Thank you to Squarespace for sponsoring episode number one of how to camera.
I'll be back at the end of the episode to tell you more.
We're out here at Angus audio in Cambridge, Ontario,
Canada and we're joined by Clarissa today we are creating neon style by lighting
kind of nightclub scene.
You see behind me here I have with me the Nikon D780 85mm f1.4 G and the D850
with a Nikon 24 - 70 f2.8 VR and then we do an intro
[inaudible]
here I go exiting the building, exiting
off to see the wizard, Tim,
we were off to see Marshall Angus who's going to set us up with some crazy neon
style lights, also called by lighting.
Basically it's when you get that nightclub style light and it's kind of that
pink to purple that washes into a ready blue and you know the vibe.
You saw the thumbnail here. You're here because of that thumbnail.
We haven't shot it yet so I don't know what the thumbnail is but I'm sure,
I hope it's great.
Claressa is going to be standing in front of lights while we photograph her.
And Marshall,
you may remember from the not perfect blog who we thought he had malaria,
where he thought he had malaria at the very beginning.
And it turns out that he does not in fact have malaria.
What do you want for move? Are you running Marshall's malaria tour?
Marshall has an unreasonable amount of lighting. He does rental staging,
he has the geysers, the, the dry ice, the haze that comes out out of the,
the lights. It has all kinds of things.
So I'm very excited to see what we can get up, uh, in his place.
Get up to get up. Let's see, we'll get up,
get up and I guess audio Cambridge pretty much all I want.
And that's my dream someday to have is a live stream set up at my house with
some robo lights.
And I just hit a button and the light just like turn and that's all I want.
Shooting gonna have six three why,
why want 2.8 we're here to pick up Clarissa to drive to Cambridge to do some
photographs. And Tim and I have just been arguing about what's better.
F 2.8 or F 6.3 and I'm going to say 2.8 Tim says 6.3
how do you do, do welcome. I said they do
[inaudible]
it's open. Here we are at Angus audio, Cambridge, Ontario,
Canada.
What does Angus audio do? That's a really loaded question, Jim.
We do corporate events. We do sales and installs of audio, visual stuff.
What are we asking? Hey Marshall,
apparently you want to make a set for a live stream? No, we changed the idea.
Oh, we're doing your favorite by lighting,
lighting and then you had a little bit you want to do by lighting. Oh,
that it's good
on air. This is going to be way better than I thought.
Is it rated for me to do monkey bars?
Here we are in the rear of Marshall Angus in Marshall.
Today we're essentially setting up kind of a nightclub scene.
I'm sure you've seen it. Neon, different colors of lights, purple lights,
blue lights. Everything kind of comes together. In Japan.
Marshall and I were laying in separate beds together.
We were in separate beds and this is when you introduced me to the style of
lighting. You were like,
watch this video because we were watching Japanese music videos.
It's a rampant design style that's just coming in the past couple of years.
Really? Yeah.
And now we're here today to recreate it with Clarissa and potentially a really
blue wig
[inaudible].
This is the Godox SL60W
which is a very inexpensive video light.
And I'm choosing video light over actual flash power today simply because I want
to just kind of see exactly what I'm doing. You could use flashes easily,
but to just have a full live preview of everything that's going on when you're
in a studio environment. I don't know. I think it's better.
This is really working well. Yeah.
Marshall, do you have an adapter to go from like a Oh,
when you don't have the right size connector, you just, uh,
too much tape. Oh wow.
So that's real high.
And then what are you going to do? Did you remember that video?
I sent you the book by lighting about the, like the pinks and the blues.
And movie sets and stuff like that? No, basically
it started originally as a bit of a small production where we were just going to
come in and only hijack Marshall's day.
But it's quickly turned into everybody at Angus audio helping us out.
I feel like whenever somebody pitches a weird and interesting idea,
everybody just gets on board with it cause everyone's planning to make this
shoot the best. Now five minutes ago,
they're unaware that we were going to be here, so does amazing. Thanks Angus.
Audio,
what are these lights called? Marshall.
These are just an off brand that you can get pretty much anywhere,
but it's just one of those like OEM manufacturer, Chinese lights.
It has multiple LEDs.
They're not pixel controlled so you can't control the individual ones,
but they're red, green, blue and white LEDs in them.
I think they're about a three or four watt individually.
And then you have your pan and tilt control across them as well.
And they go pretty quick.
[inaudible]
have a different persona online one time, but I never ended up doing it.
So now I'm just stuck with this blue wake.
And today is the day we're going to use it on Insta ham at clearly Clarissa
ticktock at cleaning [inaudible].
Marsha, what's the, uh, the dry ice haze situation here?
How much will we use for it?
Do you have to use Hays? If you have lights, you need to have Hayes, how much
it's began as I would say, if we had to do some sort of graph here,
it began awesome. Here. I feel like as more people get involved,
it's getting increasingly more interesting.
It's cool when you get together with a bunch of other creative people and you
just really don't have an official plan. You're like, I'd like to do this thing,
and then everybody comes together and makes it way better than you ever could
have imagined. With me today,
I have the 85 millimeter lens on my Nikon D eight 50 and the 24 to 72.8 VR on my
[inaudible] and I suspect I'm going to be using the 85 a lot more than the 24 to
70 I feel like when you're posting people,
you kind of want to at least on some level just have the mirror what you're
doing, but it's easier instead of just like calling out,
like move your left arm if you can just kind of like pose essentially and they
can just mirror you. I feel like it's a lot easier and it's a lot easier.
Specifically Clarissa has a lot of modeling experience,
but I do not usually work with people with a lot of modeling experience.
So if you're working with somebody that just doesn't really,
they're like I don't know what to do with my hands and they get two coffee cups
that you can just kind of start posing them and you feel a little bit weird
behind the camera being all nice.
And so Tim's recommended that we do a lot of attitudes.
So the the main pose will be attitude and then also crazy wig at some point.
So the good ox S L 60 w video light is relatively inexpensive when it comes to
video lights, especially at this intensity. I rarely if ever,
use a video light when I'm out in the world,
but I do find myself using a lot of them when I'm actually in closed spaces at
wedding days, that type of thing. Personally,
I find using a video light a lot easier than using an off camera flash.
You can just see exactly what you're doing on here today.
We have the beauty dish with a bit of a honeycomb grid,
so we're really making that beam nice and directional so that it only hits
exactly what we want to hit and doesn't spill too much outside of that.
So let's take some photos
and I'm going to use this as a bit of a main light and I'm going to kind of
shoot from under it,
move just one step forward. So as you can see with this light here,
the beam is very directional. So as soon as I tilt it just above,
Clarissa pretty much isn't even lighting her at all.
And then as I bring it back, it's that nice directional spotlight.
You want to get the light as close as you kind of can without it being obviously
in the way to kind of get that maximum shape and three dimensionality somewhere
like right there.
[inaudible]
so as you can see,
the light is doing a significant amount to this scene to make it just a lot
better and a lot cleaner.
Whereas if we were just trying to shoot this ambient that these lights aren't
really diffuse enough and they would've just kind of made the scene a little
muddier than it should be. So this light definitely helping us out right now.
And if you don't have Geyser style smoke machines like you have here,
you can just get two of your friends. The biggest vape pen
[inaudible]
would chop your arm off. Oh,
it actually. Yeah, it makes noise. That's nice. There you go.
[inaudible]
the shoot went a little sideways. I like the catch light. Catch lights.
Pretty weird. Oh, you can see it in your eyeballs. Right.
It's a nice catch. We're done. Tim's done.
I'm done. Marshall's done. This is done.
Thanks for joining us. See you next time.
Thank you so much for watching episode number one of how to camera.
It is going to be an ongoing show where we're going to go through all the basics
of photography in a unique and interesting way as well as some more fun stuff
like we did today.
If you're not fortunate enough to have a friend like Marshall who just has all
of this lighting and a trusted geysers and friends that can actually program it
all know that you can go on Amazon and you can find similar products and if
you're just shooting photography only,
you can find a lot of products in the closer.
Like you can just basically bring the lights in here to create exactly what we
were doing.
And if you don't have a dry ice machine or if you don't want to buy one,
you can get little aerosol cans that actually create,
that dries look and feel very quickly just with an aerosol can.
So know that there are ways that you can go about creating this look without
actually spending the money that Marshall would have to purchase all these
lights.
So show it to him for letting us borrow all of his equipment for the day to film
this video. The other company I'd like to talk about is Squarespace.
They are the sponsor of this video and for a long time my media website,
so my Taylor Jackson media website has always been on Squarespace since the very
beginning.
My photography website was hosted us for a long time because when I started that
was really the only option and the moment that I decided to pivot all of my
websites to Squarespace came specifically when I was sitting in a hotel in,
we were on our way to Antarctica. We were in Patagonia,
boating on the boat the next day to go to Antarctica and my website went down
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it all comes down on you to actually troubleshoot any issues and any problems.
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It's like I might as well just keep it going. There's no reason to switch.
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which means we were getting on a boat and we were gone for 15 days.
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we would be on a boat and I would be able to not have a photography website for
15 days, which is kind of nuts. It was also in February,
which is like the biggest booking time for wedding photographers and I'm
primarily wedding photographer.
So I stayed up all night and had to fix that website and get it back up to
functioning so that I was able to actually go on this, this trip with,
with limited internet, cause when you're in Antarctica you don't really,
you can't manage anything.
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We'll get more into it over the next couple of episodes and the specific things
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on the old system that we will won't speak about anymore.
The issue is that you really like,
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It's not for me.
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If you want a 10% off discount,
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But click the link head over there and at least sign up for a trial and see like
I've done videos in the past where we've set up websites in literally 20 minutes
or less. So you can pivot your entire company from whatever website you're on.
If you're just not enjoying it anymore to a Squarespace website in approximately
20 minutes. And I'll do a video. I'll do a public video.
That one's locked down in Patriot, but I'll do a public one at some point. Uh,
that shows the entire setup of a Squarespace website lightning fast.
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It's online all the time and it's,
it's so much easier and it won't ruin your trip to Antarctica and make you stay
up all night.
I'm trying to figure out what's wrong with your website and to get it back
online.
So thanks for watching and I'll see you again on episode number two of how to
camera.