Hey guys.
I'm here in my studio with Ashley
and I was feeling lazy.
We're just hanging out here, but one thing I
do a lot here is I'll just shoot against this
white wall. Just have a white wall, it's
real simple right? And sometimes I've
just got one light, and I kind of play
around with it.
I thought this be a good way to show you
guys what you can do with kind of
minimalistic equipment, if you just kind of
use your environment a bit.
So Ashley's over here against the white wall and
I've got a Profoto here.
It's got the magnum reflector on, so hard
punchy light, and of course if we aim it
right at her, we're gonna get a very
shadowy look.
So we'll start there, I am going to start in
TTL and we'll see if we go from there?
One thing I will say is I'm using my 85 mm.
I've got it in high-speed sync, the reason
why I have it in high-speed sync is
because, she's only got maybe
like two feet behind her, and I kinda and
because this is a corner, and it had some
texture, I kind of want to be more out of
focus. So I'm gonna go shoot f/2 and you
know if I was shooting at f/2 and I
stayed at 1/250th of a second, you'd pick
up the ambient light in the space.
So without my flash on, which I'll turn off
right now 1.200th of a second at f/2 should
get a black flame.
Yep got a black frame...
I'm in Capture One now, I'm gonna turn my
flash on.
It's in the a group again, I'm
in high-speed sync.
Let's see what it does actually, let me
just make sure I don't know my exposure
conversation. Yeah... there we go, so I mean
people ask me this all time. I am in center-weighted
metering for TTL.
Right, that looks pretty good actually.
Thanks for watching guys, no this is
pretty good like, on Ashley.
this kind of works, she can take the hard light
pretty well. But most people.... you're not
gonna want this hard light across their
face. It definitely creates a certain
look but it is very specific. So if we
want the kind of more of a conventional
look like you'd want with most people. We want
at least fill in the shadows if not
make the light softer. We make the light
softer by making it bigger, since I don't
have any other accessories we'll say...
I'm going to use my wall. So she's gonna
be there. I'm gonna turn my light,
and I'm gonna do what's called
feathering, where I turn it away from her.
I'm gonna throw on the modeling light for a second,
So I can see where it is
and what I want is I'm gonna raise it up a
tiny bit too. Some of it's still gonna hit
her, and what I wanted to do is, is
basically the lights gonna come
here, bounce, and then spread right?
It's gonna spread all over the place, and
hopefully hit her. So it's gonna fill in
the shadow. We're still gonna get hard
light, but we're gonna get some fill.
So let me kill the modeling light. So same settings.
There we go...
Now we've got still hard light, so see
the shadow behind her. You can see the
shadow here, but as you can see, that you
can't even see it in her eye, you've got
this like beautiful reflection off the
wall, creating a bit more of kind of an
environmental feel, right? That's kind of
nice, and again it works for some face
types, face types... you have a little
dimple on your chin right there. It makes it
show up, but for a lot of people you want
kind of a big swath of soft light.. right?
So in order to do that, we're gonna make
our light even bigger.
I'm gonna actually physically turn the
stand, and again raising my light, because we generally
want our light to be coming from above.
So I'm gonna raise my light into the corner here.
It's one reason why I'm in TTL
so as I'm moving the
light around. Now we can see that's my
light source right? Let's see what this does,
so you know we're starting a TTL, and
then we'll adjust as needed.
That's not terrible, that's I should have
pretty decent exposure. So I think it's a
smidge, smidge dark, so I'm actually just
gonna switch to manual now, and give
myself 2/10 more light. Good,
nice, yeah, that's pretty good. So now what
have we got here, this..., this is just a
single light hard source bouncing off
the wall. You might remember, it's bouncing off kind
of a corner right? So it's not just
bouncing off a flat wall here, and
because it's bouncing off the corner
we're getting like a little bit of
spread in different directions. It's
actually like slightly but brighter
behind her, and we've got a little fall
off. It's actually kind of nice, good, nice
good, good, good, should feel like this
because I'm a manual my exposure is
staying the same... Now yeah,
as she turns her face, you'll see the
shadow kind of move, and we can actually
I can even come around, and see what that
looks like. Interesting from that angle,
you know the light looks different,
definitely like you know, looks different,
because we were looking at the high
light before. Now we're looking at the
shadow side, so if I wanted to shoot at
this angle, although I don't really want
to 'cause that's not the most flattering
angle on your face, to be honest with you,
but I'll do it, because the audience
loves it!
No it's making her face look too much,
shadowy... yeah! There we go,
this gun has that like natural feel to
it, but it's definitely not good light. So
you want to think about the direction of
your light, this is almost like shooting
with natural light, because I don't... I
can't move my fixture around, right, I can't
move my light around to control the
angles, because I'm always gonna use that
wall. So because of that, I gotta think
about that. We're gonna keep you, with, the
way you were, because that was much nicer.
So we learned that, perfect... you have one
fly away, I'll just crop it.
I just cropped, I cropped the fly away,
there we go,
that's how you handle the flyaway guys,
you just crop it out..
Yeah there we go,
nice... let me get, I'm at f/2, so I could be
a little more careful with my focusing
so let me move the exposure. The focus
spot right to her eyeball.
I'll just deal with the flight away later...
now everybody watching the videos gonna
be thinking about the flyaway! Yeah just
go like this, and put your hand there,
That's it... she's looking... oh she's
playing with the hair.
Whenever you look at a picture and
somebody pulling at their hair, it
has to do with the flyaways, good, good, good,
Nice, last one, we can't end on that, one...
There we go, take it, good, good, good,
beautiful, nice, nice and simple.
Using you know, my environment,
using the wall.
Using the high-speed sync, just to show you
that's like, I almost end the video, and
then I don't, this is what I do, I'm gonna,
I'm gonna, switch back to TTL for a
second. I'm gonna go at 250,
Lets say f/8. show you guys the difference.
No.. so of course TTL compensated for the
exposure, but you can see try to go away,
we get a similar expression right?
Difference in sharpness between the two,
so depending on what you're going for,
you know, you can choose whichever one
you like, so but that's why I chose to do
it. I get that question a lot about why
you use high-speed sync, when to use
high-speed sync. So this is one of those
times I would use it, normally you're
using it outside to kind of battle, but
essentially you're gonna want to use it
when you want to have more shallow dept
of field, and there's too much ambient
light. So you gotta battle it, so that's
when I would use high-speed sync.
So you could do this with a speed light, or a
small flash for sure, but just keep in mind
that, if it's very tight in the
space, and you're bouncing it, you lose a
lot of light. So you know... but any flash
would really work for this concept, so
I'm gonna put Ashley's information in
the description so you guys can follow
her on the various socials.
Be sure to follow me
@DanielNotonphotographer
and I'll see you next time - OnSet.