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So what we're going to do now is
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we're going to do an indoor shoot through
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with off-camera flash.
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In other words, what we're going to do
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is we're going to shoot through sparkly stuff.
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Photographers love to shoot through sparkly stuff and
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we're kind of, our eyes have always been
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drawn to this.
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In this case, I'm going to do it
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in a portrait scenario, okay, but it does
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work well for speeches or anything really where
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you've got sparkly things to shoot through and
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your subject matter is in a stationary distance
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from the camera, okay.
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So we're going to come on in here
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to this space.
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This is where we're going to do it
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and I've chosen this space for a couple
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reasons, but one of them is because the
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amount of ambient light is quite dark here,
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so it's pretty similar to what we face
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with in a lot of reception spaces, okay.
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And what I'm envisioning is we're going to
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have some glassware here and I'm going to
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photograph our couple, Florian and Sachi, are going
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to be somewhere positioned over here, okay.
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And ultimately what I'm going to have to
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end up doing is lighting my subjects.
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I'm going to be shooting through sparkly glasses
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here and if I don't have enough ambient
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light on the glass to make it sparkle,
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then I'm going to bring in a second
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flash and light that up.
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All right, so what I've got here is
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I've got an assortment of glassware and you
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know obviously in a reception scenario we would
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just organically use whatever is there, but because
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this is a portrait I can kind of
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do whatever I want.
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So I've taken out some shiny sparkly glasses
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that I'm going to arrange to shoot through.
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I've got my camera.
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For lens choice I'm going to be either
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35, I think 35, or possibly 50.
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I think if I go any wider than
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35 they're going to be just too small
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and if I go any bigger than 50
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what happens when you're shooting through sparkly things
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at wide apertures is the bokeh balls become
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so big it just fills the entire frame.
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Somewhere between 35 and 50 millimeter and then
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I've got the two flashes because I'm going
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to use one to light to light my
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couple and then the other one to light
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the glassware and that's going to be a
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game time decision to decide if I need
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more light on the foreground.
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Sometimes the iPhone flashlight alone is enough to
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give that the sparkly glass that that sparkle
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and glitter and then to control the light
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coming off the flashes of course I'm going
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to use the grids because we're indoors we
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have low ceilings we have lots of walls
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around the couple so to isolate the light
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on them and keep it off of the
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walls I'm going to use probably one or
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two of these grids and then possibly I'll
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need a grid for the for the light
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on the glasses as well just to keep
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it off keep it from from affecting my
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ambient exposure okay and then here's the quarter
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cut CTO gel this is the subtle warming
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gel I'm going to use this one for
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the flash on the couple that should balance
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the the color temperature on their skin tones
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relative to the ambient light and then these
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ones are just some funky creative gels that
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I might experiment possibly for the flash that's
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not lighting the skin but that's lighting the
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the glass in the foreground so I'm not
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really sure how I'm going to orient these
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but the main thing I'm trying to do
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here is fill the foreground with lots of
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sparkly glass and I think maybe if we
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could close those blinds because already you can
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see shooting through this it's going to sparkle
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right because I've got lots of natural ambient
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light on it but I want to kind
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of replicate a scenario where you don't have
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that you have to make your own foreground
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light okay so I'm just going to eyeball
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this and see so Florian and Sachi you
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guys are going to be a little bit
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more that way okay right about there and
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don't worry about your position now you're just
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hanging out I'm going to try to create
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a little peak hole through which to frame
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you yeah if I go down here I'm
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only going to get their upper bodies but
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if I come up here then I can
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probably get their whole bodies so I'm going
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to create a little peak hole right in
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here okay and I'm probably going to get
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another glass here and here because I'm going
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to try to do this with 35 and
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I want to make sure the whole foreground
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is all sparkly bokeh so basically going to
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try to frame them right through this little
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peak hole and encase them in sparkly bokeh
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yeah okay so this is looking good I've
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got a little peak hole they kind of
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fit perfectly in between that glass so in
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order to make this as cool as possible
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essentially what I want is for this foreground
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these foreground glasses to be extremely out of
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focus so to do that a couple things
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I'm going to choose a lens that allows
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me to go to a really wide aperture
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so I got the 35 1.4 in
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this case and I want that glass right
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up literally in front of my lens so
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that by focusing on the couple this glass
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is going to be extremely out of focus
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and when it has a light source on
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it like it does here already it's going
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to sparkle so that's if you want foreground
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bokeh that's essentially what you need you want
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wide open aperture you want it right in
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front of the lens and you want some
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sort of a light source on it okay
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so I got my 35 1.4 I've
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got my transmitter on here because I know
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that I'm going to want to fire my
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my flashes but I'm going to keep the
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transmitter turned off because the first thing I
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want to dial in of course is my
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ambient light right I want to get the
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ambient set and then start adding my lights
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okay so basically get get the canvas that
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I want for the ambient light and then
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start painting with light so first let's figure
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out the composition I'm going to get the
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lens right up where I need it right
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away I can see the bokeh I can
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see the bokeh in my viewfinder here and
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with center point back button focus I'm going
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to focus on the couple and I can
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see that they're basically surrounded by this sparkly
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foreground app so I'm choosing on my lowest
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possible iso because I'm actually trying to kill
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as much of this ambient light as I
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can at wide open aperture so I'm going
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to try to shoot this at 1.4
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I'm at 50 iso f 1.4 and
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my my shutter speed has to be 1
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200th of a second or slower so I'm
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going to go right to 1 200th of
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a second so that I can so that
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I can sync with the flash okay I'm
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going to do a test shot iso 50
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1 200th of a second f 1.4
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focused on the couple through the glasses test
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shot and right away I've got dreamy bokeh
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in the foreground my couple though of course
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is in complete darkness okay so I'm basically
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at those settings I'm exposed for the highlights
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up here and the highlight in the light
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behind them and kind of the highlights that
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are refracting off of this glass so now
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I need to start to make my own
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highlights where I need them one more test
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shot so I'm going to add a flash
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on the couple so I'm going to take
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one of the flashes turn it on grab
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a light stand and I'm going to light
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you guys are great right where you are
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you're in a perfect position I'm going to
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I'm going to try to light them in
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a way that is short lighting them okay
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so it's going to be dramatic and edgy
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but also I need to orient the direction
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so that I'm not lighting up any of
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these white walls that are in my frame
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so I want the highlights only on the
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subjects so I figure if I bring my
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light and hide it back here and light
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them this direction it's going to short light
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them for me and hopefully with a grid
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not light up these walls too much okay
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so okay distance
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wise doesn't matter too much it depends on
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the space in this case I can get
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it about this far back and I think
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that'll work well with a grid and height
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wise I want to be in about this
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range right magic hour angle we don't want
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to go right up too high but we
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don't want to be coming from an unnatural
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angle from below so just a little bit
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higher than than my couple here I'm going
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to aim it okay now I know that
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I'm going to want to put a grid
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on here because if I don't I'm going
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to light up the entire the roof the
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wall the entire scene and it's going to
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change my ambient exposure by controlling it with
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the grid that's going to keep my ambient
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exposure where it is and just paint with
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light just on the subject so I'll grab
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a grid and quarter cut cto warming gel
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okay so that should balance the skin tones
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and again I'm just shooting auto auto white
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balance here okay and seeing what I get
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I'm just putting the flash somewhere in the
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mid-range now I don't really care because
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I'm going to eyeball it and adjust okay
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so that should be positioned well we can
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tweak it we're going to start tasting the
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soup and tweaking things as we go so
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now that I've got that ambient exposure dialed
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in I'm going to turn on my transmitter
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okay I'm in mechanical shutter mode so that
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I can fire the flash wirelessly okay and
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we're still just test shotting guys so don't
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stress I'm still exposed for the highlights in
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the room test shot one all right so
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right away that flash is about where I
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want it let me just zoom in yeah
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flash power the angle is where I want
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it zooming out okay but I don't have
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them positioned on the dark background ideally yet
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so if you guys just shuffle towards the
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flash a little bit yeah right there yep
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perfect okay so now they're right on the
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dark background actually just half an inch back
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this way yeah right like that okay and
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so we're going to do a couple shots
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like this now and we're going to snuggle
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this one snuggle for real that's nice with
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the shoulder up now I need to see
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your face as well Florian so if you
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can kind of nuzzle in on this side
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of Sachi maybe kind of kissing on the
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forehead filling the frame in the foreground with
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the glass okay that's good guys just relax
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you know what I'm going to turn that
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flash down a touch it's just a little
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too hot and I'm playing around a little
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bit with where they are relative to the
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bokeh balls because sometimes it's hard to predict
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where it's going to look the coolest okay
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the flash is a little bit too hard
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it's coming in a little bit too harsh
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so I'm gonna move it out so it's
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not at quite quite as hard an angle
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I'm gonna move it this way okay so
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I'm coming from like a 90 degree angle
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and I'm going more acute with that angle
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so it's so it's not quite as edgy
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it's a little bit too dramatic now this
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might mess me up because I'm thinking it
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might light up this wall so we'll just
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test it and see all right so new
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flash angle let's see if this works yeah
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it's definitely hitting that wall a little bit
266
00:11:22,940 --> 00:11:24,900
more but it doesn't bother me too much
267
00:11:24,900 --> 00:11:27,840
so we're gonna go with that I'm gonna
268
00:11:27,840 --> 00:11:31,320
dial it down just a touch more okay
269
00:11:31,320 --> 00:11:33,460
now already I'm getting really cool bokeh on
270
00:11:33,460 --> 00:11:35,620
the foreground here but I could probably get
271
00:11:35,620 --> 00:11:39,600
even more sparkly if I add some light
272
00:11:39,600 --> 00:11:41,920
so I'm gonna add a second flash I'm
273
00:11:41,920 --> 00:11:43,460
on the same group right now so I'm
274
00:11:43,460 --> 00:11:45,680
gonna switch this one to B so that
275
00:11:45,680 --> 00:11:47,440
I can control the flash power I can
276
00:11:47,440 --> 00:11:52,100
control the flash power now independently okay now
277
00:11:52,100 --> 00:11:53,920
usually what happens is this this flash ends
278
00:11:53,920 --> 00:11:55,400
up being quite close to the glass so
279
00:11:55,400 --> 00:11:57,140
I'll probably have it quite a bit lower
280
00:11:57,140 --> 00:11:59,920
and I'm probably just gonna set it down
281
00:11:59,920 --> 00:12:07,000
here like that and dial it down okay
282
00:12:07,000 --> 00:12:09,440
right now I'm just gonna you know what
283
00:12:09,440 --> 00:12:11,440
I'm gonna get a grid on there otherwise
284
00:12:11,440 --> 00:12:15,200
that light's gonna spray everywhere change the ambient
285
00:12:15,200 --> 00:12:18,260
exposure so we'll control it with a grid
286
00:12:18,260 --> 00:12:21,860
okay same thing let's see what this does
287
00:12:27,120 --> 00:12:29,420
whoa way too hot so I'm just gonna
288
00:12:29,420 --> 00:12:32,820
turn it all the way down pull it
289
00:12:32,820 --> 00:12:37,040
away a little farther away and try that
290
00:12:39,160 --> 00:12:45,240
and I'm essentially controlling three independent exposures within
291
00:12:45,240 --> 00:12:48,220
this within this one exposure right I've got
292
00:12:48,220 --> 00:12:50,500
the ambient exposure which I dialed in first
293
00:12:50,500 --> 00:12:52,600
and then the flash exposure on the couple
294
00:12:52,600 --> 00:12:55,540
and then the second flash exposure on the
295
00:12:55,540 --> 00:12:57,540
glasses and I can control those all independently
296
00:12:57,540 --> 00:13:01,880
okay so that's cool I'm gonna do one
297
00:13:01,880 --> 00:13:03,020
more like this and then we're gonna get
298
00:13:03,020 --> 00:13:05,280
really funky with the foreground light but now
299
00:13:05,280 --> 00:13:07,560
that I turned that foreground light down and
300
00:13:07,560 --> 00:13:10,220
moved it away it's perfectly in the sweet
301
00:13:10,220 --> 00:13:12,280
spot so you guys just shuffle a half
302
00:13:12,280 --> 00:13:14,020
an inch that way yeah there we go
303
00:13:14,020 --> 00:13:16,820
framed on the dark background focus on the
304
00:13:16,820 --> 00:13:21,840
couple okay hamming up guys yes yes perfect
305
00:13:21,840 --> 00:13:29,800
okay okay cool now let's just play around
306
00:13:29,800 --> 00:13:33,020
and see what happens if we take a
307
00:13:33,020 --> 00:13:36,340
funky a funky gel okay which is going
308
00:13:36,340 --> 00:13:39,060
to totally transform the color temperature on these
309
00:13:39,060 --> 00:13:44,860
bokeh balls let's let's try this aqua with
310
00:13:44,860 --> 00:13:47,700
the grid and what might happen now is
311
00:13:47,700 --> 00:13:49,260
that gel is going to hold back some
312
00:13:49,260 --> 00:13:50,260
of the light so I might have to
313
00:13:50,260 --> 00:13:53,380
turn that flash up a touch but we'll
314
00:13:53,380 --> 00:14:04,360
just eyeball it there we go okay
315
00:14:04,360 --> 00:14:06,960
that's cool but again I just want to
316
00:14:06,960 --> 00:14:10,180
stress that this is like an interesting kind
317
00:14:10,180 --> 00:14:11,660
of cool gimmicky thing that we can do
318
00:14:11,660 --> 00:14:13,660
with our cameras and it works well when
319
00:14:13,660 --> 00:14:16,020
we can control things right like in a
320
00:14:16,020 --> 00:14:17,720
portrait scenario when I can control the distance
321
00:14:17,720 --> 00:14:20,580
and all the variables or potentially in a
322
00:14:20,580 --> 00:14:24,380
documentary scenario where a your subject matter is
323
00:14:24,380 --> 00:14:26,760
a set distance from your lens because you're
324
00:14:26,760 --> 00:14:29,320
a wide open aperture like a speech at
325
00:14:29,320 --> 00:14:31,260
a podium for example and then you and
326
00:14:31,260 --> 00:14:33,200
there's another reason to do it other than
327
00:14:33,200 --> 00:14:36,480
just it's cool like it helps you solve
328
00:14:36,480 --> 00:14:38,340
some sort of a compositional problem that you're
329
00:14:38,340 --> 00:14:41,220
dealing with it helps you obscure some distractions
330
00:14:41,220 --> 00:14:44,180
or it just helps you fill an otherwise
331
00:14:44,180 --> 00:14:47,180
boring frame with something of visual interest
24605
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