandman all right so let's say we're at Sandman which is a pretty decent bad guy for spider-man right he gets beat the same way every single time it's like put cement in there you're done right so anyways uh what that's basically Sandman so what you're probably talking about the evil creature the pacifica hey yes we're at the recital we want a shooter on the location maybe that's where we're at right wherever we are we're gonna want to mix our lights sometimes and the way that you do that is you have to kind of think of it as kind of two parts remember how I setup each one of these lights separately that's essentially what you're gonna do you're gonna set up your your camera exposure for the light in the space first right so let's say that we're here yeah I guess will be another imma why not we're in Adorama this is your performance you get to be here with me all right so here she is it's a bit of a downgrade after being on Broadway but yeah you're at right at around now we take whatever jobs weekend you're gonna look towards Dave because we like the front of your face so we want to make a photo in the space right if we were to shoot exactly the way we do right now we are right now that movie turn the flash off first didn't do it so at our settings our current settings 250 100 ISO f56 I'm gonna guess it's gonna be dark back there right yeah it's pretty dark what's that I will move the stand I notoriously putting stuff in front of the cameras that's why paparazzi can never find me all right so good all right now if you go into the theater show to shoot Sandman and you take this photo it's probably not gonna do very well right we want to see the space more so how are we gonna get that exposure we could open up our lines right now we might actually do that a little bit may well go to like f4 or something butch but see here you're in a space right when when we're shooting it's a plain background it was a very much a mechanical decision for me I only wanted to get rid of the light in the space because so I didn't really care of my aperture was on a lot of levels right it doesn't really matter to me I wasn't trying to anything fancy with us just do luminate in the space now I have you guys back there right maybe I don't want you to be super sharp maybe I want you to be really sharp I had to make that choice we're to say three two we're going to go more out of focus because people who love those little dots in the background when you have shallow depth-of-field a request for gels will do gels for short okay now we're at 3.2 we're getting a little bit of light back there it's still not that much so we have a couple of options we can either go higher on our iso or we can go faster slower i should say on our shutter speed or a little bit of both which is I think what we're gonna end up doing because ultimately we don't want to go too slow on the shutter because then she might be blur right so maybe we'll go to like a third year now she's pretty good at standing stills we found that so far right all right ah all right it's getting there right I mean she looks not great with the light but but the store is all we care about right now uh I think it's still a little dark where are we at now all right yeah Dave think so you can do it he's like I'm confident that she'll stay still what are you into 8th 15th wonder 15th of a second now I do advise when you're doing this part of it you don't need the person to be standing that when you're doing it so when you walk into the space do this first right don't get your actor waiting for you while you're doing I can do that because that's what she's here for it's a class but if you're gonna photograph somebody you don't want to get tired standing there while you figure out your light just shoot the space it doesn't really matter that's actually not too bad and we're noticing too that some of the lights we're very fortunate that we happen to have nice lights here for some reason I don't know why I'm a because we're gonna position but some of it's hitting her giving her a little bit of hair look for that right if you're in an office and there's like an overhead light you can position the subject to give you a little hair light action from it why not use it right it's there so we'll do that a little bit right we're getting a little bit of that in there but we also have to be cautious because it's hitting the side of her face right so make we want to make sure that she's not gonna get so much of that light on her face maybe just take step forward something big support good right we want to minimize that we want to get it on her hair but we don't want to get it on her face right she's a dancer she's gonna move around we know that right I mean if she were new she's gonna be very stiff then it's different movie no you're gonna move because you got a lot of energy she had a power bar before we started maybe shed power I really shouldn't know that okay good that's really good thanks for coming Gus you got okay so what do we have here the background is kind of interesting now we also have some choices to make here before we go any further with the flash do we like the color of the background right because the background is our camera right now is set to flash exposure white bounds I should say so the background is kind of a greeny Orange personally when I'm inside I like the backgrounds to go warm and it's my class so that's how we're gonna leave it but if you like the background to be more neutral than what you're gonna have to do is make sure that you wipe down to the background and then adjust your flash with gels which we could do as a separate thing we'll start this way so we have the flash and we're going to now light her with it right which is the umbrella yeah and we'll just move exactly so Dave's gonna move the light in kind of central right in this case we don't want the light to look too we don't want to look overly lit per se as far as we're gonna position our lights right we're shooting somebody in kind of a naturalistic way because we're show in the background so we're not going to go too crazy with the light we know that in an environment like this the lights gonna be kind of uh you know coming from above so we have the light slightly up we're gonna put it in front of her so we know it's relatively even honor and we'll just see what it looks like we can adjust from there but I think kind of this is like a giant on-camera flash kind of yeah I could hold it if you like yeah I'm all kinds of stuff over here all right so we're set at 15th of a second here we go boom 4.0 9 so almost 5 SEC's let me give me a tenth then we'll do it or just leave it Oh you're three do too much power that's right we opened up I'm so used to never changing the camera 4.03 288 so I think I do a little bit more three twos like two eight and a half I guess roughly yeah two eight six that should be good we'll try that all right so now we're matching the light right because we our cameras already set whenever you're using a flash we're gonna add we're going to adjust our flash to match whatever we're setting our camera right it makes sense oh yeah she looks very concerned there look less concerned the Sandman's coming alright so yeah so here we are this is a properly balanced exposure right she's got a bit of a hair light going on she's got flash making her properly exposed right and it doesn't look like too out of place we didn't go to nuts with the light right but keeping in mind that you know this is without the flash right that's what we did now someone's gonna say hey I just have a flash on my camera is it gonna be exactly the same no why yes the technique is the same but the flash on the camera is much smaller it's gonna be much more harsh this is a big old umbrella so keep that in mind if you want the light to look soft and nice you're gonna want to use a large light source which we we've gone over in a billing different classes so we're not getting too much of that but that's basically the concept that makes sense yeah uh what the power of the light you could do that right you could adjust the taste at this point right if you feel like she still looks a little too flashed then you could bring the power down a bit whatever I think these bushes looks fine though what I would like to do is see her move though all right there you go so they've dropped the exposure a tiny bit yeah so it's more natural for the space it looks a little bit less lit at this point I mean it's perfectly balanced now for the space so if you felt like it was a little bit dark or light or whatever you could basically adjust the whole thing this is probably where I would use ISO it's a simplest way to do it cuz if your gesture is so you know that nothing else is really gonna change so if we felt like let's say it was a little too bright we could give us a little bit less ISO or a little bit more that's usually where I would use that now we have that right what she's at a 15th or no 8th 15 and she's a dancer so maybe I want to make a little more interesting right maybe I want to make it a little bit more fun maybe I wanted to move a little bit and I know that a 15th of a second she'll likely pick up some blur from the lights right that's probably it happen so let's see what if you were to like yeah right yeah if you you could like flourish right right so she's flourishing all right all right well maybe not that but okay yes well probably the most obvious place that you're gonna see it is in your hair so maybe you could do something like okay yes how's that good okay almost a hairpin trigger we'll try it again okay what we could see even with her moving and you can see she's flourishing quite a bit at a 15th it's blurry right we can see it it's blurry there you see you can actually see the line where the flash is hitting her and not the ambient light see that so we don't have a whole lot of ambient light hitting her to be honest with you it's all behind her so that's interesting right that would mean that means that she's not going to really it in order to get movement we need to move what's lit the simplest way to do that might be to move the camera right because if we move the camera the lights in the background will move right so let's try that so you remain still like a Sandman a day will flourish with the camera right well okay well that's definitely a flourish maybe just maybe do a scientist I'd be a little more true yeah you know that I like that it's good just you're very creative there we go all right we can see now by moving the camera you get a lot more movement and you can actually see you know the blurs from the Canon sign back there it makes it almost like a laser but our eye is sharp because she didn't watch plus the flash hit her right the flash is gonna freeze her so let's take this moment of all moments to talk about flash duration okay this is gonna become relevant as we start to move through this exercise right when your flash fires it only fires for a very very short amount of time that time is called the flash duration there's a t1 t5 thingy and we're not gonna talk about that that's the super advanced class just know that flash duration is basically how long it's flashing for it why is this relevant well it's usually really really short like in the case of this light you know you can go as short as a twenty thousand of a second right and if none of the light in the space is truly affecting your shot that effectively becomes your shutter speed so that's how you stop things like splashes and stuff you remove all the light from the space and you've hit it with the flash there's a tremendously short duration right that allows us to shoot at ISO 100 you know and really get the best quality of versus trying to like shoot really super fast shutter speeds in the case of using ambient light but he were mixing the light right so while the it's almost too exposure to be this really short flash duration freezing her and then the rest of the exposure is the camera moving is exposed by everything else right that makes sense so that's that let's do something let's make it a little bit more dramatic by adding you want to move back over here yeah let's get a little more control going on now that you guys are in a beautiful background but let's put her back against the background again just get it's about to get crazy you ready all right so now we're gonna work with that idea right we want we like the idea for moving but we're not as much control when we're just kind of using the leg that's in the space are you still in a chair they're 5 bucks maybe you can come right front that way I'll call on you constantly there you go all right it's set let's add elect to there to tour let's say instead of using let's do kinda what we did before we'll use our flash yeah let's give them as an welcome to a little more control we're gonna switch to a strip bank so strip bank is gonna give us more control we want to keep the light off of let's say the background because we're gonna light the background that's plan yeah let's maybe movie but like a slash on the background and then you can move it oh like behind her we do that we'll do both let's start with a slash though since we'll be the same kind of concept alright so cuz we don't the data light right so we can't do that all right so we're gonna basically take this light which is a constant light source this is an airy 300 for now that means it's 300 Watts it's is like a movie light if you will these are really nice for certain kinds of portraits and stuff and they have a lot of control so we can basically throw light onto the background and using the barn doors that are on them we're gonna be able to put just a little bit of light in the background where we want it and the reason for that is am I gonna risk this we're gonna go for another one right all right good hasn't blown up yet all right so this is called a barn door right it's gonna help us control the flow of the light so what I'm going to do is I'm going to turn the light on it's usually a good idea to let people know you're gonna do that although I don't see anybody over here so I'm not too worried about it all right and I'm going to basically put this on the background I'm gonna focus it down this is a re what's up yeah you can kill those thanks Seth all right Seth to kill blight so we've got the we're gonna have this strip of light and basically we're gonna move the camera to create patterns with this right it seems like a plan what you think that seems like a plan she's happy with that as long as she's happy that's all I care about alright so we want to get an exposure for that first just like we did in the store right so I can use a light meter yeah can we kill the audience light that way they can you guys don't steal stuff we turn the lights off all right you have to tell them New York audience that I want to go a little slower to you let's go to the quarter of a second though we have time to move all right so I'm gonna set my meter at a quarter of a second I'm gonna go to ambient I'm gonna leave my ISO at 104 now I'm just gonna read the constant light source and it's actually telling me it's f/8 oh wow okay so f/8 so let's go to f/8 now I'm changing the camera you'll notice when we do these things if you've ever been to any of these before you almost always say don't change the camera but this is the one time that we change the camera and the reason why is because we need to work with all these different lights so we don't have a lot of control over so we're changing we're changing it to f/8 we're gonna make it exposure just for that first to see what it looks like so no flash just the constant light let's see what it looks like at f/8 at 1/4 of a second perfect so if you were doing like one of those 20/20 interviews like this is given the information and you know I knew who stole the drugs all right so that's that right okay so that's the back that actual it's pretty good now let's add our flash in it feels a little big I'm gonna try to make it a little more narrow it gets hot let's give we're gonna add our flushing we've got a strip bank here for a photo strip RFI strip one by three with a grid on it you know your turn the lights on to get some see me don't worry I'm still here your games it's back there doing stuff all right so there's a question about mixing basically your color temperatures because we're about to come into that if if you want to match your colors which I think we will you want to gel either the tungsten light which is warm right we saw her even in that photo how warm it was or the flush right because if we set our white balance to tungsten our flash will look really blue if we set our white balance to flash our tungsten will look really warm right neither one is wrong they're just not the same right and what we need to do is make them the same and we do that with a colored gel so a CTO which is color temperature orange will make the blue one which is a flash more Orange it's a CT bu color temperature blue will make the orange one more bullet which one do you do I usually say the one that is the most powerful is the one that you should gel because gel is gonna eat power right flash is more powerful so I would show the flash I don't know we're gonna do that or not we will we'll see for this exercise I don't think it's that important but you know why not plus we might actually leave this one that way cuz we also have an LED which we can mess around to cover that too alright so Dave's getting the flash all set up to f8 I'm gonna help you yeah boom in the wrong mode cute for two so give me a couple more stops so the meters telling me 4.2 so we're gonna add two stops alight roughly to the flash the meter it fired again that's eight and a half so a little bit less it's not an exact science although it is an exact science 8:1 perfect in theory if you have a pretty accurate flash like the Profoto is and once you're set up and you started making adjustments it'll be pretty accurate just by going up and down okay so now we're doing I can move the camera just take one to see what happens again we're starting stationary all right we're chillin we're gonna take a shot we're mixing the two light sources together trying to make it look as decent as possible that looks pretty dramatic for for an actress or something she's like Sandman yeah bring the power down a smidge she has that slash going on okay so that looks pretty decent I think let's try moving the camp maybe move the camera diagonal rotating let's rotate the camera you mean like a oh oh wow all right Dave is getting out of control all right so here's where remember I talked about first curtain and second curtain a minute ago oh that's interesting interesting that's not long enough see that's what we'll find as we go first curtain sync means which is where we are now when Dave presses the shutter button the flash fires then the rest of the exposure happens whether that exposure is children 50th of a second or it's quarter of a second or it's five minutes all happens after the flash rear curtain or second curtain sync means that the oh well did you the exposure happens and then the flash fires just as the curtain is closer so both are useful depending on what you want to go on right if we do second curtain then the movement of the camera will happen before the flash fires it's a little bit trickier sometimes to line stuff up with a with Rick curtain so I only use it for certain things it's good if there's lights moving in the shot you need them to look correct because if they move through your shot obviously you want them to like the most classic example is like a car going by which you probably shouldn't be flashing cars I don't know why that's the example everybody uses but if you would use a car going by and you use first curtain the car would be frozen and then all the taillights would be in front of it because big SMO sure happens afterwards if you do that the second curtain taillights frozen car don't flash a car all right why do they tell people to flash card I never understood that okay sometimes though I'll say it's one of those weird things where whatever I'm doing it like a cool special effect I'll always try both because sometimes it just is a little bit different for whatever reason but usually if I need to line up something really particularly you want to do first curtain because imagine this does this is something forgot to get me to come down during the exposure you can't see through the camera right which means that if you're moving the camera and you fire the exposure and the flash isn't happening till the end you're moving a camera that you can't see through and then hoping everything's gonna line up at the end so usually it's easier to fire the flash first but not always okay so that's kind of fun that was a what a slash a slash diagonal that was a diagonal right we got some of the light kind of went in front of her because of the you know because of the the nature of the beast basically that light moved in front of her because the cameras moving right so that created that the other thing we can do is move the actual light right so I could move the light across the scene yeah hold on all right yeah let's do it so you didn't you're in first curtain right yeah so I move the light across the scene nothing happened no it did you can actually see over here it's a little bit lighter it's not couple to the block I'm gonna be a little yep yeah I wish to reduce a lot of time but see I'm getting a little better so in theory you could like the whole background this way right you could basically like paint if we did a long enough exposure I could just move the light across until we got the right exposure as a matter of fact we could just do a longer exposure there's no reason not to because the flash will stay the same let's go to like yeah let's go to a second two seconds no he said oh she said do it oh do you want to move the light that's good all right this is that moment that I'm answering the question that everybody writes to me when they send me private messages do you know how did it go everybody to help you and I can't find anybody to help me this lady she would help you if he was there just look for her don't burn yourself one second exposure you got plenty of time don't rush it oh no that wasn't bad oh not perfect but not bad try again are you changing my stuff she's over here addressing the light all right next week she'll be alright so if you're shooting uh something that's not moving we'll rear front curtain affect it but shouldn't really I mean no I don't yeah I can't imagine that it would you know it's really comes down to sometimes you want the flash to fire at the end of the exposure it doesn't happen that often I like I said I generally like to either do first curtain or do it manually which we'll do in a second alright that's that concept you got that you did a good job yes a plus give me a sticker you can pick up some candy on the way up all right so that's whatever right let's get into more funky stuff right we're ready for something a little deeper all right good oh wow who said yeah wait give me a hard time all right here we go so let's put the light on her here we go this is what we're gonna do actually this is something we might want to use second curtain right we're gonna shine cuz you have so much hair I picked her specifically because of all the hair I was jealous we're gonna have her look towards the flash it's gonna fire and then turn and look towards the tungsten light okay it's too far behind you the Fed to work along with me you probably have to be more okay so again we need to get it by the way I have a pair of gloves for this that it a very expensive that I never use you know the problem is it's on the wrong side of her can you change your haircut completely can you flip it all on this side she can do it no like more like this can you put all this hair on the side of you there you go it's a different you now all right so so look towards the flash this is the flush yep all right and then turn towards this light let's see what happens when you turn towards this light exactly that should work right yeah and you'll be locked down we're gonna start with first curtain which probably do a meter reading because that's how we do it we're probably gonna maybe yeah we'll go I think yes I'm one second so I should hold on them in the wrong boat by the way this is if anybody ever wonders why to get different levels of meter the more advanced flash meters will read the I am in in the flash together okay this is at sixteen eight olan Nolan's of course I can one second yeah I'm at forty five so that's not gonna work we can do one second I'll just back it up I'll use the inverse square law there we go how's that now feather it I'm gonna kinda stuff here all right yeah 11 no more feather okay now that's good and then look towards this 11 yeah 11 all right we're gonna make a photo at 11 look towards the hot light for me uh Vilma I feel like I'm Dracula saying Wilma No okay not every joking me funny you got to give me some yeah I need some kind of room here sorry I'm sorry people oh yeah that's pretty interesting and she moved and everything that's advance not flash photography okay so that's cool though that's what we want but a little more controlled so you're gonna you're gonna start with the flash because it's gonna be first curtain once the flash fires you're going to then move to there exactly try to keep your body more or less in the same spot but you do have to move slightly yeah you got it if you want to let's read the flash or do you already do it okay I'm gonna switch the flash mode okay ideally yes so the reason why I want to look here on this oh sorry 8:2 the reason why I want all their hair on this side the reason why I asked for that it wasn't that I just beat a pain in the butt eight-nine that's very good cuz we've been a little bit hot every time I say alright so we'll do a test shot here remember test everything so the reason why I put all our hair on this side was because I don't want too much of that hot light hitting her face during the flash exposure because remember it's still gonna be enough exposure to expose that part of her face what I'm trying to do is separate my exposures the hair is gonna block any of the ambient light from hitting her face or most of it anyways I mean something little interface probably from bouncing around but not that much does that make sense so far was very exciting do you want this one too don't be so greedy that's heaven he's in the front all right there we go oh you just went for it okay all right okay all right okay so here's easily guide - this is good though you guys shoot one right to get a feel for it it's pretty cool what we need though is more separation so you need to move more with your body so you're gonna take like a step there you go that should be better right yeah and maybe a little slower then open up yeah what do you mean you like shutter speed was Yeah right there wasn't a flashing her faces she pushed too far forward with the hair I got too excited about that point so we're gonna basically again make it two exposures in the same frame essentially it is a long exposure this is kind of the same as if you were doing a double exposure except you're going to get the parts in between right you could do a double exposure right flash and then do an exposure for the ambient light a lot of cameras actually do that in camera I don't think this one does I haven't read the book I don't go there for the beginning of that part but some of them do I know the Olympus it because we did that for the okay that's good so my Masha what happened there yeah she moved too far our light she's over there somewhere yeah okay we'll try it again it's all about synchronization of movement without making a photo go ahead and look through the camera and then do them do the motion so we can make sure that you're landing in the right spot yep so go ahead and flash Oh Dave's gonna back up to get more space sometimes you want to walk through the process this is kind of the point of it right we're figuring out where she needs to land yep alright so let's just walk through it though so go ahead and turn once you get set up and then turn yes she doesn't she's like any ambient light on here so I'm gonna move it alright that should be better right again we're trying to create these two exposures together and get a cool little blur effect all right and I'm not gonna worry too much about the color again I could match the color I kind of like that it gets warm it has a bit of a little tack tallness to it which i like that's you know meaning that I don't want to go to jail questions so far thoughts concerns no no concerns that's always good oftentimes we get concerns by this point yes is there an ideal shutter speed for this um yes and no usually longer hmm usually longer is better longer shutter is gonna give you a more time to do what you gotta do however there's gonna be a breaking point we know we can't go too long because already I bet some of this light from out here is actually affecting our shot on some level yeah so basically you've got to find the point if you're in a completely dark room I mean you could do a five minute exposure I mean you could you know take your time they could just be like you know maybe five minutes too long but you know okay brainy we're at one second yeah and I mean like I said I'm guessing we can actually turn this light off after David does another one we'll try to get it what actually want to do is they go that's pretty cool right we're getting this blur I think that's really the key here raised we have this this secondary blur we have this freeze and then we have this blur right so that's they call this pop and learn however we could do blur and pop which is very advanced and use the second curtain right so let's try that let's switch to the red curtain did you see how to do it you got a person Olivia wanted it yeah yeah unplug in the menu and then it's under exposure so basically we're gonna do rear curtain we're going to start here and then she's going to turn towards the flash and you'll have a slightly different effect right maybe easier maybe harder we'll find out next week on no we're gonna find out right now because that's how we do it okay so here we go she's ready so you're gonna start towards the hot light this time and it's a one second exposure so you have a second to get over there so give yourself a little bit of time here like it like half a beat because it can be like when you hear the camera or when David says go ever give yourself and then turn and turn relatively fast the reason why I'm having to do that is because I want this side to be sharp as sharp as possible the longer she sits here the sharper this side will be right no it's fine you can have it wherever you like alright beauty like a bun on top of your head remember that that was that remember you said you know I'm talking about she you had your hair like that you know yeah she did she's like no no come on all right I had my hair like that I'm sorry alright so here we go blur and pop you didn't even know was gonna happen today okay oh okay something happened there maybe you waited a little bit too long on this side a little bit less began finessing it right we have a dancer here in dilma so she's gonna be able to turn like that this one's a little bit trickier because we weren't when I looking through the camera we have to just hope that she's gonna land got our fingers crossed we're hoping for it we can't really tell that's half the fun of it you know this is one of those things that's that's a to do it on a person like this is probably never something you're actually gonna do in life but there's times where it might be really cool for certain effects we actually did a set shot a Boba Fett beautiful antennas yeah and he used this technique did you bear Curtin for that you don't remember but he did it to make a flashlight look like a laser basically yeah the frozen boba fett and then the light was of the lie the flashlight became like a laser so there are practical ways oh okay it's just a little hot on that one side now I want to move it back I'll use the inverse square law it's still too strong look I did the math there it's still do over to a bunch of closure what's happening oh we also going to feather it yeah okay and we're feathering it we got a feather and an inverse-square draw it on there maybe sell them in Chinatown videotapes all right so they open up the DVDs on the ground you know you bought those everybody has to buy one of them to the hole Jesus the spotlight is so bright all right here we go pop and blur and blur and pop pop probably without barbglore here we go we're ready we're gonna nail this right now we're about to move on moving on yep well we multiply yep yeah so we're gonna go to multi pop next as soon as we get this so what's cool about this is okay this is all fine that's cool if you want a certain effect of the blur but I like to do it using two flashes because that gives us like complete control in a sense right with the flashes it's gonna allow us to get her exactly what we want to get you can see this is not something that is impossible and you get a lot of fun effects with this but it's definitely something that's a little bit more unpredictable unless you're used to working with a certain person or you have a certain look going on you know these techniques there you go that was pretty cool I mean yeah you're at the wrong that's oh no it's perfect that the rule of thirds done okay so but let's say for instance if we killed this light and instead we use the second flash like I have this flash here why am i firing the flush because I'm in master mode I think all right so I'm gonna turn err off there we go what's that so recommendation on a light meter yeah set this in a video on this basically I like the the what's the one with the the middle of the range one that 478 yeah 478 it's really nice it's not super expensive it does pretty much what you needed to do it's nice to have a spot meter I find I don't use it that much so I wouldn't pay the extra money for it necessarily unless you think you're gonna use it but I like a 478 is a good one all right that should be good all right I'm gonna use this this this watch yeah I just flash people all right so I've got my flash set up we're still gonna be at 1 second we're going to use this one as a secondary flash what's the exposure 11 [Music] okay what was this flash reading the flesh on 11:4 okay tell you this one's actually good then all right so we're gonna do a double flush I'm gonna Dave's gonna fire your curtain it's probably easier to go first curtain go back to first curtain Dave's gonna fire the flash then she's gonna turn and when she does unsuspectingly I'm gonna flash her again all right you're gonna look there and once that fires you'll turn towards me be like now ideally you should be sad at Dave's light and happy at mine under said you know if you can I like the lights go out doing a magic trick multiple of rabbit out of my hat it's not gonna work it is gonna work here we go yep I'm ready I'm as ready as I'll ever be which is not very why am using the a1 I don't know but it feels good I have a deed you right there I could be using [Music] I was a little too slow I was a little bit too slow I know it said everybody's booing and hissing by eight lousy shots as they get to Seiko I get to do another one all right you gotta turn faster than that sadly in the model always blame the model all right here we go there's a lot of pressure here there's a lot of pressure here I'm gonna do this I'm at seven point three at this flash and I'm basically aiming it I'm kind of trying to aim a little bit on the side of her to get a little bit of a nicer light if possible onto her face because we know we'd like it to look like by the way you may notice that the background is completely black so we're not actually picking up any of that ambient light from the store which is kind of nice which is good I mean we want to keep this as simple as possible there we go turn boom ah I think I missed again she's turning a little bit too slow you gotta turn it as soon as that flash goes off or you gotta give me more time because I'm literally pushing it as when she turns all right here we go last time there we go I got it alright there we go now double flush right and because of flood sought to focus a little bit but because of flash duration she's sharp in both areas right even with our hair going it's kind of nuts so we could do this to effect I'm going to not use the a1 cuz it's easier to use this one I pull it in my hand I might switch over to the d2 is the basically the same thing and the reason why I'm doing this is I want to fire it a bunch of times and this flash is much more powerful than that one so I can crank this thing because I'm gonna actually do a multiple flash because I'm crazy and I don't the graph - I mean I'm I'm at a eight here and I'm at three point four so I can what what what there we go all right here we go all right so once she's gonna I'm gonna add a lot less she comes around you ready all right we take like just go I love the light just go out here we go what's gonna happen here I'm about to fire at a bunch of times yes Dave you only get one flash on yours although in theory oh okay oh yeah we'll keep me off the background actually Dave's flash could fire more times if there was somebody standing over there I'm cupping it I don't know what's going on over here all right here we go do not look directly at the flash tube do not pass go there we go okay Oh too many yeah I want wow oh wow oh wow you are in there a lot can we actually pull can you do like a yeah okay perfect all right now we're doing it we're getting ready we got this perfect spectacular fantastical all right all right so I think fewer times I may have been too many I got excited 3.4 okay I'm ready I didn't fire it all that time respect I somebody apparently the on/off button looks exactly like their high here we go this is my first date give me a break I'm turning off the air put it on it's on three B I'll turn off there okay all right perfect there we go all right that was the other problem right it was going off with the other flush which isn't necessarily a problem but it is cross I'm cupping the cup technique I'm also standing on C Stan pirates do this it's important never to look at the model what you doing this cos I'll throw off your timing yeah I'm ready what interesting you are okay Oh interesting okay so better than this let's do this look towards my flash put your face down like this and you gonna go what oh yeah you can throw your hair why not I'm just gonna do it so when you just turn out I show you can turn the I'll turn the air back on Dave will fire it the first time when the camera fires and then I will repeat fire let's do a test what's that how's that let's do it we'll do a test shot before you anything let's do one single test shot so one second I mean airs just pop it once yeah you can do it if you want why not all right cool dishes she's happy hey if you're happy and you know she's exposed properly she's happy oh dude this will not fire okay just seems very dull okay all right so you have time this is one second so start with the chin down and then incrementally move it up you're gonna go up a little bit I'm gonna fire it up I'm gonna go all right keep pressure on one I'm gonna go it's gonna go up Oh boom boom nope okay so oh okay yep we'll do three times I did we do three times in a second right we practice this a lot so the first one is when Dave fires it though and then I'll fire the second time so just be you don't have to actually stop and just go slower so I can go three times yep I'm ready too so the first time it fires Dave's fire you because he has the flash set on first curtain sink we go alright we may have all right that's not terrible it's not great but it's not terrible all right that's fine start me with the chin a little bit uh a little bit higher what's gonna go for the rain did not be crazy all right I'm at 4.6 yeah go ahead and fire you'll see when you shoot it well uh I don't even got the third one in so interesting they but I only see two similar to close so so go like this instead look kind of up in at an angle okay yeah yeah that way Oh from the front okay well keep that song in with the light to the front coming right is everything oh oh I see yes yeah you can turn to the Sun but also up down so basically this so so but like yeah well yeah I'll hit it three times we just go just go you know relatively slow you want to be from that when the flash fires you want to be from there to there in one second from here to looking that way yep you can do it yeah yep I'm ready you guys ready I don't know get up here let's do it wise guy all right listen you're the expert no did twice because she's once is gonna fire when Dave does it and then fire halfway and then once into when she's at the end complete all that within within one second to qualify for free candy all right here we go yeah don't fire the first time yep and then she'll move I'm gonna have this flash additionally just because I like to myself things up all right I'm ready nothing okay No all right you can't fire until she moves we had a lot of hair though okay so it's gonna fire then you're gonna move and then you're gonna move you got to fire it when she moves to here and then again when she moves again okay you're not you're not you're gonna stop until he fires the flash don't screw it up but let's do one more time no pressure there we go that felt good but I don't see anything why didn't that what happened after the exposure oh it's there yeah that's we're gonna have to do because we're not yet okay so start here okay let's go back to this we're gonna keep things simple oh I'm sorry so don't one second let's get the lights back up all right so timing is everything here right so we're gonna do something a little bit more obvious because she has so much hair we're losing her and it's not easy to see all things going on every subject you have is gonna be a little different so you got to deal with each one separately so just to give us enough space we're gonna have you move more laterally so you're gonna start here and then you need a more physically well I need it I need to move her more physically because which she only moves a little bit we're not seeing it she's getting eaten up in here so she's got to be like you know like that like but you know and then we can bang you across with the wood with the lace yeah yes and just because yeah let's put a strip box on this let's get it let's get a more finished shot let's get little more refined here that's fine all right we have strip box on this all right here we go so your your process is going to be to start here and I would say look at this box just for a more complete so we're just gonna do two exposures just to start with so start there then you need to physically move your entire self to here yeah in front of that one so you're gonna step out I'll do the whole thing for you because I'm just great like that I will show you they're gonna be here he's gonna fire it gonna be like pop right just like that now that should can we get wide enough okay I do not have another line so put her where you need to and I'll move the lights okay so like here if we both stand and you can see us both then you'll know just move look to the camera make sure in the red spot first if we're both in the shot then you're good okay come back to me okay just barely so you can't go too far cuz that's good and I'll move this light here okay probably I can really keep it off the background so much but we'll give it a shot excited there's gonna be two of you hopefully we're gonna meet him we want to give ourselves the full one second ideally that seems to be working for us so go ahead and uh yep all right yep fire this one there we go that's okay fired this one okay this was at 16 so we're gonna be f11 one more perfect all right this one's a tiny bit hotter but that's okay all right so here we go in an ideal world we're gonna get two of her in a world we're gonna do it yeah I think you can do it I get confidence don't fall okay the trick here is to not overlap right well you have to ever not overlap wears off as much as possible because of the hair it should all right so just like you know again we had to move the whole set but it's basically the same thing we've got to strip boxes they're both equally you talked to Dave I'm talking to the audience yep they're still they're equally spaced apart right we're just trying to set her up so that when she moves she's going to be lit more or less the same on both sides there's two of her we'll get that technique down first ideally she's gonna have a different expression to but you know they can't ask for everything in the first time I just turned that down because I use the universe Square a lot we're ready I think all right ready or no okay all right Dave can I do it all right everybody if you guys are in Vegas right now making your bets there's pretty good solid odds on this one okay so I'm on this side of the way - we're not using this hot light right now because it's not doing anything just to not confuse things we're basically just going with the two flashes basically flash flash what's what's wrong I'm gonna flash this one yep I'll flash it which turns yep you can also do it from the camera okay you could also watch it that's true okay all right let's do that so basically Dave's gonna use the remote to fire the flash bolt times the reason why is going to do that is because that way both flashes will go off both times so she'll get hair light each time so that's a good idea so we'll try it and if it ends up being a bad exposure we'll go back to the other way hold on I got to turn this back onto that shoots on air okay good I'm ready so we're ready to go first time the flash is fire it's gonna be at the beginning of the exposure with the normal flash then it's going to yeah they're all full fun three when the second time it fires Dave's just gonna press the test button on the remote he's essentially just firing it manually let's see it should be pretty simple in theory would turn this guy off some so that doesn't fire and we'll be able to break this thing down so basically okay which is there once that's good we're halfway there yep slightly faster I like the hair light and everything though yep okay no maybe one second is not long enough let's give ourselves more time let's go a two seconds yes you like that right she likes a long explosion just go for it Elio need to be rushed when we got a black background we know none of the enemy lines affecting the shot this one yeah okay yeah all right so two seconds now give us those plenty of times you can leisurely turn around to her time change your outfit yeah could you do one flash and first and then the other one in rear not okay alright that's pretty good that's not bad I mean she's kind of rolling her eyes in that first shot thinking like it wasn't gonna work you gotta have more faith here she's like this is not gonna work this is pretty good though yeah maybe a little bit more separation and also just because we don't want to just leave which is okay this is cool whatever you took you've got two pictures of her Daniel I'll answer the question I will but I want the shoot to keep going let's throw a gel on one of them you get the gels all right the police is so first curse first curtain rear curtain within the system you can't you can't set them like that because you're setting it at the camera you can use something like a pocket wizard though Puckle wizard multi-max allows for a delay so you could actually delay your flashes so you could have one fire at the beginning and one at the end if you want also in the middle let's go like contrast in colors like maybe like let's do red in balloons that's always a fun one what purple in purple all right lights are up we're gonna make this thing work here we go you ready boom was excited Vilma yeah is excited are you excited okay good there we go we got pink thanks Roscoe for the free gels well I hope there for a moment all right so we're able to gel Atlas gel in here this is the professional way to do it oh nice ok so Dave also made an adjustment to the camera he added more lights to the more power to the lights and stopped down the lens to compensate for the fact that he went longer shutter sorry this way the background stays the same right math happened you guys didn't even see it it's crazy this is the one of you ready so this side this side is like a like a greenish blue and the other side is like pink so we want to emot-- like an emoji but we you okay alright so this one I think Baloo is more sad or do you want to be more happy or the blue how do you how do you like your colors yeah she's thinking about it sad happy alright there we go alright we're doing it we're going for it one's gonna be pink did we change the power we're gonna probably dial up to accompany for the flashes yeah let's just meet her it because I don't want a test shot because I don't want to give it away alright let's see that's only five point six so I'm gonna need where we at eleven Ok Go oh mama uh yeah it's a pretty dense pink oh geez mama this feels like too much power go ahead and do a test shot we're gonna trust the meter sometimes sometimes light meter is you know no actually that's not too bad it's a little overexposed but not bad all right okay yep let's make it look good all right so you see what we're going to get here we're gonna get the pink in the green ish blue and then where it hits the background although doesn't make it visual getting off the background it's going to blend and run together a little bit okay good yeah it wasn't it was a long one this stuff okay okay all right let's try it all right we're gonna go for it well you get the gist of it right done this right here we get you a million lights from mr. Brown this is basically you throw a little filter on that you've done all right you know we're not gonna leave it with this we're gonna do one other thing I will yes we are but let's do this first here we go two seconds okay that's not bad can we get a little more separation between the bodies yeah just a little bit all right this one okay that's good all right yes David's asking pointed questions yes I do so if I if I have are spread out a little bit more then she's gonna get closer to the box which means it's gonna eat up more pie it's gonna be brighter so I turn it down a little bit use the inverse square law math happened you guys didn't see it okay you ready all right this is gonna be perfect of course then we're gonna add what a constant light right you're gonna do it I know it's happening yeah right if you knows what's gonna happen oh it's 6:30 what's that middle set this instigating me to do an extra s be turned on and then be with that because spending one week shuts off his beamed up yep perfect Dave's gonna kill one I get light on the background I'm gonna let him do it right first I did it I did it I did I screwed it up all right it's nothing to gaited me do that floor like a Mook all right let's go one more time that was good though good job guys here we go all right we're gonna add a constant light to this next so dere's about to nail this then we're gonna add this constant lighting that's what I'm that is exactly what I'm gonna do you know that nine I'll get a good shot first I'm gonna let Dave get a good shot first I'm letting him do it I swear Oh oh nice all right that felt good that felt very good well done Dave okay so now let me ruin it alright let's add the hot lava constantly in the center I'm just curious it's important when you're like messing around and doing techniques and sup like this to like you have an idea and get what you want and then make it terrible because you want to see how far you can push these things right this is really the point we're not this is not a client here that's that's you know oh no we're we're playing we're learning we're trying to figure out what's gonna work so I'm gonna add a hot light to the middle I think that's gonna add some like weird flourish to stuff to it yeah wanted to oh yeah really warm yeah let's do it we'll make it warm and we'll move the camera at the same time you'll have to pan like inside the camera they will just twist it otherwise it won't be lined up if you don't hand hold it do that I think yeah all right all right this is getting really complicated let's do a stationary one first though alright so the important thing here is to turn the light on okay the on/off button doesn't seem to do it random lights laying around the space are probably not what I should we are using the plug in the floor yes let's stop using that this is an entire power strip overridden alright that look fantastic alright here's the light it's behind her remember we're doing a two-second exposure so we'll see what we have to dim that thing way down way down so now we're gonna have the colored lights and then we're gonna have the the hot light behind er let's start let's do the exact same technique first oh look at you and then we'll we'll do the more complex camera movement probably might not work testing questions before we wrapped it we're getting close to the end they're gonna throw me out soon nope nothing yep same thing let's just see what I look like with the light behind her yes question from the back what lens is it it is the 90 millimeter 3.2 you're welcome other questions no okay we got it this is it man this is the shot this is the one you ready you came all this way for this this moment this is the moment we've nailed it Oh [Music] that is perfect so thanks for coming Gus [Laughter] how did that happen how is it in front of her is it really in front of her though is the dress blue ok so what's happening is during the first part of the exposure right the first part of the exposure meaning when she's standing here all of this is exposing then when she moves the second half of the light exposes so we see both parts of it and because she is such a great model she got the whole ID revealed that plan that the whole time okay so let's go low with it oh I meant low like physically because that's gonna happen no matter what we do yeah let's just light her with it as opposed to having it in the shot because that might be a we should have started that 20 minutes ago shot all right so I'm gonna spin this around what I know I'm not touching the paper the papers fine that would be easier perhaps I should use a shorter stand Oh Union uh cohort okay well I say it's got a stem I got you nice so this is a pretty cool little light that it was just sitting here that I decided to use spontaneously which often happens nice awesome nice all right so we're gonna light up we're game it's gonna add a little bit of glow a blurry glow glowy blur to her yeah we'll definitely crank it up okay that's okay I like it let's try that I don't know where to put it because we have to do a test shot to see so let's just do a test shot we're gonna do a shot all right here we go I'm just gonna stay here partial Lincoln that's very comfortable and partially because I'm sure that this is not gonna be right the first time because I have such confidence tilted towards the background you thinking towards her what tell them towards her more okay okay OOP no I'm right in the C's dent oh look almost flat yeah okay interesting all right okay all right good work let's see I don't know I don't know there's a lot there's a lot of chefs here all right chef does that guy that makes like a wiseass comment about what you should do and then doesn't tell you what he means yes like I like I do to you yes it's important to mention that the photographers it's part of this a part of the alright so we're doing a little test she'd step over yeah you gotta you got to give yourself some space yeah I'm not sure if it's bright enough what are you shooting at f/16 probably shooting f-16 let me use the light meter two seconds mmmmmm just 22 all right all right there should be an exposure they let's say 22 yeah indeed I also think that it's not hitting her high enough it's too low I think yeah it's there yeah it's too long that's what I thought let's do it's just not hitting her enough like anything I want yeah I thought I know winter I know that's how I had it before and then they made me change remember that that's okay I'm honest anything I'm not the kind of person that will say I'm not gonna say anything oh my god I go let's all right let's go here we go this is it we're getting a little bit of fiery glow down there Oh interesting we got like a weird like overexposed Polaroid look to it because it's flaring the lens I love it I don't know they get something going on here I'll see you guys later okay I see why okay here we go let's just make it happen because uh these guys are like what are you doing over there we've lost control what the whole thing is just gone I'm saying at this point we really don't know what's happening anymore so which part of the fun of this though is really this part of it right we're getting into that like uh Oh interesting it's kind of okay if you can do one more but really flip your head hard as you turn like I want see that hair go yeah right okay so part of the fun of this is just messing around right and we've reached that point maybe it's not as fun as abstaining the answer but you know that's even Seth who got up off his chair now it's involved right because we're just kind of it playing around with I'm not saying you're lazy but like you're like oh you see potential for oh okay a little too much hair let's try that again that's cousin it cousin it it thing which one is the hairy one one owns a hand hey okay I got it right okay I wasn't a big and family person I'm sorry I was much more monsters okay almost one more one more let's get it let's get it this one's for the children yeah the Harris whip on the other side of you so start with your hair how'd you do that how was she gonna whip her hair like that yeah like that that's how you gotta do it wasn't that a song whippin your hair come on there we go I'd see you were right away you're like I get down to that one alright I feel like something happened there oh yeah okay all right this is something and I mean being something is all we really care about at this point it's not too bad we're getting an interesting effect grow with this stuff right you could just keep adding layers and layers to this essentially we're lighting our hair so her hair is blurring right blur in between that's all this this is this ambient light affecting it then we have the flashes which are freezing her on either end right because none of the that ambient light is touching her at all on that side right it's behind her right so she's frozen there so you have a nice crisp clean kind of you know perfect Instagram shot for you right there you know over here we have the blur in the middle right so we're just combining things and making them all oftentimes when we do this class I bring like a much wider lens I don't know I didn't that today and we shoot we get as a model lots of space to move you know give the person room to move around mess around mix the lights together to create different effects because I think that's really the point of this one is kind of like okay I know how to light something I make it even in flash like we did the beginning and kind of compose it now how do I do that and I could have a fun way now can we can we manage one more with her perfectly still this is a hard one we could try do the hands we did this together yeah we did you guys go we can just do two she's in the center okay oh yeah yeah kind of like that right and you're gonna go all right so we're gonna try one more where she stays relatively stationary she's gonna move her hands uh yeah but you got to be away from your body like this and you're gonna and you're gonna move them probably like this is the best way to do it I think right I don't know no the frame so you have to tell me that's right yeah oh yeah essentially we need to we need room for her hands to be repeated oh okay so the super close like this okay no okay okay no this is cool it's just two seconds you're gonna vogue you go boom boom boom like can you do that no no no she's gonna poke it out we got it no no that's we're gonna do she's gonna be like move boom that's the two shots hey stay focused people you know no that's not gonna be anything that'll be turn all right here we go let's get some light on you all right so before we do anything let's get a half and a half shot where you going stay in your spot all right so let's don't move yet we're just gonna get a shot where she's evenly lit half and a half with the two colors keep off the background okay all right so we're evenly lighting her more or less yes somebody's asking me a question yes is that you okay perfect I'll fix it thank you the gel fill you get some extra candy now it's fine sorry I want a clip all right so we're gonna clip this thing on here the plan here is we just create a hole on Dave there's no gel in there yet we're just gonna create a bit light across her face and then could we have two seconds which is a tremendous amount of time we're gonna do multiple hand positions yep so just start with this is straight chalk so I wanna make sure it's evenly just looked right at the camera just remain still for two seconds actually isn't that what my mother used to say to me can you stay still for two seconds now we'll see how that it works okay perfect well that's weird to deal the gel off too okay I have another clip please no I didn't have any clips there were no clips available given to me my kingdom for a clip there we go these are very specific photo clips that we use not from the dollar store at all those ones aren't the right f-stop all right let's see yeah so we're gonna move right happen half face no and with the lights on so that's pretty cool you see what happens when you know turn the lights off it's very bad all right ladies - you got to appreciate Dave all right let's go one more I turned down the power of the pinky pinky in the brain all right all right so it's just a lot of space like a t-rex or someone okay there we go that's perfect now cuz we're gonna multi expose so we're gonna do dead keep your faces trace fossil your in your two exposures one like with their hands and then you know but the close close close well suppose we'll get close the shutters yep exactly close and then opposite both exactly alright here we go this is the shot I know you listen you get what you pay for alright here we go let's last lot shot we nail this two seconds multiple hands green and pink done right all right but what happened there she moved her face don't move your face keep your face in one spot oh all right that's pretty good see that's that's good you got a little creep going on actually yeah and don't change your expression you you have to be completely stiff in the face you can't change at all yeah that's so hard to dip like the old yeah yeah exactly nice that's pretty cool oh that's kind of demonic okay all right so oops one final thing that's pretty awesome last one I'm going I'm going argentinian style okay that's okay am I still in there I can't possibly be in the shot but I'm not behind her then yeah is he trying to get me to not shoot the flash I still did it yeah but it's still there and it's awesome there we go and look at that look at that freak alright so again this could be whatever maybe this is for the Sandman you could turn the lights back on please said I could go back later oh god okay hold on they won't know because then a little bit come on our hands we blur if we do that so all right here we go I am gonna run through God actually I gotta put this on hold on that way the first time it fires you're on first curtain right okay so Dave is in first curtain which means that the first time it fires it'll be Dave firing it and then I'm gonna run over like a maniac all right here we go it's totally in it all right I will try to be faster hold on I forgot I had to move for a second oh no oh no they can't be another left all right that time I just tried to give my that's not terrible right you gonna point out the back of her head alright here we go we're using two because otherwise something might follow me all right look I know you don't even do anything Dave's got it where are the same power so we should be good oh I kind of like them in the shot let's do it in the shot you like that so for you we'll do it one day yeah so right now we've got two of these going on so we're gonna do a little double back light we also had them in the shot so hopefully this will look awesome and not oh that's not it that's pretty good except when you moved your face let's let's try to not move your face now we got this we got this what's not oh it is oh it is firing twice okay I didn't realize was firing twice okay yeah okay I will also move it down yeah cuz no we work together oh yeah there you go all right so I know 15 minutes ago you were like this is a nightmare but in the end right combining everything together thanks winter you didn't try to steal it just like most real dude thanks ed I know you're honest so hopefully this was kind of fun I did this one kind of at the end of this run of all this like really technical classes that we did because this is always just fun just to mess around what stuff right to see like what you can do what you can create and actually this is not terrible this is not terrible it's always important to give compliments to the model I wasn't pressing it Dave was pressing it twice okay that's over here criticizing me see him you see that he's naked okay so anyways that's kind of the point here this is why we do the class is really fun hopefully you got something from it I will be back on July 12th so you get a month off but follow me on my channel Daniel Orton photographer on YouTube and Facebook and I do bunched up with Seth well on twelve hundred sessions comba can check that out where he harasses me a lot it's kind of fun I did step one it's pretty so bill on that Adorama has inspire week in two weeks there's tons tons of things going on and I am somehow part of that I'm on a panel one day it's a on the Wednesday so you guys can see that that should be fun Martin Wallace is gonna be here and Gavin Hoey and Tamara Lackey and Dave so 25th through the first it'll be super fun to come down and see all that goodness okay whatever you'll figure it out go on to adorama.com slash events I'll be back on July 12th so mark that date don't don't plan on getting married that day or anything like that and if you do remember you can watch it on Facebook so but go to my channel between because we're doing something we got something planned we got videos done so yeah we have some fun stuff come along with you guys thanks for coming guys [Applause]

Channel: Adorama

Views: 92,573

Keywords: photography, video, adorama tv, adoramatv, adotv, adorama

Id: 2YG1h3Gda5Q

Length: 114min 52sec (6892 seconds)

Published: Thu Jun 14 2018