All language subtitles for 3_HighSpeed Sync-II

We are back.

I got a drink of water.

I'm feeling pretty good.

I hope you have a little break.

We're going to continue on.

We're going to get to explaining high
speed sinking a little bit more.

But I want to show you this whole
concept of shallow depth of field

which builds this incredible,

I think,

ability to take the subject off the
background, and your eye goes right to

it.

So this soft background subjects and
focus.

And so let's take a look at that.

So you have to overcome.

This, when you open the lens up wide
open, you have to overcome.

The

sun is so bright.

And so generally, when I shoot a
strobe, without non

high speed sinking,

the typical approach, you're going to
be between f a, netf, 22.

Lots of derthbield.

So

that's how I worked,

really, for about thirty years or so.

And I was really good at it.

I loved it.

I was strobing outdoors and did a lot of

portraits with black and white that
kind of specialized in the 90s, black

and white, beautiful, dark skies

and so.

But everything was in focus.

And that's kind of the only life I
knew.

I didn't have the options.

If I'd known about Nd filters.

Back then, I probably would have been a
super rock star.

Anyways.

So here's a shot where I have

an Nd filter approach.

So I'm having

cheese in focus, out of focus, front,
out of focus, back.

And I'm plying the Nd filter to the
front of the lens, which blocks the

amount of light coming in.

And I can have an increased

aperture

to give me super shell to the field.

So I've done that.

I started doing that quite a bit.

Here's a six stop.

So I went from

22 to 2.8

and so,

or three steps.

I carry a three stop six top, and a ten
stop ten stop was normally when I did

super long exposures to get the clouds
to moving.

But generally for portraits.

Three stop six up

here's

a 35 millimeter, 14, the version two
cannon.

So tuna, the second three stop end
filter,

late light.

Now here's a speed light, just a little
cannon,

a little beauty dish.

And I'm at one tune of a second
underneath an awning, sort of like high

noon, but underneath an ony.

See a little blue sky in the background

here's with a longer lens.

So I'm really compacting it with
assembly.

202.8120th

of a second.

So

the biggest problem with Ind filters
are two ways.

One is, you get color shifts, and the
new breakthrough photography and d

filters are better than ever,

but you generally get a slight color
shift.

you've got to stick there, put it in
front of your lens.

And sometimes it gets kind of bulky or
your fumble all fumbled,

trying to put in front, and it's just
one extra step that gets in your way.

Now here, I just shot this

at click con.

This is using high speed sync,

so

it was so easy

with the new can and eusr

and the eye tracking

1.2

Fifty millimeter, just click.

I had a whole crowd around me.

And that was

so simple.

If you watched me, and some of the
attendees

saw this later and said, wow, that was

Here's a high speed sinking situation
in a studio where I'm just softening

the background.

I actually did that demo for
portraitmasters, where I took a regular

portrait with a canvas background, or a
Muslim background, or modeled

background texture.

And then I ran at normal eth eight,

and then I ran it at 1.2,

and it looked incredible.

So

let's talk about

the high speed sink explained.

And about as simple of an explanation
as I could possibly get.

So here's a shot I did of refugees down
in Tijuana.

I was on a street,

I literally was on a shaded side of,
kind of a building.

I have my

godox one, light, beauty, dish,

a pop up

x drop with a white background,

and I'm

hinoon.

So the sun, the sun is hitting around
me.

I'm in the shaded side,

so that there's no sun hitting him.

But I still need high speed sink.

So in that case,

well, I probably could have done an old
school way, maybe, I don't know.

But the high speed sink

so easy.

So there's a lot of things I can do now
I couldn't do before.

So

if I, now,

this is kind of a new, complete

explanation.

So we go back to the sunny sixteen
rule.

So

if I have an aperture, that's required
to be around fate at 22, to overpower

the sun,

that's going to give me lots of dip
field.

So I have to go above my

tunter, the sink speed.

So if I go from

two intertha second

to 400 a second,

so I'm cutting my time in half.

When I'm hitting, my limit would say,
my limit is

two and 56 speed.

The shutter now has a curtain that
drops.

The shutter comes down, instead of
exposing fully, the sensor all at once.

It has half of the shutter,

half of the scents are exposed at one
time.

It drops half of a shutter,

half of half

of a frame

across the sensor.

I'll explain it a little bit more.

So you're not increasing your shutter
speed,

the curtain,

the actual curtain, that goes up and
down

to 1400th of a second, you're actually
the curtains going at 12 inth a second,

but you're cutting the amount of the
speed exposed to your sensor in half.

Therefore

you get a 14th a second,

and it will act

in essence,

treat your

freezing action.

All that at 14th of a second,

i'll explain it in a minute.

So if I go to 1800th

of a second it's a quarter exposed,

of or one over 11600

is a

8th,

so on.

Until you get to 18000, it's a little
teeny slit

that's going across your shutter or
across your curtain

sensor.

Your curtain

is going across your sensor.

This gets a little hard to explain
sometimes.

So

how will we get around that.

Well.

Now what happens is, as my shutter is
dropping.

So let's say, it's a half for one or a
second it's going to fire

for simplicity's sake.

It's going to say, let's say it fires
twice

it drops.

Boom,

then it covers, and boom it.

I'm going to show you an illustration a
minute, but it's firing multiple times.

So it's actually fired more than twice,
even though you're only exposing half

at a time.

It has to have some overlap of exposure,

or of strobes going off.

But in essence, it's multiple

stroby.

So what it's really acting like is a
continuous light,

except it's a short duration and it's
lots of power.

So

we just said that.

So let me show you an illustration to
make this a little bit better for you.

So

let's look at a shutter as it goes
across the sensor

at 1200th of a second

and exposes a sensor in full.

So here's what happens.

The strobe goes off

when it opens

pow,

and then

eight resets

make sense.

That's as simple as I can explain it.

Now let's do it 400 a second,

and I have to hit this again.

Here it goes,

goes pow,

and then

it goes, pow.

You like that.

And resets,

I'm trying to do the old Batman thing.

Pal

Robin

betman,

it goes kabush.

And it's really more than one bore, the
two flashes.

But just for simplicity, I had to just
do that.

Now, at 800th

of a second,

let's try this.

Here, it goes,

it's a quarter.

Flash goes off.

The flash goes off,

flash goes off.

Flash goes off.

And resets,

that makes sense.

I hope that

that took me hours to build.

Folks.

When I said,

twenty some years ago, when

high speed c came out, I was like,

does anybody knows work?

Nobody could explain it to me.

And these were experts behind the
counter.

And it was so new, no one knew how I
was working.

So

when I say that, it now gives me a tool
that allows to go out in the field and

do things I couldn't do before.

It is absolutely a beautiful thing.

And so

here's a situation where I shot

Rabe ribear

with

a gray backdrop.

Twenty inch.

Actually, it was actually 24 inch rapid.

It was a 24 inch

beauty dish.

I added the texture later in Photoshop.

It was a gray background.

There's another example of that

really fun stuff.

Oh, I actually, no, it was a twenty.

Maybe it's 28 inch.

That's before I had the rapid.

They're the beauty dish.

But you can see, I could set up in

a

hotel room side of the.

When I did the Harley project, I was
literally shooting next to the portal poties.

And it's not a bad place to recruit
people.

But I was setting up everywhere, out in
the field.

In that case I have to use high speed
sink to make sure there's no sun.

So

that, with that, I'm going to end
there, because I could think I had this

talk that went on a little bit more.

I hope that explains high speed sync.

And so now what I can do is I can set
my aperture wide open,

and I can set my shutterspeed to
counter the amount of light coming in.

And so at a 1.2

if I'm in full of sunlight, I'm going
to have to be at 18 thousands of a second.

And even in that case, there's a couple
of times i'll put either a polarizer on

or a three stop Nd to adjust it.

Because almost at 1.2

it's almost still too bright, and I
wish I had 110000th of a second shutter

speed.

But for the most part, I can apply

a shallow dip of field

at a 12 aperture, maybe underneath a
canopy of

trees or in a later light sunset kind
of thing.

You'll watch me do that next,

and I just go

shoot along, taking pictures

just as happy as can be and getting
some incredible results.

So what I'm going to do is, you're
going to now follow me

with faith,

will start out with the wedge wall, a
little cross light.

We get out in the field, get some
incredible pictures, and you'll watch

me do high speed sink.

And this will round out other than

retouching, but in terms of me behind
the Scenes, this will round out the one

light master class.

And I hope you're enjoying this.

I go to great lengths to make sure you
guys are learning this.

And some of you may say, Joel, you are
way over explaining it.

And some of you are saying, thank you
for explaining it.

So simply