The second of my two day off-camera lighting workshop is now over and I am pretty sure I have converted a few more photographers to using off-camera flash indoors and out.
The session we just finished was all outside. I would have been happier with a warm, sunny day that had deep shadows and harsh light, but what we got was a cold, slight overcast day instead. Oh well, at the end of the last session I told everyone (yes, our model too) to come prepared for a cold wet day. As it was, the rain came at night with a wind that dried things out by morning, so all we had to contend with was a cool October, and fortunately, windless day.
Whether one is shooting under a bright sun or overcast conditions, the goal should be to balance both the ambient and the light from the flash. The subject shouldn’t look like a deer-in-the-headlights and the background shouldn’t be unusually under or over exposed.
I began by discussing TTL flash and how to set up and use high-speed sync. Then progressed to demonstrating manual flash lighting. I will say that TTL is wonderful for fast moving events and high-speed sync allows the photographer amazing control over ambient light.
Our first location was in the middle of a field where I had set up a backdrop and two flashes. The 15X15 foot backdrop was a well-used old painter’s tarp that I had found when sorting through the garbage at a house vacated by some tenants who snuck out during the night to avoid paying rent. A drag for the landlord, but an excellent find for me.
Painted backdrops are expensive, especially if they are large and seamless. However, for budget conscious photographers I suggest purchasing a painter’s cloth from the local hardware store and dying it grey. All those that want to be creative need to do is work on the dyed cloth with some spray paint or a large sponge dipped in paint. Instead of spending the extra cash on a seamless cloth, one just employs the cloning tool on the seams in post-processing.
After using different light modifiers at the backdrop location we moved to the edge of the meadow with it’s colourful background of fall leaves. Then we all carefully climbed down into the deep shadowed creek for some photos. After that our model, Sarah wanted to pose against a discarded Cadillac resting in the field. That Caddy was caked up to its bumper in mud from a spring flood that washed out the bridge and almost damaged the studio. From there we posed our model against an old rail fence and finished with a setup using flash and reflectors in a large open barn.
I know that between the very active day and all the handouts I gave those in attendance everyone was dealing with a bit of information overload. Hopefully they will review their notes and remember how we set up the pictures they have on their memory cards. After a few days and a bit of practice everything will come into focus. Pun intended.