Off-Camera Flash: The Definitive Guide to Creative Lighting for Digital Photographers | Warren Marshall | Skillshare

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Off-Camera Flash: The Definitive Guide to Creative Lighting for Digital Photographers

teacher avatar Warren Marshall, Passionate Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

22 Lessons (2h 6m)
    • 1. Introduction to Off-Camera Flash

      4:30
    • 2. Why Use Off-Camera Flash?

      4:41
    • 3. Your Project for This Class

      1:37
    • 4. This is all you need

      11:55
    • 5. Lighting Tips

      5:43
    • 6. The 2 Most Important Flash Rules

      6:36
    • 7. Recap and Example Images

      4:05
    • 8. Introduction to "Live Shoot" Videos

      1:50
    • 9. Indi shoot 1

      5:47
    • 10. Indi Shoot 2

      3:37
    • 11. Indi Shoot 3

      1:36
    • 12. Indi Shoot 4

      2:46
    • 13. Indi shoot 5

      2:20
    • 14. Maxcine sunset

      6:27
    • 15. Racquel at the Abandoned House

      11:45
    • 16. Horse Shoot on Sand Dunes

      3:59
    • 17. Krysta on the Harley

      10:22
    • 18. Jasmine at the old fort

      7:26
    • 19. Yasmine and plane

      7:54
    • 20. Maxcine at the old house

      8:56
    • 21. Tara and Bella at Clarencetown

      11:04
    • 22. Wrap up

      1:03
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About This Class

Many photographers are afraid of their flash.

Available light is great if you know how how to use it properly but it can limit your creative possibilities immensely.

Learning to use flash properly will enhance your images like you wouldn’t believe.

Learning off-camera flash will lift you to a new level entirely.

 

In this course you will learn how to use Off-Camera Flash effectively in outdoor and indoor locations.

We will teach you the two most important rules of Flash photography.

You will see many videos of actual photo shoots where I have used off-camera flash in different ways.

 

This is a very comprehensive course about Off Camera Flash. I’m sure you will love it.

 

Why use flash?

Because it opens up so many possibilities for creative lighting.

You will always have a creative, controllable light source in your bag.

You can use it to enhance the available light.

You can use it as your main light source.

You can use it to freeze action.

 

Off camera flash shows shape, texture, is more interesting, and emphasizes the highlights and shadows in your subject.

It is versatile, allows you to separate the subject from the background and makes many more advanced techniques possible.

 

We will show you the different types of flashes and triggers.

The use of light stands, and the options for controlling your flash.

 

We will explain the basics of lighting theory, and the two most important flash rules.

We will also explain the use of flash modifiers and accessories.

 

Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer

Teacher

Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.

 

I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.

 

 

In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

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Transcripts

1. Introduction to Off-Camera Flash: Good. I one outworn Marshall. I'm a professional photographer from Australia. And this class is all about off-camera flash. Now over the years, I've noticed that a lot of people are scared of their flesh. Their unsure about how it's going to work there, unsure about how to control it. And it really affects the quality and the variety of the work that they can do available large, great. When it's there, when you can control it. And in my experience, there aren't many photographers around who can really control available light all the time. Flesh gives you another option. Flesh gives you the opportunity to produce light that works amazingly well in your photographs. Flashes something that allows you to control the mood and the feeling in your images to be able to tell a story so much better. Off camera flash allows you to do even more. It will lift your work up to a much higher level. It leisure to change the direction, the quality of the light. It leisure to do things that other situations just don't allow for. In this class, I'm going to teach you all about off-camera flash. It's a very comprehensive course. There's a lot of information in here. We're going to talk about the two most important flesh rules. To rules that will change the way that you relate to your flesh and change the results that you get. I'll teach you how to use your flesh properly. How to be in control of what happens. You will see many situations that I've shot with flash. You'll see a range of quite a few different videos and different situations of live shoots that I've done using different modifiers, using different techniques with off-camera flash and using different models. Some of them are in very challenging conditions. You'll see all of that so that you can learn by watching what I do. It possibly could have worked okay. But I think having it up a little bit higher, coming down on harris gonna look a little bit more natural. And Mike, the sharp, look a bit more attractive for Jasmine's face off to the side. To get that lovely light, we needed to position a soft box so that it did for Kills face. And we got that great light in that little milk to try and get some of that excitement in the shot and that fantastic movement of the horse is mine. Terrorists hair and address. I wanted to get some movement in the shops and more exciting sort of images. And it worked really well with the off camera flash. And these are the shots that we got my cape that hair out of your face you frequent? Yeah. Terrific. Okay. Yes. It's great. We finished off with some shots down the beach. And we got some really magnificent images, great location, fantastic models. And the dye worked really well, especially with that off-camera flash. You'll see lots of examples of my use of off-camera flash. I use it almost exclusively, particularly when I'm shooting outdoors. I just love to be able to control my background compared to my subject. I love to be able to control the direction of my light. It allows me to do things that other techniques just don't. So come on, have a look at this class. You'll be amazed at the results that you can get. And you'll learn all about off-camera flash. 2. Why Use Off-Camera Flash?: Why would we want to use Flash in air photography? Having a flash to using your images allows you to control things so much more fully. It allows you to have a creative light source in your camera bag at all times. We can use Flash as their main light to lie to our subject. We can use Flash as a fill light or an auxiliary light to complement the available light or whatever light we have to work with. We can use flesh to freeze motion. It's great for that because of flesh emits a very fast duration of light, so we can freeze motion without any bluer and error image. Flesh also has a color temperature that's similar to daylight, so it blends in really well with their background or where they are available lot. It's not exactly the same as daylight, but daylight varies throughout the day as well. So most of the time your flesh is going to look natural in your shot. Now we can use our flesh on their camera, which is a great way to do it. A lot of photographers poo poo on camera flash, because they think it's not creative enough or it gives very mundane results. I'm a big fan of on-camera flash. I think that on-camera flash can be very versatile as well. The flashes that we have available to us today, the speed light type fleshes allow us to bounce light. They allow us to reflect light off various different surfaces, which gives us so many options when we're using on-camera flash. On camera flashes very flattering as well to our subject because the light's coming directly onto the face of our subject, it tends to hide any blemishes or wrinkles or creases in the skin. So it's very flattering light to use. Also when we're using on-camera flash, we tend to have to carry less gear. So we don't have to carry light stands or large studio flashes or modifies around. So we can do it quicker, we can do it easier. So on camera flash is a great tool to use. When we move our flesh off your camera. It allows us to change the direction of the light. We can change the intensity and the softness of the light the same as we came with on-camera flash. But it allows us to do a little bit more to be creative with their lighting. We can place our flesh off to the side of our subject. We can place our flesh above their subject or below if we want to. Or we can backlog at their subject with flash, put it in behind them to show that rim light effect. There are so many options available to us with off-camera flash. Off camera flash tends to show texture. It tends to show shape. So much better because the light is coming across our subject most of the time. So we tend to get highlights and shadows in our subject. Whereas on-camera flash tensile idea subjects more flatly, subject is exposed over the whole area in a similar way, on camera flash has a bright side and a dark side. So it shows shape, it shows texture. It's not quite as flattering as on-camera flash because they're light does come from the side a little, but we can compensate for that by turning our subject in a particular way to make that light fall on them in a more flattering manner. When we're using flash off camera, it also helps to separate our subject from their background. So we can shoot with amazingly sharp backgrounds and have that separation of our subject from it. It allows us to control independently the light on the background and the light on our subject, which we can do with on-camera flash as well. But it's so much greater a tool when we use it for off-camera flash. And there are so many advanced techniques we can use with off-camera flash. So many that I just can't put them in this video. We're going to produce another class to show you all of these advanced techniques that are available to you when you use off-camera flash. We can use off-camera flash indoors and outdoors. We use it in the studio all the time because we're using soft boxes, we're using umbrellas were using various different light sources and they are not always attached to our camera. We need to have those lights moveable. We need to have them directional. We need to have them in a position that's going to enhance the shot that we want to do. We can control our lighting so much more. Outdoors. We can do exactly the same. Light is light, it doesn't matter where you use it. It's the same no matter where you go. So the principles of indoor lighting apply to outdoor lighting just assignment. Later on you'll see quite a few examples of live shoots that I've done that use off camera flash. And you'll see the y that I used the flesh. You see the versatility of using off-camera flash. 3. Your Project for This Class: Now your project for this class is to produce an off-camera flash image. You can shoot a person, you can shoot, figuring you can shoot a vassal flowers or a bowl of fruit, whatever you would like to do. But try to use that off camera flash to light your subject. Take into account your background and how bright it is, and adjust your flesh power to suit the light on your subject. Now, give it a go. It doesn't matter if you can't get it perfect the first time. These things sometimes take a while and little bit of practice to produce the results that you're looking for. That's why I love putting these videos of actual shoots in these classes. Because a lot of people learn better if they actually see somebody doing the things. So you can see me lighting your subject, you can see the results that I get. You can see the issues and the problems that I have. You'll come up against these same sorts of things. So when you've come up with the result, good or bad, please post it in the project section with a little bit of information about what you did, how you did it, what issues you might have had or what things you might have overcome to get the results that you did. Everybody benefits by people posting projects in the project section. Especially if you can put a little bit of information in there about it too. I'll get back to you with any feedback that I can, any encouragement or any help that I can be in solving any problems that you might have had. So please do it. The best way to learn is to get it out there and do this stuff. 4. This is all you need: Now the nature of flashlight means that it tends to work better with subjects that are close to us. Available light tends to work with all sorts of subjects, whether they're in the background or the foreground, because the light source for natural light is the sun and it's a long way away. So every part of the Earth is lit by the same amount of light. When we're using Flash, it's closer to our subject. So whatever is further away tends not to be affected. So we can use this to great advantage by separating the light on our background from the light on our subject. Now there are various different types of flesh that we can use. The speed light flashes, probably the most common flash that most people would use. Its fairly inexpensive and it's very versatile unit. We can have our flesh pointed upwards to bounce light off the ceiling. We can have a pointer to the side. We can zoom our flesh in and out. We can change the power quite easily. Now, a speed light flash is a great tool. It's going to make a huge difference to the results that you get when you're shooting. The limitation of a speed light flash is that it's limited with power. If we go out on a bright sunny day, a speed light might struggle a little bit to overcome the available light that's there because the sunlight can be very bright in the middle of the day. So a speed lights are struggling to get enough light to show in your image. Some people add multiple speed lights. I might add two or three or four. I've seen some shoots that have 16 or 17 speed lights all ganged together to fire to make the light more powerful, to be able to show in very bright light. Now, that's all fine and dandy if you can't afford all of those speed lights and if you can coordinate them altogether, the best idea if you do have troubleshooting in the middle of the day with your speed, light is not to shoot in the middle of the day. In the early morning, shooting the evening, shoot on a cloudy day and overcast day situation that's a little bit darker with the environmental light, so that your speed light is going to show up in the image much more readily. So speed lights are a fantastic tool. You just need to use them in a situation where they're going to work really well. Shooting at night with speed lights is amazing. So think about the light level. Think about the power of your flesh. And is it going to be enough to show in the image in the life that you're using. Now, speed lights are very versatile, as I said before, we can tilt our light up, we can tilt it sideways. We can vary the power from full power to 1 100th power in most cases. That means that we can control the light on your subject really easily. If the light is too bright on our subject, we can just turn it down. We can also zoom our flesh, which allows us to alter the spread of light. So we can have our zoom on air flesh sit to wide-angle, which will spread the light out to a wider cone and light more of the area of our image. We can have it zoomed-in closely to a narrow cone. So we'll only light selected parts of our image or a selected part of our image. So the very versatile tools. Now to counteract that issue that I mentioned about shooting in bright sunlight with your flash. Here in Australia, we have lots of very bright sunlight. We have lots of bright sunny days. And it would be great to be at shooting in those conditions and not restrict ourselves to morning or afternoon. To do that, I need a more powerful flash, and that's when I use one of these. This is a much more powerful flash. It's a flash that a lot of people would call a strobe. It's simply another flash that's more powerful. It's probably seven or eight times more powerful than my speed light flash, which allows me to shoot in those daylight conditions, those bright light conditions, and have my flash show up in the image. Now, this sort of Flash is a bit more expensive. You may be looking six or $700 Australian to purchase a flashlight. This, but they can increase the possibilities for you with your flash photography. This flesh works exactly the same as the speed light flash. I can turn it up or down from full power to 1 100th power. I can zoom in and out, but I can put modifies on the front of it to change the way that the light works, I can put a large soft light on the front of a large soft box that allows me to have that softer light on my subject. I can put a cone on it like this that allows me to push a lot more like forward and make the light on the subject much brighter. I can put a suit on it or a grid to make that lot more selective and go out in a narrower cone of light. So there are various things I can do with this or with my speed light to control relied on my subject. Now, you'll see in the videos later on in this class that sometimes I'm using this, particularly in the bright sun. Some of those situations that I mean, a very, very bright conditions and the light is very powerful and need something is going to have a parrot. So there the situations I would use disliked in other situations where I'm shooting indoors or inside a venue or a shared, I would use my speed right? Because there's plenty of power in that speed light to overcome the darker conditions that are find indoors. Because there are flashes off camera, we need some way to control it. We need some way to fire the flesh in synchronization with their camera. When we push the shutter button, we want our flesh to fire. And that's where radio triggers come in. There are various different ways that we can attach our flash or synchronize our flesh with their camera. We could do it with a cable, as we used to do in the old days. The cable attaches the camera to the flash and fires it in synchronization. The cable is limiting in how far you can move away from the flash, and that tends to be a little bit unreliable. So nowadays we would use either infrared triggers or radio triggers. This is a radio trigger. Our use these a lot. The cost of these is about $40.50 dollars a pair depending on your exchange rate and when you live in the world. But they're amazing tools. All I need to do is put one of these on my flash, and I have another one on my camera. And my camera will send a radio signal to my flash and fire at the same time as are needed. So these radio triggers will setup themselves so that this is the transmitter, this is the receiver. This one goes in my flash and the transmitter sends a signal to my flash to fall. At the same time as my shadow goes down, the flashes are used and some fleshes you'll find have a radio trigger integrated in them. So I don't actually need one of these on my flesh. I just sit the menu to the radio frequency and it will fire my flesh and synchronization with my camera, which is a great feature. But having to help you if you need to put one on the flash, one on the camera, that's fine. Now there are various types of radio triggers. You can purchase. These ones, as I said, are about $40 for a pair. You can pay a lot more for other triggers. I find these ones pretty reliable. I a GET these because I need to have lots of them. I need to have 20 or 25 triggers for the classes that I run in the students that I have. So I need a lot of these triggers. If I was paying four or $500 per triggered, that would be a lot of money that I laid out. And I find them to be really reliable. Very rarely do I have a misfire with these flesh triggers. They take double a batteries or AAA batteries, which are very easy to replace. Now another piece of kit that you may need when you're using off-camera flash is a light stand of some sort, some way to hold your light in the position that you want it to be. I use light stands sometimes when I'm shooting off camera flash, but most of the time I'll have an assistant there holding the light for me. As you can see in the videos later in this class, that the assistant tends to be more versatile. I can move them around quite easily and give them instructions. Whereas a lot stand would may not have to walk over to it and move it into the position that I want. Also, if you rely on a light stand to hold your flash, particularly if you've got a modifier on there, an umbrella or a soft box, they're very susceptible to blowing over in the wind. It doesn't take much of a breeze for an umbrella or a soft box to catch enough when to topple IV or light stand. And if your flesh hits the concrete or ends up in the water, that can cost you a lot of money. It's really handy to have someone else with you when you're doing these shoots. It's not necessary if you're working in calm conditions and it shouldn't be a problem. But an assistant just helps you in these situations. Now, as I said before, I can sit my flesh to any power that I like. I can turn it up or I can turn it down depending on how much lighter one fleshes speed light flashes and a lot of other larger flashes can be used in two different modes. We can have manual mode, which is the mode that I favor in the mode that I use all the time where I physically turn the flash up or down. We can turn it up or down from a unit that's only our camera if you want to. I don't use those units on. Happy just to move over in term of flash up or down manually. The other way that we can use our flash is as TTL flash now, TTL stands for through the lens. So when you're using your flesh and TTL, it's an automatic sitting. So your camera measures the flashlight through the lens of the camera and then it turns the flesh off when it considers it you've got enough light. Now like any sort of automatic feature on a camera or photographic equipment, it tends not to give you consistent results. And that's the reason why I don't like TTL. Ttl gives me inconsistent results. It will change depending on the tone of my background. It will change depending on the color of clothing that my model or my clients wearing. It will change if I shoot towards the sun or away from the sun. I love shooting towards the sun. Not always with the Sun in the shot, but in that general direction because the light just works so much better for me. And if I'm shooting towards a son, my TTL is going to give me less flashy than I really need because the camera looks at that bright sunlight in the background and turns a flash off prematurely. So manual, I think is the best way to go. It's easiest way to go. And it's the way that most people should control their flesh. Now, when we were shooting film in the dark old days, we had no way of telling how much flash we had in our image. So we tended to use flesh meters. Flash meter is a device that we can aim towards our flesh and phi the flash, and that will tell us how bright that flashes in f-stops or any other way that we want. Now, the flesh meter was a great thing back in the film days because we didn't have the available options that we do now with digital photography, I don't use my flash meter at all. I used it extensively when I shot film. But what since I shoot digital, I don't use it at all. The reason is that I don't really need it. I've got the image on my screen, on my LCD screen that will tell me how much light I've got. It will show me the difference between the ambient light in the flesh. I've also got my highlight alert, an option on my review screen that will show me if I'm getting any part of my image overexposed. So that's a great way to tell the balance between the light that's on your subject and your background. My histogram on my screen is not as good an indicator as you would think it would be. My histogram gives me my tonal range from highlight to shadow, but it doesn't allow me to see the difference between my flash and my background or how much my subject is compared to my background, because my subject is in the middle of that histogram somewhere, it's very difficult to discern. So my highlight alert, all my screen is going to give me that balance that I need. 5. Lighting Tips: Now, no class on flash would be complete without a little bit of basic lighting knowledge. Now understanding light is a huge benefit to photographers. We're gonna go through the four characteristics of light quite quickly. But I'm going to explain a few of the things here as they relate to on-camera flash, an off-camera flash. Now we have four characteristics of light that we need to be interested in. The quality of the light, the direction of the light, the intensity, and the color. Now, why quality of light we mean hard light or soft light. Hard light comes from a small light source. For example, the sun or your flash directly from your flesh. It's a small light source, so it's a hard light. Soft light comes from a large light source, such as an overcast sky, or a large soft box, or an umbrella or something like that, that's going to soften that lied a little bit more. So the quality of light can make a difference to how that light falls on their subject. How glad tends to throw very harsh shadows. You can see the line of separation from the highlight to the shadow on the face, because the light's coming from a small light source, software tends to wrap around the face and around the subject a little bit more. And it tends to soften features a little bit to make people looked at little bit better. Now there's another issue that a lot of people get confused about, and that is the spread of the light. Now, the quality of the light is totally separate from the spread of the light. We can have a hard light coming from a small light source that spreads to a large area. Or we can have a soft light from a large light source that is restricted to a smaller area. We can allow light to spread to lots of parts of our image. So if we used a large soft box, it would spread out to lots of parts of our image the same as the hard light would if we didn't control it. Or we can use a grid as I do often on my soft box, which is a honeycomb or an eggshell type of arrangement on the front. And it simply tends to stop the light spreading too far in my image. It gives me exactly the same softness because the light sources exactly the same size. But it just stops it from spreading out too far to the sites. We can use snoops or grids on air speed light to concentrate the light in a small part of our image. We can also zoom our speed light in to just a small part of our image. So they're two separate characteristics are soft light is determined by the size of our light source. The spread of the light is determined by how far that light spreads around in the scene. Now when we get onto the direction of the light, this is where off-camera flash really comes to its sign. Because we can control the light direction wherever we want. We can have light coming from three-quarters forward. We can have it from directly from the solid. We can have it coming from the back if you want a rim light our subject. So the direction of lot is totally controllable when we use off-camera flash. And that's one of the big advantages of it because we can be so creative with that lot direction. Now the intensity of the light, as I said before, we can turn our flesh up very bright or we can turn it down very low. We're gonna talk about the two basic flesh rules in the next video. And that's going to be really game-changing for you with your flash photography. But the intensity of the light, we can make it brighter or less bright with their with their large studio type flash or with their small speed lights. So that's going to make a difference to how bright area images. And it's going to make a difference to our camera settings as well. Maybe I shutter speed or our aperture or error ISO. Now we can also vary the intensity of light by moving it further away or closer to our subject. Because the further away we go with their light, the less intensities, the closer we are to subject, the more intense that light will be. Now because of the inverse square law, you may have heard this that the inverse square law says that the light on your subject will vary depending on the square of the distance from it. So if we have a light one meter from MY, lighting me in a particular way, if we move that light two meters away, I will have a quarter of the amount of light on me. Similarly, if we move that light from one meter to half a meter from me, I'll have four times the amount of light on me. So that light varies quite substantially depending on how far you are from your subject. So when we're using off-camera flash, once we've established our exposure reasonably well, we tend to use that same flesh distance for most of the shots. So even if we move around to a different spot, that same flesh distance is going to give us consistently proper light onto our subject. And the exposure on a subject is going to be very similar. Now the color of light, we can vary as much as we like. We can very daylight, daylight varies itself. Daylight in the middle of the day is much wider than it is at the beginning or the end of the day. We know that at the end of the day we get very warm orange light from the Sun because it's coming through the atmosphere, burning off a lot of those blue wavelengths. Now we can change the color of our flesh as well by putting gels or cellophane or some sort of colored surface over the front of their flesh to give us a different color. And we can be creative with that. We can use our off-camera flash as a backlog with the blue gel or a green Jill. Or we can like, we can change the color of your daylight with their white balance adjustment. There are lots of creative, advanced things we can do when we're using color with their off-camera flash. 6. The 2 Most Important Flash Rules: Now I mentioned before that there are two important flesh rules that will change the way that you work with your flesh. And these are very important. They're the two basic rules that I use every day that I go ahead and shoot. Now the first one is that we are restricted with our flesh synchronization speed. When we use our flesh, most cameras will synchronize with their flash up to about 100th of a second. Some cameras go a little bit higher. Some cameras are a little bit lower. But generally speaking, we can't use our flesh in synchronization with their shutter over 1 200th of a second. Now the reason is the way that our shutter works in their camera. Now in the back of their camera, we have a shutter in front of the sensor that when we take a photograph, the shutter curtain opens up, allows the light to come through onto the sensor. And then it closes off again. And then it reeks ready for the next shot. Now, if we're using Flash and we are using a shutter speed below 1 200th of a second. It's fine because this curtain opens up, boom, the flash goes off. And then this curtain closes and we have our full image exposed with their flesh. Now, when we go above 100 or 150th of a second, say for instance, we're shooting at 1 500th of a second. The first curtain moves off when we take a picture and the second one starts to move before the first one's finished. Okay, it's actually a slot that moves across your sensor and exposures your camera. So the shutter doesn't actually get faster. It's simply makes that slot narrower and narrower as your shutter speed gets faster. So when we using flash, that causes a problem for us if we're shooting at 1 500th of a second and we're using flash or shut occurred and goes up and then the second one starts to follow it and boom, the flash goes off. So half of their image or part of our image is covered over with the shutter curtain. So we tend to get a dark band across the bottom or the top of our image. And if you've seen that, that's the reason why you get that is because your shutter speed was too high for your camera to synchronize with your flesh. So this is one restriction that we have. We need to shoot at a shutter speed that is slower than our flesh synchronization speed. So find out what it is. It will be in your camera instructions, but generally one to a 100th of a second, around about that or slower is the best shutter speed to use. Now he people yelling at me, high-speed sink, which is in a way that we can increase our shutter speed faster and use our flash. I'm going to talk about that in a little while. But first of all, I want to explain the second most important rule of flash photography. And that is that your camera settings determine what your background looks like and your flesh power determines the light on your subject. Now, I said earlier that our flesh doesn't affect their background much because the background is a long way away from our flesh and that light. Diminishes quite a lot before it gets to the background. So your camera settings will determine how bright your background is and your flesh power will determine the light on your subject because it's reasonably close to the flesh. So the way we do it is think of it as two different shots. Take a photograph of your background first and adjust your camera settings, your aperture, shutter speed, and your ISO to get your background looking the way you want it. Then move your subject into the frame and turn your flesh on and take a shot with the flesh, and then adjust your flesh power up or down to get the light right on your subject. So there you've nailed it. You've gotta, every time when you shooting off camera flash or even on-camera flash, the same principles apply when you're shooting. You can control the tone of your background and the tone of your subject. You can even make your background darker or lighter if you want you independently of the light on your subject. So remember those two basic flesh rules. The first one is to keep your shutter speed below your flesh synchronization speed. The second one is that your camera settings determined the background and your flash settings determine the light on your people. Now I'm going to include a cheat sheet in the resources section of this class that you can print off and cut to a convenience size, folded in half and then laminate it. And you can keep that in your camera bag to remind you of all of these really important tips about shooting off camera flash. Now there'll be more on it than those two basic rules. There'll be other helpful hints as well. So it'll be a great resource for you to keep in your camera bag and allow you to get that flash and that background working well when you shooting off camera flash. Now I mentioned about high-speed sink. And high-speed sink is something that a lot of photographers seem to push and seem to use a lot. I'm not a big fan of high-speed sink, but that's just my personal choice. How high-speed sync works is that your shutter speed, as I said, as it gets higher, it becomes a slot as it moves across your sensor. Now, high-speed works by synchronizing right up to 1-4 thousandth of a second, very fast shutter speed. But as their slot moves across your censor, your fleshes firing rapidly at a low setting so that rapid succession of fires will expose your image fully on that sensor. That's great technology and it works really well in particular situations I find it to restricting because the issue is your flesh power is very low. It's very restricted because your fleshes firing multiple flashes very quickly. It can't use the full power of your flesh. So the issue there is I need to use a large aperture because my flesh PR is so low, which means that unrestricted with my depth of field, my background has to go out of focus. So my don't very often like shooting with that short depth of field. Again, I'm different to a lot of other photographers who shoot portraits. I want to shoot in another location that's going to work well so that I can show that background, so that I can show that sunlight in the background. So that I can show the beautiful water at the location as well as my subject. So using high-speed sink doesn't work a lot for the sort of stuff that I do. But it's there and you can learn a bit about it. And there may be situations where it's going to work well for you. 7. Recap and Example Images: So just to recap a little, when we're using off-camera flash, we need a few basic things. We need a trigger or some way that we're going to allow a camera to set our flesh off. In synchronization, we need to be careful that our shutter speed is not too high. We need to keep our shutter speed below f fleshed synchronization speed. We need to control our background with their Canvas settings are aperture, shutter speed, and ISO. And we can control the light NS subject with flash pair by turning it up or down, very simply. Now we can also modify our flesh to give us soft light or hide light. In a lot of situations, I do use Hard Light Situations where I want the image to be a bit more punchy and to separate that person from their background a little bit more. Sometimes I'm forced to use hard light because of the wind or the situation in the location I'm shooting in. Because large modifiers such as soft boxes or umbrellas are very difficult to handle in strong wind. But those times that I can, I like to use a large soft box or a large light source because it's more flattering to my subject. It looks more effective in the image. It looks more professional image if I'm using a soft light source to light my subject. Now, here are a whole lot of examples of off-camera flash shots that I've taken. Have a look at all of these and look at the various different situations. Look at the various different lighting situations that I mean, I'll run them through reasonably slowly so you can have a good look at each shot. But you can always pause on each one and have a look at it and see the results of this off-camera flash. You'll see the flesh comes from a different direction than in front of the camera. You'll see the highlights and the shadows on the subject. You'll see that generally I'm shooting towards the Sun so that I get that nice backlight on my subject, that beautiful light in the background that work so well. A lot of these shots, I've included the Sun in the shot as well, which is probably the most difficult thing to do when you're shooting off camera flash. But it's possible if you've got a powerful enough flesh. So have a look at all these images and learn from them. And I'll see you in the next lesson. Okay. 8. Introduction to "Live Shoot" Videos: Now you're going to see a series of live photo shoots that I've done. These shoots take place in various different locations, different days with different models. And I use different lighting modifiers and different lights in all of these different situations. You'll see how I control the light. You'll see the direction of light that I use. You'll hear me commenting on the reasons why I've used these particular lights. How I work with my subject, how I work with one model, how I pose her. There are lots of things that you can get at a watching these live shoots. Now, some of them took place indoors and some of them took place outdoors. The first few are a shoot that I did within the the anode Valentine, which is just close to my home that my studio. It was a day that was very challenging. It was a very bright sunny day. We have a lot of those in Australia. So I needed a powerful flesh to get me the results that I wanted. You'll see sometimes I use the soft box, sometimes I used the headlight. Sometimes I used a cone on the front of the flesh to push the light a little bit further forward. But shooting in these conditions are the most difficult. If you can shoot on a cloudy day. If you can shoot in the shade of a tree or anywhere under shelter, it's gonna make life a lot easier for you. But the spectacular results tend to come from the difficult situations. So have a look at all of these shoots. They're all different, they're all varied. We've even got some shots of some horse shoots that we did with a horse and a model. So they were quite interesting to do as well. And the results that we got were great. So have a look at them, see what you think and please comment down below or ask any questions that you might have. 9. Indi shoot 1 : Good. I wear down here at Valentine in Newcastle, Australia to do an off-camera flash shoot with their model indie. Now, there's a lot of things that I can tell you about off camera flash, a lot of stuff you've already seen in the previous classes. But basically when we're talking about off-camera flash, that's our flesh moved away from your camera. Often when you've used flesh in the past, you've had your flesh on your camera. But moving the flesh away from the camera has certain advantages. Basically, the off-camera flash allows us to get some shape into our subject. It allows the light to come from the side or any other direction so that we can control not only the intensity of the flesh, the intensity of the background, but we can also change how the light falling on our model. It allows us to show shape and texture rather than have the light directly on the front of the model, which is quite a flattering sort of liked to use. It allows us to move around to the side and have that light coming from the side. We need to be careful with the way that the light hitting our model's face. If we have a modal facing forward and we have our light coming from the side. We'll get that split lighting, which isn't particularly good. We get one side of her face is bright and the other side is dark. So generally speaking, we would turn her face towards the light with the light's coming from, so that we get that nice frontal or Rembrandt light on her face. Okay, so we're gonna do a couple of shots first with the available light to show you the limitations of using available light in a location like this. Then I'm going to do a couple of shots with on-camera flash to show you the difference that that makes. And then we're gonna move our flesh off camera. We're going to start with our speed lights. Were going to use just a single speed light, both on the camera and off the camera. We've got a couple of issues when we use speed lights. The first one is that the light is fairly hard. It's a small light source. So we need to be fairly careful about how the light falls on your model. The second one is that we're fairly limited in power. The power of a speed light is fairly great when you're indoors or when you're in a dark situation. But when you're in a bright sunlit situation, the speed lights often struggle to have the effect that we want them to. So that's why we're in this shaded area, because the lower light level allows air speed light to have enough power to show in our shot. So we'll do a couple of shots and you'll see what I'm talking about. Okay, indeed, we're just gonna do a shot with available light here. I'm going to just shoot you in this position. Now the reason why we've got Indie and this spot is because the sun's in behind her. One of the basic rules of shooting people outdoors, particularly when you're shooting available light, is that we don't want that sunlight in their face. We wanna get that sunlight behind them so that it highlights there. Here you can see how in these hairs is backlit from that light. And I'm going to shoot her in the soft light that's coming down on the front of it. So we'll do a couple of shots like that and I'll show you. Ok, indie, lovely. Just looking straight at the camera. Greg, just turn your face a little bit that way for me. Yep. I asked to me. Okay. Alright, terrific. Now you can see those shots look ok. But the problem is that the position that we're in here, most of the light is coming directly down because we've got how I trace on both sides of us. So that light coming down from above means it Indies eyes are fairly dark. We need to have an available light situation where we've got lower light coming in, we've got soft light coming in, but at a lower angle, we just don't have that at this location. So that's one of the limitations of using available light in this sort of situation. Now I'm gonna put my flash on my camera just to punch a little bit of light into indies face so that her face lights up and horizon nationally. Now I'm gonna shoot indy with a little bit of flash. I've got my speed light on top of my camera. It's set to 1 eighth power, which should give me just enough light to light her without making it too obvious. Editor flesh shot. Okay, here we go. Indeed. Lovely. Just turn your shoulders that way for me little bit. Yeah, that's it. Iss to me. Great. Thank you. You can see the difference that that makes that on camera flash. A lot of photographers say that on camera flash is a waste of time and it's no good, but it's a fantastic tool to anybody who wants to shoot portraiture. Now, when we're using flash, there are a couple of basic rules that we need to follow. Very important rules. As soon as you put your flesh on your camera, you need to know these things. The first rule is that we are limited with their shutter speed. We need to keep your shutter speed below our flesh synchronization speed, which tends to be about 100th of a second or 150th of a second. So I'm shooting on 1 160th of a second, one over 160, to allow my flesh to synchronize with my camera. The second rule, most important rule of flash photography, is that your camera settings, your aperture, and shutter speed, determine what your background looks like because your flashlight is not going to get to your background, he just doesn't travel that far. So your Canvas settings, your ISO, your aperture in your shutter speed will determine how bright your background is. Your flesh power determines the light on your subject. So if I take a shot, I need these two dark. I simply need to turn the power up on my flesh. I use my flesh on manual because it's by far the simplest way to do it. And it's by far the most controllable. So I just turned my flash up a little bit to brighten indie. My background doesn't change because my camera settings determined my background. So you can see the difference in these shots that we took with the with the flesh on camera. Now we're gonna move the speed light off camera and show you the difference that makes 10. Indi Shoot 2: Now we've moved our flesh off camera. I've put my speed light on a stand, which you'll see in a moment. It's going to fire from indies right side, my left side camera left. It's going to give that direction to the light. Now because I've moved my flesh away from my camera, I need some way to fire it in synchronization with my camera. And that's why I use a little flash trigger. You can buy these anywhere. There's lots of different ones around. The flesh trigger will send a radio signal from my camera to the flash so that it fires and synchronization. I just put this on top of my camera. And whenever I press my shutter button, my flesh is going to fire. I've already adjusted the power of my flesh to a quarter power because we're a little bit further away from India than we were before. And that should give us a, a pretty good exposure. So have looked at this and you'll see the difference having that flash off the camera. And Yep, just like that, it's great. Just turn your face a little bit. Yep. Alright, focusing. Here we go. That's good. Now, turn your body this way little bit. Yep. Turn your face back to that shoulder. Yeah. Great. Here we go. Okay. That's good. Just gonna do a full length shot. Just get down a little bit. Look very unattractive me down here, but that's why it is. Okay. Now you can see the difference that that makes having that flash off camera. We can see that there is a highlight and a shadow side, too windy. We get the shape in her shop, we get the shape of her figure. We get nice light on the front of her face. Now a couple of things we need to think about when we're posing a model and when we're shooting a model with off-camera flash or on-camera flash or any other way, we need to make sure that her face is turned towards that line. That's the first thing because you want to get nice lied on her face. We need to be careful about how close we get to our model. If we get too close to her, then we need to use a wide angle on a zoom, which is gonna distort her little bit. I'm standing about four meters from indie, which should be the ideal situation. I can get a waist up shot, a head shot, or a full length shot reasonably well. Now when I do a full length shot, you'll notice that if I crouched down to do it, it's not an easy thing for me to do because I'm an old man. But getting down low just gives that perspective to Indie. That makes it look a little bit taller and a little bit more elegant. And it just makes that shot look a little bit more fashioning. So there are few things that you need to think about when you're shooting models, whether it's off-camera flash or on-camera flash. I've moved the flesh stand around a little bit further. It's about 90 degrees to Indy from where I am, from where my position is. So that light's going to be a little bit more radical across the shock and across indie. So I need to make sure that I get her to turn her face towards that light. Now it's gonna be hard for her to look at me if she does that. So I wanted just to look at in that direction and you'll see the difference. Moving that flesh around to the, to the left-hand side makes maybe put your hands down behind your back in the year 1000, face to shoulders. A little bit more. Yep. And your face, you're going to move it away from me. Yeah, that's it. Okay. Here we go. Okay. Terrific. That lights a little bit more angular, an Indie, but using off-camera flash, we can do that. We can change the position, change the direction of our flesh to suit the purposes of the shot. 11. Indi Shoot 3: Now what I'm doing now is I'm hiding that very bright sun and the trail on the water in behind the pole that indy standing beside. That allows me to get less lens flare when I shoot and allows me to get that frontline working a little bit easier. So do once again. Let's keep that here back India. Okay, here we go. That's good. And we'll do a full length shot. Okay, here we go. Alright. Alright, terrific. You can see the difference that makes having that really nice blue sky and behind indie so that we can get some detail in there. We've got a few seagulls flying around two, I'm going to try and get some of them in the background. Of course not. 12. Indi Shoot 4: Alright, so what we're gonna do here, stave, we're gonna light AND with your light from there, yeah, we're gonna get that nice curved coastline in the background. But the problem we've got is that there's quite a lot of sunlight on Indeed and on her face as well. We want to try and get rid of that because any flesh that we have is not going to get rid of that. It's just going to superimpose on top of it. So we're gonna get Sachin to hold our soft box up just like a blocker. And that's going to block that light on Indie to make it nice and soft. Then we're gonna add the flashlight to it. That's great session. Okay. Here we go. Indeed. Cae okay. Lovely. Ok. Yeah. Just play with the hair a little bit that we pulled from here forward. Yeah, that's it. Great. Here we go. Alright, terrific. So you can see with a little bit of thought, you can use whatever you've got to help to get the shot that you want. We want to try as much as we can to keep that bright sunlight off indie, particularly on the front of her, because that's what we're going to have a problem with. Alright, so we've extended that concept to make it a little bit more difficult for my assistance. And one model, we're going to have Indie upon this table, on this picnic table so that I can shoot her in that yellow dress against that really big blue sky, which is going to give us those complimentary colors. And it's really going to stand out. The same situation we had before. We don't want that sunlight on Indie. So again, I have stave hold the soft box up to block sunlight. And we're going to have such an hold up our flesh so that we get that light coming down on Indie because she's our power. We need to get airline up even higher. We don't want that light to come up onto her face. We need it coming down. So that's what we're gonna do here. There's one. 13. Indi shoot 5: Now that that sun is getting closer to the horizon, it drops in intensity because it's coming through a lot more atmosphere. It does a couple of things. It drops the intensity of it, and it also makes the light warmer because the particles in the atmosphere filter out the blue wavelength of that light and it becomes a little bit redder and a bit warmer light. Sounds great, liked to use because it's less intense. We can use our soft box on our flesh. This is gonna give us a large, a softer light that is a little bit more flattering to indie. So we're going to do that now every time we put a soft box or any modifier on a flash, it will drop the power down so that we need to get a little bit closer or open up our aperture a little bit more to get air exposure working. Okay, so that's what we're gonna do now I've opened up to with height, we can still get detail in that sky in the background. And we're going to use the soft box to light Indy. Okay. That's good effect. I get further across that line section. You stay where you spend a lot of water. It theta part, just that depend a little bit at quietly. Teacher hit up and look at that, right? Yeah. Yeah. I can't see you. 14. Maxcine sunset: Nobody speech in New Castle is a great location for photographers. It's a favorite location for wedding photography and portrait photography. Because within a few 100 meters of a city, we've got the sand dunes and that's beautiful grass and the great headland next to the beach. I wanted to do some shots in here with Maxine using off-camera flash later in the day so that we got that great sky in the background. I love shooting towards the sun, particularly later in the day, but even earlier in the day. And shooting with the Sun in your frame means that you need a lot of flush power. Because lighting your subject and allowing that background to be dark enough to show at least a bit of that sun is not an easy thing to do. You need a lot of flesh power. So we didn't use the soft box on this day because the soft box does deplete the power of the flesh a little. So we use the cone reflector on the flash and just used it to light Maxine. I needed to be a little bit more careful because I was using the single ball Flash because the light is harder. It's a little bit more harsher on your model spice. So you need to be a bit more careful how she faces the flesh, having her nose pointing towards the flashes generally the best way to do it. But you don't want to get those hard shadows from that hard light on your model. So we did a few shots standing up against that sunset and we sat her down into the grass because the grass on those genes is a great location to be shooting. I did some from up above, but it wasn't really working for me particularly. So I've got down lower and then I shot her through the grass from a low level and included some of that late afternoon sky in the shot. We also did some shots at Newcastle beach or close by area that we didn't video. But here are some of the shots that we got there. We used a similar technique. We use shot towards the sun with the sun in the shot. And we used that flash with the bear bulb and the current to light Maxine. You can see the Great Sunflower that we get from my kit lens. It's a unique sort of lens and it gives you these Sun flared rainbow sort of effects is not ideal for doing. Normal photography, but I know that we get these terrific sunflower shots with it and it works well with some subjects. Then we went up to the highest part of New Castle, which is where we have this obelisk. It's another great location because it's the last part of New Castle to catch the rays of the light. Every day. We're having that sunset close to the horizon on the western side. And we're getting that beautiful warm light coming through onto our model. We're using the soft box on the flesh Now because I wanted to soften that light on Maxine. And the sun has reduced in power because it's close to the horizon. The graphic nature of this obelisk in the background with the stairs just works really well. And that little cloud that we had, that little storm cloud worked amazingly well too. It's just cooperated and it's just set in the right spot for me. With a lot of these shots, I used the shadows on the background. We had a person who was there videoing us with his phone just through interests and I asked him to stand in the right spots astray that shadow onto that background. Then we've got Maxine down there and we took advantage of her shadow from the sunlight on that white concrete. So that added another point of interest in our shots to make them look that little bit different. Then we moved up to the top of the area here so that we could get the last race of that sun in air image. I just stood Maxine against the little plinth that's on the top of the obelisk area. And we shot with that sun in the background. The low angle emphasizes that sky and gives us that great upgradation of color, Joseon to the setting sun. Then all wanted to sit Maxine down in the longer grass so that we could shoot some stuff with that backlit grass. Having sun behind grass always looks magnificent. But if you can put a model in there as well, it just adds to the effect. So the same thing we got maxing Dan litter with the soft box at about the same distance. And we shot with that sun in the background. We did some standing up shots as well. It's not easy for me to get down on the ground, but I do it because it makes such a difference to the results that we get. 15. Racquel at the Abandoned House: This should took place at an old house in the Hunter Valley, just west of New Castle. We wanted to get a grungy fashion sort of a look from the shots. Raquel was their model for the day, and we wanted to use a combination of flash and available law. In the shots. Here we're using the soft box with the flash just a supplement that dialogue on hotels face. We move to another room. We had this old couch. One problem we had here initially was that there was a bit of sunlight on row kills feet. And I didn't want to have it that way because the flash would superimpose on any day life that was there. So we had to move for Kills feedback out of that sunlight so that our flesh would lie to her food. And I needed to balance the flesh with the daylight outside. Then we use this doorway with this great surround by initially took a couple of shocks just with the soft box that then we put a speed light in the room behind or kill to light the room just so that it up and accentuated her hair and gave the Shuttle a little bit more interest than we moved outdoors again, using the soft box with the large flesh, turning her kills facing into the wind so that her here would blow back away from her face. And judging that exposure so that we had nice detail in the sky and the landscape behind her, as well as the light on her face from the flesh. So getting that balance right is the key to using off-camera flash. These are a couple of extra shots that we took around about that time. There are some great windows in this old house that I wanted to use. So we placed her kill in the window and I took some shots from outdoors framing the window frame and kills face. Initially. Again, the shots were okay but we needed a little bit of punch from the back. So I had Corey in the room behind her kill with the speed light synchronized to the camera so that we got that flash on the back of her head and lit up the room of big just to give the shots a little bit more punch. It also accentuated the great color of skills here. Then we move to the entrance way to the front of the house. This is a fairly dark area, so I had to be careful to expose the background, which was sunlit so that I wouldn't take attention away from Raquel as M9 subject. So the flashlight with a soft boxes lighting would kill for the need to balance my camera exposure to get that background looking at why there are wanted. And we move back inside. I wanted to get a shot of Raquel in this arched window or arched doorway. So we had Corey stand off to the side with the soft box and Henry kill turn her face slightly towards that soft box to get nice light on her face and are framed the shot with the doorway in. Now, for this next shot, the idea was to light where kill along that a wall so that we got the texture of the paint coming through. If we liked something along the wall, then we get the texture on the wall showing up so much better. The video camera wasn't greater capturing this really dark light. But you can see this shot with available light does shop with flash. It makes a really big difference to have that directional light coming down and that small light source to show the texture inlet surface. Again, we needed to turn red kills face towards the flesh so that we got that nice light on the front of her face. So these initial shots I had at facing me and then we turned her face towards the flesh to get that nasa lied on her face. Now I wanted to light Raquel through one of these doorways. So he had Corey with soft box in one of the rooms. The celt was outside that room just in front of the front door of the house. And I was going to shoot her through a third doorway so that we're using three doorways in this shot. The light coming from the doorway, lighting Mikkel was a little bit too radical, a little bit too far from the side. So I eventually got coin to come inside the room and light against the wall. Opposite would kill to make that line a little bit softer. On her face. This place was an ideal situation. I had to clean up a little bit with my broom. But our loved that brick work in behind that little NORC. So we place trickled down there and again, we lit her with the soft box off to the side to get that lovely light. We needed to position the soft box so that it did for Kills face. And we've got that great light in that little NORC. Here again, carries over to the right-hand side of camera, lighting or kill who's looking out through the window. The daylight here is sufficient to expose the shot correctly with natural light. But off-camera flash just gives it that little extra punch. On the stairs here, outdoors. Guy now needed to be careful with my camera exposure to expose the environment. And then the flesh was lighting or kill. So we had the flesh on camera, right. We call he's holding it up above Raquel because you want that light to come down on her. And I framed the shot and composed it so that she was the major part of the image and the background just worked in around her. A few extra shots that we do it. Now or another building? A large warehouse topping building with plenty of light around, but I wanted to frame overkill in this doorway. We used the off-camera flash because if I just shot here with natural light, she would be very dark against that deck gram. So we use the off-camera flash to light her, turning her face towards it. And we balanced at Lot was the outdoor light. Here. We just took advantage of some of this available sunlight coming through these windows. It looked really spectacular, so I wanted to just use that available light without flesh to get the shot, the graphic sort of style of shot that presented itself. Outside again, I was outside shooting where kill looking through these magnificent windows. So I needed to expose her for that window frame using just available light initially. And then we head Corey light her from the back, just to give us that backlight on her here. I love shooting from these low angles because it gives you a subjects such a commanding sort of a look. And it gives you a background of spectacular look as well, a lot of big scars and photographs. But separating the kill from that background is a big part of using this off camera flash. Having a flash coming in at an angle shows the shapes and the textures and the way the light falls across your model just looks much different to using flesh on camera or available light. A couple of final shots year, just Raquel in that doorway. And then we managed to get Raquel up onto this high brick work again so I could shoot up at her and give her very commanding sort of a feel to the image. Corey had to get that light up as high as he possibly could because I didn't want too much applied on her face. So to get that Lord episode as possible was a really big advantage. Sometimes it's good to have a tall assistant. So we had a fun day shooting up there. We got some magnificent images, ankles and great shots for Mikkel and for ourselves. 16. Horse Shoot on Sand Dunes: This is a shoot we did at n-a by just north of New Castle in the sand dunes on Stockton Beach with Tara and her beautiful horse, Bella. I love shitting in the sand dunes because the lacI get up there is wonderful. The backgrounds very simplified. We're very lucky on this day that we had a great overcast sky, which meant that we could shoot from any direction and still get a great sky. If we had a bright sunny day, then we would need to take into account that sunlight on terrorists face and we need to shoot against it towards the sun. But in the overcast day, we're lucky we could control the lighting so much more because we were using off-camera flash with a big soft box. I had to have a tall assistance so that we can get that live up high so that we can live Tara from adjacent angle. Because if we let her from too low down when she's up on top of the horse, it's going to look like it's applique And it's not going to look particularly attractive. So we did various different outfits with Tara. We tried to keep the distance from Tara to the soft box consistent so that our exposure was consistent. The basic way that we expose is to expose our camera settings for the background. And we use our flesh parallel to light our subject. So we did various different moving, walking photographs of Tara. We did some shots coming towards the camera and some away. It's not an easy thing to do to ride a horse or to work with a horse in the sand dunes because there are soft spots. So you need someone who is a very accomplished rider as Tara is, and a horse that's going to be HIV themselves as forrest did on the day. We didn't arrive different shots. As I mentioned to you, you do need to be careful when you're working in the sand dunes because every time the horse goes past it makes poof prints in the sand which look a bit untidy. So we needed to keep moving further and further into the Jun's so that we had clean sand in the background. We did some shots with Tara riding towards the camera to try and get some of that excitement in the shot and that fantastic movement of the horse is mine. Terrorists care and her dress and wanted to get some movement in the shops and more exciting sort of images. And it worked out really well with the off-camera flash. We used the soft box all day because we had that low-level of life from the overcast day. If we had a bright sunny day, we might have needed to ditch the soapbox and just use the flash with the Reflector, because we would need that extra pair of life. Towards the end, we went down to the beach and get some shots in the water. The idea here was to get borrows running through the water. But here's a little bit of fried Of the watering wasn't too keen on the day to get each bit width. So we did a couple of shots there and then we sent tower up to the highest San Ju so that we can shoot her against the sky. That magnificent sunsets. And we finished off with a silhouette. So it was a great day working with a great model and a great horse and a great team of people. 17. Krysta on the Harley: So what we're gonna do to start off with we're going to use to strip boxes and either side of the bike. To narrow the beam of light across, we need to be careful that Christopher's face is not straight to camera because we'll get a dark line down the center of a face. So we're gonna turn to face one way or the other. And that'll keep that lot on her face not an attractive. And then we're gonna get that side LOT across the Black to show off the contours on the block. Then we are going to use a larger soft box pretty much directly from the front with a bit of backlog, will use blow down Bakelite first and then we'll weaves a high backlight so that it's shining down as if it's a beam of light coming down from the ceiling. I bid of sunlight shining through. How can you look just above my head here? New? Yep. Okay. Now 25's just illustrated that strip soft box there. And what a bad over the back here. If you get right to the back, to the tail of the bike here with a photon each side facing the front? Yep. And just leaning forward on unlike God. Okay. Good. That hand on your knee and your final could. Yep. They are Tarjan enough Nobel fashion. That's great. We changed post. If you can stand up just polish kit and a little bit, I want you to to sit on the probably way that tank is there just at the front of the seat? Yep. We the legs together facing towards me, one foot in front of the other. Yep. To sit down. Yeah. That's it. Good. Maybe that elbow? Yeah. Great. Now, according to remove that flash in behind Christa for me, please. Greg, can you turn your face right around, say looking at that script block, gifts and knowledge back to me. Somebody yell, fantastic, they'd look really good. And while he's doing that, Krista, Can we do a couple of shots with their hands up and maybe get a tip and the owners Good. We'll do the own to arrive at that. Yep. Ascribe probably up this end. And I wanted to angle Dan across the wall. I don't wanna run Krista via we'd lighting vector down here. So up between that rack, between the front and back racket began just over the top of that top bar. Yet we'll just try that and see how it looks. Really. Awesome. Dialogues, Great. Okay. Alright, couple. Can we get you back on the seat and just sitting down? Yep. Probably, yeah. Sitting down facing over that way. Yep. Night can we turn that water and saw it again for me? That's it. Coin can, that's good position, but I want to back a little bit more because that yeah, I want that bad or throw a shadow across there. Yeah, that's good. Okay. I'll just do a test there. That's good. Can you put this foot further forward so you fit a separate note, the front foot further forward? Yes. So the separated bit more? Yep. That's it. Good. Okay. Here we go. Yep. Great. Good. Tend to foster a little yeah. Good. Shoulder cement. Yep. Okay. I get a bit. If it hurts when I tell you to do things, just don't do it OK. I get a bit carried away. Yeah. I think that's fine. I think we've now that I think that looks really good. And she'd be looking puzzled for Arabic. Fading opposition had been back on the val again. Returns. Yup. That's okay. But you need to turn the shoulders this way because if you can oh, we'll just do wanted to just sort of behind the scenes shot for Kayla. I got there we go. That's great. Night to little bit. Ha yep. We go. Lovely. Yep. It does hint just standing front. Yep. Alright. Get up a bit high for me. Unite. Yep. Here we go. Yeah. That makes such a difference. Now, can we come around the front and just stand in front of the handlebar there, please. 18. Jasmine at the old fort: This was a shot that took place at one of the abandoned forts around council. They're great vacations to use and places that I love to go and shoot. We had our model there on the day, was Jasmine. She's an amazing model, lame, we've worked with Jasmine quite a lot in the past. She had some great outfits from design, a friend of hers that we were shooting. We use my big flesh without a soft box because we wanted to make these shots a bit more punchy. We wanted to make them look a bit different. A bit of hard light just to simulate that late afternoon sunlight on judgments face. And because of the hardness of the environment, to think the Hard Light works so much better. We had an overcast day for this shoot. Again, that was a bit of a help because it gave us some great detail in those clouds in the sky. We could shoot up towards the sky, which I loved to do and get those magnificent times and in the sky. And as well make Jasmine look a bit more powerful and more commanding. And the shots, we have low structures further to stand on and various different viewpoints that we could shoot, which means it was a great location to use. Some of the time we put the flash on a allied stand and on which was great. But most of the other Tange we had one of my assistants, either corporeal Michael, hold the flesh because he gives us a little bit more room to move around. We can get them ride on the age of the concrete so that we've got that light coming back on suggestions face a little bit more nicely. We could also move it more quickly than if he had it on a light stand. And also it's a little bit safer because LOD stands can blow Iowa. It wasn't a particularly windy di, disdain, but you do need to be careful. A lot of photographers have lost the idea by having wind live a light stance. So it helps to have somebody else there to help you out with this. Now this shot we had Corey upon the concrete with that light coming down onto Jasmine. And the light looked really nice, but I wanted something a little bit more radical. So I asked Kuwait to move down and shoot the light parallel to the, to the concrete that jasmine We're standing against. That gave me a little bit more texture. We'll write the light came along the concrete which showed up the texture and the concrete a little bit more. Initially, Cory was holding the light down a little bit too low. But then I asked him to stand up because I don't want that applaud on Jasmine in this particular situation. It possibly could have worked. Okay. But I think having it up a little bit while I coming down on harris gonna look a little bit more natural. And Mike, the sharp, look a bit more attractive for judgments vice. I wanted to do a shot with this structure in the background. And so he placed jasmine Just on the corner of the car parks here. We need to first position our model in a way that we want to compose the shot. And then we work out where a lunch counter B, because it's no good setting up the light and then try and get the model in the position is going to work for the light. We need to do it the other way round. So get your model in the position where the composition can only work well. And then position your light where you want it. Now, once you've established your base exposure is not going to change a great deal throughout the time that the day of the shoot. As long as you use your camera settings to determine your background exposure. And your flash stays at around about the same distance from your subject. You really don't need to change too much because that flesh to subject distance is the thing that will determine the exposure on your model. If you do move your flesh closer or further away, you just need to compensate by turning the flesh powered down or up, or moving your flesh forwards or backwards. It'll have the same effect. For this first shot on the stairway. I positioned and Corey with the light up the stairs to the right so that the light was coming down onto Jasmine from her left-hand side. Now camera right. We gave the light a little bit more unique quality to have that light coming down. It it appeared like it was sunlight would daylight coming down. And we turned her face towards that life so that the light was falling well on her face. When she came further down the stairway, we positioned the live off the camera left, still trying to get it up higher than her so that the light was coming down on her and turning face towards that light. The last setup we did was down at another gun emplacement just a little bit further down the track. Replace Jasmine in this little alcove. And I took a couple of shots, but the Batman was very dark and it didn't separate her dark here from that tap shadow in the background. So I got Korean there to try and hide Himself as much as possible with a speed light to light the backup judgments here so that we got that backlight and it made the shot just stand out that little bit more. 19. Yasmine and plane: The video you're about to see took place under very challenging conditions. We had a small window that we could shoot the plane. We had to shoot it at midday on this particular day. So you can imagine the loadings not ideal. We had 43 degree day, which is a 100111 degrees Celsius day, which was very hot and very difficult to shooting, especially at mid day. We had a very strong wind. So strong in fact that we had to have a couple of fellows, they're ready to grab the plane just in case it lifts the ground. So we had strong wind, very hot conditions and model performed really well under those difficult conditions. We tried to use soft box for some of the shots, but the problem was that the soft box was being carried away by the wind as well. Even though there were two blocks holding onto the soft box, they couldn't control it in the wind. So most of the shots were taken with hard lot, just Bay bulb flesh. So I think we did pretty well. Safe yourself. Have looked at the video and see what you think. Okay, so here I can tie it failed. It's a very windy, very warm day, forecasts 43 degrees here today. So I was going to be a bit of a challenge. We're also here at probably the wrong time and die to be doing this stuff. We're here around starting around 11 o'clock AM again, answer util just after lunch. So the light is going to be pretty challenging, but we'll see what we can do. We've got to talk him off that we're gonna shit. We got our model coming along. We're going to use some, some flash to try and time that scar in the background. We've got a few assistance here to help us out. So I will just see how we go. It's a very challenging shoots. So hopefully we'll come up with some good results. Okay, so we've got, we've got fairly bright sunlight today for shooting it 200 ISO. We're probably going to be shooting at a bat if 16 to try and get some blue into that Scholar. Anything more open than F6 Danes county wide, that's going out and we're not gonna get any detail. And, and so shitting in F 16 means it flashes will probably need to be at full power because we need to get enough light to light with that small aperture. Our, where we're going to start off with a restricted shutter speed of 100th of a second. There the limitations that we have. So we're going to have to try and Lloyd has brought his we can now model with a lot to try and compensate for that small aperture to get her background exposed correctly. Ok, Jasmine, once you just hear four's place and the odd series is sufficient to overshoot so you don't have to look at the camera. You can look. I'll tell you where to look. Okay. Just try and keep that hair out of your face you for Kant. Yeah, terrific. Yes, which I'll just show you. So we want you to be prominent in the sharper, the tomas there in the background as well. That blue sky. I think that looks really good. Yes, it does. We're just going to use Greece. Flash for this cell gets you with your back against the plane there and your face turned over towards here. Now can we get you on the other side of the wing and place, alright, that's great. And in close to the future loss if you can't. Yes. Yeah. Yeah. Yeah. Could we maybe the green, there's some ordering that ascii next to my car if you want some. Good. Now just turn your eyes so there over my head. Keep your face that way. Yep. Good. You're gonna get shared on the end of the wing here. Just with your back against here, might be even with ammonia. Okay. So normally we'd get em modelling place and then we work out where a lot of it's going to work. So we're gonna be shooting back this way. But, you know, keep that lot where it is. Just move back a little bit. Yep. And shine. Can you lock the front of the plane forests place? Maybe with that, Rodney just press sat across a little bit. Yeah. That's it. Good. And held his hand up and you hit? Yeah. Okay. Good. Okay. Great. Now, we'll get you in the same spot. I'm just gonna move in closer and do the shot. So we're going to get that. We're still going to get her to turn that. Why so maybe Murray just come right in this way a little bit more. I'm just going to shoot straight back this way. I want you to face turned that way a little bit, but I want you to ours on the camera. It's time. Okay. Good. You're good at this address looks great because of the vertical stripes. So I'm gonna do the same thing, but we're gonna use a soft box on the Iran. That would be a good shot. The plane styling often, yes, men hanging naught. That's good. Water one. Right guys, see me go. Okay. I think we'll get rid of smallpox now. Just up and straight down on the ground. Yep. That's good. I like it with your hand. Demo that. So maybe you do, maybe do that again. Keep that India. Okay. Yeah, wonderful. That's good. I'm gonna switch cameras. That's good. One should just looking between the large and may either TBA shine said, Yep. Okay. All right. Now, I'm just gonna do a wide one. Maybe sitting on your bottom back against there. Yep. That's it. Yep. Yep. That's great. Okay. I show a point that tells the back. Yep. That's it. Yeah. That's great. And okay. Okay. So I want feet apart a little bit more. Yep. This hand up just how net head back a little bit. Yeah. That's it. Good. And looking at it at my head. Awesome. Last one, we go. Good. Ik, that's a rap guys. Thank you very much. Thanks Jasmine. That was fantastic. Okay, we're all done for the day. The wind and the sun might it quite difficult and quite uncomfortable, especially for our model Jasmine. But the shots look awesome. You'll see some of the shots as we go through the video. But thanks to Robert, thanks to all the assistance. Thanks most of all to Jasmine. And two Damian and Craig, who, um, who learned to see use of this fabulous client. So we'll see you in the next video. 20. Maxcine at the old house: This was another shoot we did had the old houses up in the Hunter Valley. You'll notice that we're using some bounced flash here. Cory's aiming that speed light towards the wall to light Maxine. Because using that speed light bounced off the wall gives us that nice soft light, that soft reflected light. And that light's Maxine in a similar way to using a soft box. So the street light can give you some amazing results. For this shot. We stood Maxine in the doorway and did a couple of shots, but I wanted to get some backlight in here. So we've got Cory in the room in the background with the speed life, just aiming at Maxine's back. And that gave us a little bit more backlight and a little bit more rim light on Maxine, so that it just brightened up the image a little bit more. Here we're shooting in a small alcove area, which is really very dark. I liked the way that the doorway framed Maxine when we stood her back against the back wall. That because it was so dark we needed to lighter in there. So I use Corey with that speed light aimed at the opposite wall. So he's standing on camera left and lighting the war on camera right, which is going to bounce a nice soft light back onto Maxine. I needed to keep Corey out of the shot so he had to stand back close against the wall so that he wouldn't show in the shot. You can see Corey dresses up for these occasions. Photographic assistant, you're looking for somebody who knows what they're doing rather than someone who's a feminist. Now in this room, I noticed when I came in that great sunlight on the ground, on the floor, that shape of sunlight, the trapezoid sort of a shape. And I wanted to use that in the image somehow, but direct sunlight, it's not particularly flattering light to use, but I had to think about it a little bit, which direction that son was coming from, and how we will go into place Maxine in that light to make it look natural. Because I had the idea that I could shoot her on the ground, should down on her and then turn the image sideways so that it appeared that she was leaning against a wall with that same sunlight coming in. So we laid Maxine down in a position that was going to work with that sunlight coming down on her face, which would look natural when we turned the image around. We photographed during that sunlight, you know, I needed to be very careful with my exposure. We didn't use any flesh here, we just use this bright sunlight. We turned to face towards that Sun. Close her eyes and to we were ready to take the shot and then asked her to open her eyes for the shot because otherwise she would be looking pretty much directly at that sun and wouldn't be comfortable. So here's the shot that we got. And then later on in post-production, I just turned it around and I think it looks quite effective. Then I moved her over to this doorway, which is quite an attractive doorway. I wanted her to hold around Ziad against the edges of this doorway. If her around for long enough, it turned out that they were perfect. And then I did a couple of shots with the available light coming through the window, but it wasn't quite what I was looking for. I wanted something a little bit more than that, something a little bit more powerful. So I asked for you to go outside and I'm the flesh through the window to supplement that light that's coming through the window. And that really made a difference. Again, our facial magazines face towards that light that was coming through the window. And you can see the difference that it makes. Here's a shot with the available light just coming through that window. And then this is some shots with Corey using that flash. I asked him to move a little bit closer so we wouldn't get those shadows on the wall. And these are the shots that we gotten. Now, again, I wanted to get some shots showing the texture of this peeling paint in this location. So I place Cori outside having that speed light, which is a hard light coming parallel to the wall as close as he could get it. And that light glancing off that wall was going to show you the texture and the peeling paint, the highlights and the shadows, more than if the light was further back. So we still needed to make sure that Maxine was leaked correctly. So we placed her in a position that she could turn her face towards that light. And it worked really well. We had to have Cory holding that speed light up a little bit higher than Maxine so that the light came slightly down on her. That's a shot without the flash. And these are the ones with the Flash. You can see the drama that it creates with that light can glancing off that paint work. Then I went outside to shoot a couple of shots of Maxine in these windows. I love these windows. And because of the IV and the foliage around them, it's a terrific spot to be shooting at these houses. So I asked Maxine to stand at the window. She was a little bit short of the window. So Cory was inside with her. He gave us something to stand on which got her a little bit higher. And they allowed her to put her arms on net windowsill and look much more comfortable. I also ask Corey to shoot a little bit of speed light light in behind her just to like the back of her a little bit more so that her hair stood up a little bit on the background. And we got her up higher again so that we could see some of that red dress. Now we're shooting in the old warehouse or the first aid room down the back. And I've had this concept in mind for quite a long time. I've seen a lot of YouTube videos where photographers assistants have been holding reflectors and looking at their phone at the same time. They look totally disinterested in what's going on. So I wanted to produce an image similar to that on that sort of thing. So I asked the boys to hold the background up, to look at their phones and I shot some shots of Maxine in front of it. It worked out really well using their off-camera flash. It gave it a bit more depth. And I think the shot turned out great. I'm really happy with this result. It's great when you have a concept in mind for a lot of years and then you try it out and it works well. I've got ideas that I haven't tried from 910 years ago that I hope to try in the future. But the idea often is the hard part. The execution is the 80-bit. Now the last shot we did was this shot through this window. I wanted to shoot Maxine in a different window, denied have used before. So we pick this one again. She was standing on a box to try and get her up to the level of that window so that we can look. I did a couple of shots and I asked her to put her hand against the pain of the glass and I think that worked a little bit better. 21. Tara and Bella at Clarencetown: This was a shoot that we did near Clarence town in the Hunter Valley. Its shoot with Tara and her horse Bella. We shot this quite a few months ago and I knew it was going to be a challenging shoot because all of the two-hour trip up to Clarence town in the car, it was pouring rain. So we just chance that we got there and just hope for the best week found this great location, that tower in New York. And we shot some stuff. We got a little bit of rain at the beginning of the shoot. So I took advantage of that and did some shots in the rain because we still had that sunlight coming from the back from the west. And it backlit the Rhine and backlink Tara and a horse. And we got some shots that were just a little bit different to the shots that you would normally get. Tower is a very accomplished rider and she did magnificently with bella. The location is amazing. The locking we use towards off-camera flash. We used some shots with the soft box. And then after the sun came out a little bit stronger, we took it off and used the bare Flash just with a cone on the front so that we could balance that light properly. When you shoot horses, it's quite important to have those ears pricked up if you can. So we spent a lot of our afternoon making silly noises and trying to attract there was attention so that we've got those years to point forwards so that the horse people will be happy with the result of those shots. Now mentioned, tire was a good writer and you can see here that bella starts to get a little bit upset with the attention that she's getting. Tower manages to stay aboard. But it was a little bit of a tense moment when this happened. But anyone who wasn't as an accomplished writer as tower I think, would have had a bit of a problem. I didn't manage to get a shot of that happening. I was a bit worried about tower, so it didn't actually shoot the shot. But we've got some great shots. We had a few different outfit changes for Tara, shooting in the direction of the valley. From the Hill gave us that great landscape in the background. Shooting towards the western sky meant that we had that sun in the background, that clouds were backlit. So we just had to balance our flesh with those clouds. I spent a lot of my time sitting down on the grass shooting because I wanted to get that angle on Bella and Tara and also include as much of that great skies occluding the shot. Bella cooperated really well. And tires and magnificent model. So just with a little bit of encouragement and a little bit of coaching, we got some terrific shots. As you will see, the variety of shots we got were great, but you can see that light, the light in a photograph is 90% of the results. So working with that great light makes it so much easier. If we're shooting with natural light, we wouldn't be able to get the same results. The off-camera flash allows you to control the light on Tara bella to get that light looking terrific from the front, as well as your camera settings giving you that background exposure. I wanted to do some movement shots. So I asked her to just ride around me. And I've got a few shots when she came past the the front, I waited until she was in the correct position to try and shoot my shot. The best shots that I got recognized were the ones when the sunlight was behind Tara umbrella, not say much behind them fully, but in that direction. If I had that broad sunlight coming around them, then there was a little bit of an issue with some flare. I was battling to try and get that exposure correct. This shot, for example, you can see that flare there still looks great because I love the pose, but waiting until her shadow covers me and shooting generally gave me the better result. So you can see as she goes around on trying to shoot when her chateau covers me. So I don't get that lens flare, but I get that right. Bec land an OS lie to I'm Tara. Now it's not the easiest thing in the world to photograph a galloping horse on, not a horse person myself. But it's just a matter of timing it correctly, taking a few shots and then sorting out to good shots from the bad ones. They are getting the lighting right is the first part, but capturing the horse in mid stride is another part of it. To try and make her look as good as possible, as well as your model. Now partway through the shoot, my large flesh run out of battery. So we were restricted to using the speed light, which is much less powerful than the lodge flesh that i have. So we had to compensate a little bit and change our camera settings so that we could still balance at Beckman. Luckily, the sun had gone down a bit more and it was a little bit less intense. So I was still able to balance the shots reasonably well. That smaller amount of flash. I did some available light shots with telephoto lens, with Tara upon the crest of the hill against that sky. I love the colors in the towns in the sky in the late afternoon light, lighting, terrorists face and Bella. As the sun got further, Dan, we started to get a little bit of color and net sky, which gave us a bit more of a sunset feel to the shot. And we still use the speed light to light tower and Bella. We just used it in various different positions and shot in slightly different directions to get the results we're looking for. Then I noticed that the eastern sky was lit up just the same as the western sky. It actually looked a bit better. So when you're shooting with sunsets, have look on the other side as well. This is the sky to the east, opposite where the sun was going down. So you can see these bright colors. This was simply lit with available light. No flesh in this shot. Tar on Bella or just lit by that sunset that's on the opposite part of the sky. Some beautiful sunset shots to finish off their day. Great color in that sky. Again. Controlling that background with my camera settings and controlling the flesh power light. Tara and Bella. It's the key to off-camera flash. And it's the way that you will always succeed. Was a great day. We had some fantastic times. We've got some great shots. And I hope to go back there again and do another shoot. 22. Wrap up: Now in conclusion, I'd like to say thank you for watching this class. It was a long class. There's a lot of information in here. I hope you enjoyed it because I like to make these classes entertaining as well as informative. I don't hold back with any of this knowledge that I am part in these courses. I want to give people the tools to be able to go out and do this stuff themselves. Nothing makes me more happy than seeing people improve their photography and come up with results that they've never done before. I've been doing this for 40 years and I still get excited about results that I get new techniques that are Troy, new things that are haven't done before. I've got ideas that have never tried before that I hope to do in the next few months. And I'll be creating videos to show you how to do these things. So keep an eye out for all of my new videos. They'll becoming thick and fast because I just love doing this stuff. I loved teaching you guys this stuff. So keep an eye out for next class. I'll see you then.