Have you see those moody studio portraits and wondered if you could achieve them at home,
well
here you go, we're doing it. Right now. so how we doing it?
we've got a soft box here and i'm sitting very very close to it,
Jayne's exposing with the video camera for the highlight side of my face so it
doesn't burn out which then allows
this side to go dark in this environment because it
not very big some of the light that's coming from here
is bouncing off this white wall to my left
and coming back which is why there's still a bit of detail
going on, on that side of my face. more on that in a minute.
first of this new decidedly
saying been why is this such a huge difference here
well there's very little light in the room to begin with but also
its down to the way we like to be high aids mmm
the close to you have your subject to the light source
the harder the difference between light and dark will be
it's because liked doesn't sort of fall away in proportion to the distance
if you take a light meter reading from this four-feet
then take another eight state like 12
heart that would have fallen off dramatically to what he was it for fate
I can't remember the max said they saw how it works but it's called the in the
square Lord if you really want to find out going to England to learn all about
how
light falls off as it travels further away but
been you put my hands here if I put my hand klux
to the light you should be to say that this side by hand very bright
this side is very dark right down the middle here
there is quite a hard line between the line to rage and the darker edge
as I move my hand further away from the light source
that hard line here should be getting softer
and the difference between this bright side
and dark side is subtly altering and that's because the light is more even
over here we're a little bit further away from the light source
it is falling all more slowly was when we're over here
its foreign of very very quickly 'cause in that very bright
very dark saw to that effect okay so that's the science that's kind of how it
works
now it is also really using one light let's get into the practice at hey you
can utilize that with the camera
and for that we need all lovely Tasha back who is very long suffering and
eight
ash I right have a saint
now you can be difficult and Phil Mickelson be needing an app pulls apply
here
you can see on taxes factions just like it was when my it's a very very moody
saw to the look
how do you meet if this had you expose for this you obviously couldn't do this
on also exposes setting Aspinall flash working
got to meet with with the light meter so that we can grab mine
see what we have here
Simon like meat is all set up about the ice ice essay now put my flash sync
speed in SS on
court been to meet her
something like this you need to set the exposure
the highlights that's this site ashes face not decide you're not going for an
average between the two
do you try that this site will be too bright and this I'll be too dark
if that makes sense so we're gonna do is
measure the lights light ash on the side on this side
taxes face on a point the light meet up if you're my camera
on the point the light meter not straight at you the kind in between
the light source and the camera close your eyes to ash
might like mine a promise every guy huge amount likes
camping out they are coming and aperture that small so I need to turn the light
down a bit
been that down
react might head down to take them one and see what happens
I was going after reading a path faulty then
I can do that been side
game .9 Kahneman angle close mines
f22 would like to go a little bit lower cuz the lens behaves
little bit nicer think I'm getting another one can you still see Jenny
know it's getting dark been I okay
and once a gang .2 an angle and
Essex think
I couldn't really get much lower macro what I can do you can
see this on tax lifespan just gonna turn the modeling light on full blast in Jan
concede
filmy the modeling light was dropping as I change the param the flashlight can
change the power on the flash leave
units which they've got nothing on full blast nine you can see it's better
been F-sixteen is my aperture
for the camera let's go
just pop and as always when on doing this
on firing the flash through my little pop-up which is set to the fiftieth
manual output and there's a slave on top of the flash
ethics same is the action which we recorded
so that's where I'm going to begin upset F-sixteen
as my aperture right tax this is basically a little bit moody side
yet hair over one eye or something this Connor
you know think about this as well it just kinda looks pretty good
that's good you know not where you attorney had a twenty a bit more hair
ibero I think
she got one eye and a that's a and on
pretty good at doing hair 3i bit
just a little sneak the night you now
cool right now go a bit lower
you want to look kinda straight at Tasha
not to though week ago focus on taxes I that's really cool not
and
and pretty good it's a pretty good moody saw to the look is net we got nice
dark side on her face I can make the shadows a little dark up
by reducing my exposure now more than sixteen I said I didn't wanna get away
22 I'm gonna try shot F 22 on ARY me to this
just to change my aperture and correct way to the minimum a
that should make the shadows darker hopefully there's enough detail
in the highlights to maintain its pretty cool
be higher this time much fun
yeah that's even dark is still I quite like that i think thats quite a nice
look it's very moody it's very dark
but look at the background in the picture that what Wall
over here it's gone gray hasn't
why is it grain the picture you can see this is a white wall
you mine is exactly why in the video jenni
depends on my yeah exactly and that is the case the exposure
remember the thing with the hand in the light and the light falling off
trash is very close to the lights and tons at like just here
as we move away from the light source heat falling off incredibly quickly
with the wall over here that's quite a long way
from we will meet ring and that is what has made this one
wall go Gras I Jamie can you expose for the white wall just for a moment because
that will make Tasha completely over expose
give me a note when you're there okay so there we go
got a nice white wall Tasha by the light source is completely over exposes about
exposing
the area expose for the highlights and shadows go black