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Now we get to talk about something
that's a little on the technical side,
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but I think it's important.
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And
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it is the inverse square law as it
applies to lighting.
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Now, if you're like me, you've probably
avoided the inverse square law.
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Maybe in class you learned a little bit
about that.
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I did not.
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I was in the finars program in
photography,
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and so I think the term was out there.
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Maybe
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I had
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a class that emphasized or
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required that I learned it.
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I never learned it.
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I remember it was a mathematical
equation.
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So I avoided it at all cost.
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You may be like me, I think that
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probably two thirds of all
photographers don't really know the
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infer square law as the term, but
really don't know what it's all about.
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I decided
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revisit them for square law, even
though we use it every time we take a
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picture, because, just like gravity, we
don't have to know
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exactly everything about gravity.
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But it applies to us every day.
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Just like the inverse square law.
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When I photograph,
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use a light, the light Falls off.
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I know it Falls off.
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I
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maybe do a lot of guesswork to
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that something's going to happen.
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If I move a light backwards.
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Or forwards or whatever.
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So after photographing forty years, I
think I have a little bit of, I thought
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I had a little bit of an idea of the
fall off and how that applied to
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controlling my light.
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So what I did was I took the inverse
square law, went back and looked at the
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definition and looked at a few YouTube
of people that were explaining it.
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Most of them were very technical,
40
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and of course, applying
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the inverse square law with a
mathematical
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00:01:59,386 --> 00:02:00,153
formula.
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00:02:01,54 --> 00:02:02,689
And maybe
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00:02:03,56 --> 00:02:07,360
you heard someone, or saw someone, or
maybe you are someone who took
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00:02:08,28 --> 00:02:13,633
and used a string that had knots on it
that explained a little bit about where
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00:02:13,700 --> 00:02:15,935
the inverse square law would say.
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If you wanted to darken your background
by one stop, you could take a string.
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00:02:20,740 --> 00:02:22,509
I don't know, I've heard people do
that.
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I've never done it, so
50
00:02:25,211 --> 00:02:28,281
that that helps a little bit if you're
not mathematically inclined
51
00:02:29,549 --> 00:02:30,817
and more of a visual person.
52
00:02:30,984 --> 00:02:32,819
But I even took it, I think, a step
further.
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00:02:32,919 --> 00:02:38,91
And what I decided to do was to apply
the inverse square law as and look at
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it from a visual perspective
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and see, how is it that I can
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apply that to my photography, my
strobes, my lighting
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and will it give me a tool or some
insight to help me down the road?
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Well, it turns out that
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I was really surprised at
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00:03:00,580 --> 00:03:01,81
what I discovered.
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00:03:01,715 --> 00:03:03,483
So I want to take you through that
journey.
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00:03:03,616 --> 00:03:07,787
I have not done this in the master
class that I did, the joelgrams
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00:03:08,355 --> 00:03:09,856
academy, under my lighting.
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00:03:10,90 --> 00:03:11,958
This is all brand new for you guys.
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00:03:12,592 --> 00:03:15,795
And so I always want to learn something
new, and I hope you do too.
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00:03:15,862 --> 00:03:16,896
And so let's take a look.
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00:03:16,996 --> 00:03:20,900
Let's take a swing at it and see what
we come up with.
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00:03:21,1 --> 00:03:21,968
So
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00:03:23,236 --> 00:03:24,270
let's take a look at.
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00:03:24,437 --> 00:03:26,39
This is more of what you would find,
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a mathematical
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and a bunch of fractions and percentages
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and things like that.
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00:03:35,615 --> 00:03:38,385
So if I look at this, I go,
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well, there is a gray scale.
76
00:03:40,353 --> 00:03:41,955
I'm not sure if I added that or not.
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I grabbed this
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data.
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00:03:44,891 --> 00:03:46,26
I think I had that.
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I made that background gray.
81
00:03:47,861 --> 00:03:48,495
Great transition.
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But
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you have a light stand,
84
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and then you have, let's go, say,
intensity of light equals one over the
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00:03:56,36 --> 00:03:56,603
distance squared.
86
00:03:57,303 --> 00:03:57,771
So
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what does that mean to me?
88
00:03:59,305 --> 00:04:00,6
Nothing.
89
00:04:01,374 --> 00:04:05,245
Now, some of you are very, very smart
and understand math.
90
00:04:05,612 --> 00:04:07,514
You may go, joah, that's so simple.
91
00:04:08,748 --> 00:04:12,485
But, and you look at the little graph
over here on the right hand side that
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00:04:12,919 --> 00:04:16,256
with each doubling, I think it would be
the double squaring, the distance.
93
00:04:18,24 --> 00:04:22,262
You get one time, four times, eight
times, will I be, say, time six times?
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00:04:22,328 --> 00:04:23,196
I don't know what it is.
95
00:04:23,697 --> 00:04:24,998
Yeah, anyways, there's this
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fall off
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of the light,
98
00:04:29,469 --> 00:04:31,504
and you can plot that out
mathematically.
99
00:04:32,672 --> 00:04:35,41
So since that doesn't apply to me,
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00:04:35,608 --> 00:04:36,643
I will not
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00:04:37,944 --> 00:04:38,111
apply.
102
00:04:38,745 --> 00:04:39,379
I won't do that.
103
00:04:40,413 --> 00:04:41,748
If I had to, maybe,
104
00:04:41,948 --> 00:04:43,483
and you put a gun into my head, I
might.
105
00:04:44,918 --> 00:04:46,753
it scares me, and I go, I don't.
106
00:04:46,986 --> 00:04:47,987
That's too much for me.
107
00:04:48,355 --> 00:04:49,789
So what I want to do is look at it
visually.
108
00:04:50,23 --> 00:04:51,791
So here's the question I have.
109
00:04:51,958 --> 00:04:53,593
Can I predict what the value of light
110
00:04:54,194 --> 00:04:57,864
will be as it Falls off behind my
subject, to my background?
111
00:04:58,264 --> 00:04:58,732
So
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00:04:59,632 --> 00:05:03,36
let's just say, that's a scenario I use
every day.
113
00:05:03,236 --> 00:05:04,170
I have a subject,
114
00:05:05,638 --> 00:05:06,206
I have a background.
115
00:05:06,506 --> 00:05:11,644
Maybe it's not a sweep, or a canvas, or
a Muslim or something, or a wall.
116
00:05:11,945 --> 00:05:14,881
It could be just a couch and an
interior.
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00:05:15,949 --> 00:05:17,450
So I strobe my subject
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00:05:17,851 --> 00:05:20,353
and say, the couch is five feet behind
the subject.
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00:05:20,820 --> 00:05:23,390
Well, is that light that I'm strobing
the subject with?
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00:05:23,456 --> 00:05:25,291
Will it actually end up
121
00:05:26,659 --> 00:05:28,128
creating a value onto that couch?
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00:05:28,261 --> 00:05:28,828
Yes, it will.
123
00:05:29,62 --> 00:05:29,396
How much?
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00:05:29,529 --> 00:05:30,96
I don't know.
125
00:05:30,663 --> 00:05:32,599
So is it possible to plot that out.
126
00:05:32,732 --> 00:05:35,935
It is without a mathematical equation,
I believe it is.
127
00:05:36,36 --> 00:05:38,705
I can look at it and
128
00:05:41,641 --> 00:05:45,645
have what I call a visual cheat sheet
sort of speak in my head.
129
00:05:45,945 --> 00:05:47,213
Or I've got a way.
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00:05:47,213 --> 00:05:48,14
I can also
131
00:05:49,215 --> 00:05:54,587
maybe have a chart on my phone that can
easily tell me what that value will be
132
00:05:54,654 --> 00:05:58,391
on that couch, or that wall, or that
backdrop, or
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00:05:59,225 --> 00:06:00,527
whatever it is behind my subject.
134
00:06:01,294 --> 00:06:04,330
So if I move my light away from my
subject, what does it do?
135
00:06:04,330 --> 00:06:05,632
If I move my light toward my subject?
136
00:06:05,799 --> 00:06:06,366
What does that do?
137
00:06:06,433 --> 00:06:07,300
So we're going to learn that.
138
00:06:07,634 --> 00:06:09,135
And it's really actually kind of fun.
139
00:06:09,769 --> 00:06:12,739
And now that I've gone through this, I
thought, wow, I should have done this
140
00:06:12,739 --> 00:06:14,507
2030 years ago, well, at any rate.
141
00:06:14,908 --> 00:06:17,377
So that first question is, do I have
the ability to control
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00:06:18,511 --> 00:06:18,745
the light
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00:06:19,946 --> 00:06:21,281
to a point where I can
144
00:06:21,481 --> 00:06:23,983
end up with an in result that I want,
or my client
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00:06:24,584 --> 00:06:24,751
wants?
146
00:06:24,984 --> 00:06:26,119
Now here's an example
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00:06:27,320 --> 00:06:30,990
of a photograph that I did for b
cilotto.
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00:06:31,791 --> 00:06:32,959
It was an ad campaign.
149
00:06:33,460 --> 00:06:35,528
And the reason I'm showing this is
because
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00:06:35,695 --> 00:06:39,399
I applied the invers square law, not
really knowing it, but in my head, I
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00:06:39,399 --> 00:06:42,235
had a basic understanding of how light
works.
152
00:06:42,669 --> 00:06:44,304
And I pulled off this shot.
153
00:06:44,738 --> 00:06:47,307
And now that I've learned the invers
square law.
154
00:06:47,874 --> 00:06:48,308
I like,
155
00:06:48,742 --> 00:06:50,76
I applied that to that
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00:06:50,243 --> 00:06:51,44
photoshoot.
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Didn't even know it.
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00:06:52,412 --> 00:06:53,446
Well, I mean,
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I understood by, but now that I have
gone through the invers square, lo I
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00:06:59,152 --> 00:06:59,519
go, ah,
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00:06:59,786 --> 00:07:02,122
it's so easy for me to plot this now.
162
00:07:02,188 --> 00:07:03,56
So here's what happened.
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00:07:04,90 --> 00:07:05,725
Generally, this was my studio pasaden.
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00:07:06,92 --> 00:07:07,60
That was not a very big studio.
165
00:07:07,394 --> 00:07:08,361
Obviously, this is a composite.
166
00:07:08,661 --> 00:07:09,529
I shot that background
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00:07:10,897 --> 00:07:11,297
at a casino,
168
00:07:12,332 --> 00:07:16,336
and then was able to shoot this in a
studio, knocked it out, dropped it in.
169
00:07:16,503 --> 00:07:17,437
So, but
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00:07:18,438 --> 00:07:22,909
the problem that I had was that when I
did my edgy lighting, my two edge
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00:07:23,76 --> 00:07:24,644
lights, I have one overhead light,
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00:07:27,80 --> 00:07:31,384
the edge light, when it was close to my
subject, it would light, say, this guy
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00:07:31,451 --> 00:07:33,453
with a hat, it would light him
perfectly.
174
00:07:35,155 --> 00:07:38,992
And then that light would cast over to,
well, let's just go through the other
175
00:07:38,992 --> 00:07:39,159
way.
176
00:07:39,159 --> 00:07:39,726
It might be better.
177
00:07:39,793 --> 00:07:41,628
So let's go with the guy at the very
back.
178
00:07:41,795 --> 00:07:43,296
So I have an edge light over there.
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00:07:43,530 --> 00:07:45,465
I get the exposure onside of his cheek.
180
00:07:46,32 --> 00:07:46,232
But
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00:07:46,733 --> 00:07:49,436
the light that hit the guy in the hat
was
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00:07:50,337 --> 00:07:51,137
almost pure black.
183
00:07:51,237 --> 00:07:51,905
I mean, I never did.
184
00:07:51,905 --> 00:07:52,972
I didn't get much light to him.
185
00:07:53,473 --> 00:07:55,141
So it looked a little weird.
186
00:07:55,308 --> 00:07:56,9
It didn't look natural
187
00:07:57,210 --> 00:08:00,580
I wasn't getting the light, like on the
girl, the second girl, there wasn't a
188
00:08:00,580 --> 00:08:01,614
whole lot of light on her face.
189
00:08:02,816 --> 00:08:07,220
And so if I increased the power, then
he would be blown out, and then I'd get
190
00:08:07,220 --> 00:08:08,355
her good exposure on her.
191
00:08:08,655 --> 00:08:11,691
And so I was kind of fiddling around a
little bit.
192
00:08:12,92 --> 00:08:15,161
And there's one thing that I do not
want to do when I'm doing a commercial
193
00:08:15,395 --> 00:08:16,329
shoot is fiddle
194
00:08:17,297 --> 00:08:18,732
fumble, whatever you want to call it.
195
00:08:19,466 --> 00:08:21,935
I want to be able to, like that, solve
a problem.
196
00:08:22,335 --> 00:08:22,869
So,
197
00:08:23,470 --> 00:08:24,504
but I realized something.
198
00:08:24,904 --> 00:08:25,438
As
199
00:08:26,106 --> 00:08:28,508
the art director said, no, we need to
have this light, evenly lit,
200
00:08:29,542 --> 00:08:30,710
edgy, but even lit.
201
00:08:31,211 --> 00:08:32,746
I thought, well, i'll back my light up.
202
00:08:32,812 --> 00:08:35,882
So we know that, in the rule of thumb,
is the bigger, the sources relationship
203
00:08:36,116 --> 00:08:37,450
the subject, the software light,
204
00:08:38,351 --> 00:08:41,721
if I back my light up, it's going to be
harsher.
205
00:08:42,88 --> 00:08:42,756
So I had a 26
206
00:08:43,957 --> 00:08:45,291
to 48 soft box,
207
00:08:45,792 --> 00:08:48,161
which is a pretty good soft box,
208
00:08:49,696 --> 00:08:52,665
back it up, it starts getting harsher,
which can be good or bad.
209
00:08:52,832 --> 00:08:56,36
But in this case, it got to where it
was getting too harsh.
210
00:08:56,269 --> 00:08:57,303
So what I did was I took
211
00:08:58,338 --> 00:08:59,339
a
212
00:09:00,106 --> 00:09:03,209
four by five, I guess it would be four
by 54
213
00:09:03,943 --> 00:09:04,978
feet by five feet.
214
00:09:05,612 --> 00:09:06,746
The biggest excel the biggest
215
00:09:08,281 --> 00:09:10,83
box that west Scott makes.
216
00:09:10,817 --> 00:09:15,989
And I put that about eight to ten feet
from my subject, on both sides.
217
00:09:17,624 --> 00:09:18,425
Then what happened was,
218
00:09:19,693 --> 00:09:24,164
I got the exposure correct for the
first guy over here on the camera
219
00:09:25,398 --> 00:09:25,865
camera, right.
220
00:09:28,34 --> 00:09:29,602
His left side of his stuff's shoulder.
221
00:09:30,437 --> 00:09:33,606
Then it was a more of an even throw to
my other subjects.
222
00:09:34,341 --> 00:09:36,943
So once you understand the universal
law, you go,
223
00:09:37,610 --> 00:09:39,79
that makes all this sense in the world.
224
00:09:39,145 --> 00:09:40,814
But at the time, I kind of just
225
00:09:41,548 --> 00:09:42,549
took a guess at it.
226
00:09:42,916 --> 00:09:45,585
It worked because I don't normally
shoot,
227
00:09:46,353 --> 00:09:49,55
or I had never really shot a scenario
where I had to spread my light out
228
00:09:49,155 --> 00:09:50,223
across people.
229
00:09:51,858 --> 00:09:55,161
And so, and from that moment on, I
remembered that.
230
00:09:55,295 --> 00:09:59,699
And we did another scenario with this
four couple.
231
00:10:00,433 --> 00:10:01,768
Well, actually we used two of them,
232
00:10:02,435 --> 00:10:04,637
and we had them sitting at a table.
233
00:10:05,872 --> 00:10:08,174
And then there was,
234
00:10:09,709 --> 00:10:13,546
there's a term for it, but it's like in
a bar, you have this high back,
235
00:10:13,880 --> 00:10:15,48
leather, pleated,
236
00:10:17,784 --> 00:10:20,320
cushioned back, with a cushion, a seat.
237
00:10:20,920 --> 00:10:22,255
And that was pure black.
238
00:10:22,756 --> 00:10:25,925
But when I first set up, I set up a
five foot octo.
239
00:10:27,60 --> 00:10:28,795
I lit the subjects perfectly,
240
00:10:30,263 --> 00:10:34,267
and then the back, which was black, but
it was still kind of shiny, it was
241
00:10:34,267 --> 00:10:34,434
overlit.
242
00:10:35,68 --> 00:10:37,470
So my art director first looked at, I
looked at it.
243
00:10:37,470 --> 00:10:39,773
We went, hmm, it doesn't look like a
nightclub or
244
00:10:41,941 --> 00:10:45,78
a nightclub or a darker environment
evening
245
00:10:46,112 --> 00:10:47,614
out on that town evening look.
246
00:10:49,215 --> 00:10:50,550
I immediately took my
247
00:10:51,785 --> 00:10:53,787
24 inch beauty dish, brought it in
close.
248
00:10:54,521 --> 00:10:58,224
And then my light on the background
fell off very quickly.
249
00:10:58,425 --> 00:10:59,859
So I understood that at that time.
250
00:10:59,959 --> 00:11:01,761
But I still did not realize
251
00:11:02,195 --> 00:11:05,598
how valuable the inverse square law
would be for me to plot
252
00:11:06,332 --> 00:11:08,668
exactly the value that I wanted on that
background.
253
00:11:10,103 --> 00:11:13,606
that's why I think the invers square
law can be very profitable
254
00:11:13,940 --> 00:11:17,310
and learning or solving problems in the
field.
255
00:11:17,544 --> 00:11:17,911
So
256
00:11:18,178 --> 00:11:18,678
here we have
257
00:11:19,879 --> 00:11:22,282
a subject with a gray background behind
her.
258
00:11:22,349 --> 00:11:23,717
Just so actually it's a white
background.
259
00:11:24,17 --> 00:11:26,720
Sorry, white background turning to a
light gray.
260
00:11:27,220 --> 00:11:31,24
And so if I back the back or take her
away from the background,
261
00:11:31,624 --> 00:11:35,362
and same distance the light to her
subject, pull both them back,
262
00:11:35,695 --> 00:11:36,896
that background will get darker.
263
00:11:37,230 --> 00:11:39,799
If I bring it toward the background and
get light.
264
00:11:39,866 --> 00:11:41,134
We know that that's pretty simple.
265
00:11:41,768 --> 00:11:43,303
So I've done that for years.
266
00:11:43,470 --> 00:11:43,870
I understand.
267
00:11:44,170 --> 00:11:44,471
That
268
00:11:44,904 --> 00:11:46,706
here's another one where I
269
00:11:47,73 --> 00:11:50,844
can plot the exact gray that's behind
her.
270
00:11:50,910 --> 00:11:53,279
If I understand the grand for square
law, I can do it
271
00:11:53,713 --> 00:11:54,714
almost without
272
00:11:55,48 --> 00:11:55,215
fail.
273
00:11:55,849 --> 00:11:59,519
In this case, I had to move the
background, and it was on a roller,
274
00:11:59,719 --> 00:12:00,653
I say roller.
275
00:12:01,788 --> 00:12:04,357
That was a studio here in avadel, I
think this was in Pasadena.
276
00:12:04,991 --> 00:12:08,361
So I would have had to move her and the
light away from the background.
277
00:12:08,661 --> 00:12:10,497
But in my other studio actually had
278
00:12:12,32 --> 00:12:13,233
eight by twelve foot
279
00:12:14,334 --> 00:12:17,437
roller that I could move the background
easily
280
00:12:18,571 --> 00:12:20,40
and to get the exact value you want.
281
00:12:20,507 --> 00:12:21,808
So that was done visually.
282
00:12:22,108 --> 00:12:23,943
Trial Nair, snap, click, snap, click.
283
00:12:24,10 --> 00:12:26,413
Then look and see what the background
looks like.
284
00:12:27,47 --> 00:12:27,847
So,
285
00:12:28,815 --> 00:12:30,550
and here's a case where
286
00:12:31,251 --> 00:12:32,485
that,
287
00:12:33,953 --> 00:12:37,123
I guess it was like a sheer kind of
288
00:12:37,857 --> 00:12:40,493
curtain material, or whatever,
289
00:12:42,28 --> 00:12:43,196
that's right up against her.
290
00:12:43,630 --> 00:12:46,299
So my light, her it's white
291
00:12:46,733 --> 00:12:46,900
material.
292
00:12:47,300 --> 00:12:48,168
It turns white.
293
00:12:48,501 --> 00:12:50,437
It's right up against her, so that
294
00:12:51,538 --> 00:12:52,105
I would know.
295
00:12:52,439 --> 00:12:56,309
Here's a situation where I'm shooting a
fifty gray background.
296
00:12:58,278 --> 00:12:59,679
Two, add a texture later,
297
00:13:00,13 --> 00:13:00,980
he's up against it.
298
00:13:00,980 --> 00:13:02,82
It's touching his back.
299
00:13:02,916 --> 00:13:06,553
Therefore I get an exact fifty gray
background right behind him.
300
00:13:06,920 --> 00:13:10,890
If I pull him away or push the
background away, that gray gets darker,
301
00:13:12,359 --> 00:13:12,959
makes sense.
302
00:13:14,94 --> 00:13:15,462
Here we have the wall tapering.
303
00:13:16,29 --> 00:13:16,496
So
304
00:13:16,830 --> 00:13:20,500
it's actually a really good visual of
what inverse square law does.
305
00:13:20,734 --> 00:13:22,869
The light Falls off as it goes back.
306
00:13:26,106 --> 00:13:27,240
Here's another fifty percent gray,
307
00:13:28,675 --> 00:13:29,476
I want that background
308
00:13:30,677 --> 00:13:32,312
to be fifty percent gray,
309
00:13:32,679 --> 00:13:33,747
whether it's a white,
310
00:13:34,514 --> 00:13:38,351
which is backed up enough to be gray,
or a piece of gray that's right up
311
00:13:38,351 --> 00:13:38,718
against her.
312
00:13:39,152 --> 00:13:40,520
So I think you see where I'm going.
313
00:13:40,653 --> 00:13:40,954
Here
314
00:13:41,855 --> 00:13:43,189
there's another wedge wall.
315
00:13:44,491 --> 00:13:48,161
So I've been using it now here's a
situation where I have a white sweep,
316
00:13:49,62 --> 00:13:51,31
and I want that
317
00:13:51,931 --> 00:13:53,133
whole sweep white.
318
00:13:53,633 --> 00:13:57,437
So if I took a soft box and put it
right up, or a reedy dish, whatever,
319
00:13:58,338 --> 00:14:03,376
even though, say a soft box that's
eight feet wide, and put it five feet
320
00:14:03,543 --> 00:14:07,681
from her, that background, that sweep,
would have some gray value in it.
321
00:14:08,281 --> 00:14:12,585
But in this case, I know, and I from
practice, that if I take my light
322
00:14:12,919 --> 00:14:16,256
twenty feet back or 28 feet back, it
simulates sunlight
323
00:14:17,290 --> 00:14:18,358
and the throw
324
00:14:19,459 --> 00:14:19,793
on the
325
00:14:20,894 --> 00:14:24,464
sweep, the white sweep, is going to be
white in front of her, white behind
326
00:14:25,699 --> 00:14:29,269
the inverse square lot, which I didn't
really know, but I knew from practice
327
00:14:29,636 --> 00:14:30,403
I could get that.
328
00:14:30,970 --> 00:14:34,507
So now I know it even more, and i'll
explain so here in a minute.
329
00:14:34,841 --> 00:14:36,9
So here's some more examples.
330
00:14:36,576 --> 00:14:37,477
That was a cross light.
331
00:14:37,610 --> 00:14:38,712
So cross light
332
00:14:40,580 --> 00:14:41,715
up one I'm going to show you.
333
00:14:41,848 --> 00:14:46,586
So here's my soft box, which is
actually an octabox a seven foot octo,
334
00:14:47,53 --> 00:14:50,223
and it's just out of frame, so it's
maybe four feet from her.
335
00:14:51,358 --> 00:14:52,158
Now
336
00:14:52,992 --> 00:14:53,793
we have a fall off.
337
00:14:53,793 --> 00:14:54,828
I have the Rembrandt triangle.
338
00:14:55,61 --> 00:14:57,697
I've been teaching you guys that we're
going to cover that.
339
00:14:57,797 --> 00:14:57,964
Also.
340
00:14:58,331 --> 00:15:03,136
Maybe this is, I'm not sure where this
inverse square law lesson will be in
341
00:15:03,470 --> 00:15:07,807
the one light master class, but we're
covering that a little bit too in this
342
00:15:07,874 --> 00:15:08,41
session.
343
00:15:08,675 --> 00:15:08,975
But
344
00:15:09,943 --> 00:15:12,312
the cheek on her left side
345
00:15:12,812 --> 00:15:15,315
is getting some value of light, but
there's a fall off.
346
00:15:15,382 --> 00:15:16,316
Now it's only
347
00:15:16,583 --> 00:15:17,450
that far
348
00:15:18,118 --> 00:15:19,519
from one cheek to the other,
349
00:15:19,786 --> 00:15:21,621
so it's not a very drastic fall off.
350
00:15:21,688 --> 00:15:25,592
But her arm, the shoulder, is going to
be, let's say,
351
00:15:26,359 --> 00:15:30,63
from the face to the shoulder, that's
about that far,
352
00:15:30,430 --> 00:15:33,533
so that's going to be darker on the
shoulder than it is
353
00:15:35,68 --> 00:15:35,669
on the
354
00:15:36,169 --> 00:15:36,336
shoulder.
355
00:15:36,569 --> 00:15:39,39
Toward the light, it's going to be
lighter than the shoulder
356
00:15:41,307 --> 00:15:41,708
from the light.
357
00:15:41,941 --> 00:15:44,511
Now it is being blocked because of her
body.
358
00:15:44,577 --> 00:15:47,847
But let's just, say, I was to angle her
perfectly,
359
00:15:48,515 --> 00:15:53,319
you would have a tapered amount of fall
off because the light is so close.
360
00:15:53,720 --> 00:15:58,558
Now the next slide is a situation where
I took 27 footers,
361
00:15:58,892 --> 00:16:01,61
backed it up about ten feet out,
362
00:16:02,729 --> 00:16:04,164
910 feet, somewhere, on there.
363
00:16:04,998 --> 00:16:07,967
And the rembrand triangle is still
there.
364
00:16:09,135 --> 00:16:13,440
even of the lit of her across, the body
is going to be
365
00:16:13,606 --> 00:16:14,240
more
366
00:16:14,874 --> 00:16:15,675
equalized.
367
00:16:16,276 --> 00:16:18,745
So again, she's not perfectly angled.
368
00:16:19,145 --> 00:16:21,281
But if I put a white card
369
00:16:21,481 --> 00:16:23,950
and ran it, a piece of foam gore ran it
along.
370
00:16:24,117 --> 00:16:24,951
So the light hit,
371
00:16:25,385 --> 00:16:26,252
it would be
372
00:16:28,488 --> 00:16:29,55
pretty much equal
373
00:16:30,90 --> 00:16:32,792
from the front of the white card to the
back of the white card.
374
00:16:33,560 --> 00:16:37,63
A little teeny fall off, but in the
case of the slide before, there would
375
00:16:37,63 --> 00:16:38,865
be a much Greater gradient.
376
00:16:39,399 --> 00:16:43,703
So when you are photographing a
Rembrandt crosslight, you can keep that
377
00:16:44,971 --> 00:16:45,372
as a consideration.
378
00:16:46,439 --> 00:16:47,307
Do I want the light evenly
379
00:16:48,408 --> 00:16:54,180
distributed across the subject, with
very little gradation of from one
380
00:16:54,280 --> 00:16:54,981
shoulder to the other?
381
00:16:55,48 --> 00:16:58,885
Or do I want it very dramatic, really
bright at the top, and then
382
00:16:59,152 --> 00:17:00,420
it Falls off really quickly?
383
00:17:00,987 --> 00:17:03,857
That's how far your light is away from
your subject.
384
00:17:04,491 --> 00:17:04,758
Now, because
385
00:17:05,792 --> 00:17:07,527
I had the light
386
00:17:08,28 --> 00:17:11,998
ten feet, I needed two big seven photos
to give it the ultrasoft look.
387
00:17:12,665 --> 00:17:16,903
Here's another case where I've got the
light 28 feet back, she's laying on a
388
00:17:16,903 --> 00:17:17,904
piece, white
389
00:17:18,672 --> 00:17:18,838
paper.
390
00:17:19,239 --> 00:17:22,442
And then I got a big piece of two big
pieces of foam core.
391
00:17:22,575 --> 00:17:26,846
So four by eight times two that the
light's bouncing in and coming back
392
00:17:26,913 --> 00:17:27,313
into her.
393
00:17:27,714 --> 00:17:28,815
And so what happened is
394
00:17:30,817 --> 00:17:34,921
the forehead, or say, the blond hair,
or the forehead, is lit with an
395
00:17:34,921 --> 00:17:35,88
exposure.
396
00:17:35,789 --> 00:17:38,91
And as it goes down, let's say,
397
00:17:38,491 --> 00:17:40,627
for some reason, she had her arm
398
00:17:41,227 --> 00:17:46,66
on her stomach, that would be almost
the exact same value of light on her forehead.
399
00:17:46,433 --> 00:17:50,236
But if I had a really close light to
her, the forehead would be lit.
400
00:17:50,737 --> 00:17:54,274
If I got the exposure correctly of
that, then her body would fall off very
401
00:17:54,274 --> 00:17:57,77
quickly into darkness, and her hand
would be a lot darker.
402
00:17:57,377 --> 00:17:58,78
So
403
00:17:58,745 --> 00:18:03,350
knowing that that's applying the invers
square law to
404
00:18:04,651 --> 00:18:04,918
the overall
405
00:18:06,119 --> 00:18:06,920
look that I want.
406
00:18:07,620 --> 00:18:12,492
And the further my light goes back from
my subject, the smoother, or the
407
00:18:13,693 --> 00:18:15,829
more even less evenly lit
408
00:18:16,29 --> 00:18:17,263
the subject will be
409
00:18:18,31 --> 00:18:19,532
from point a to point b.
410
00:18:19,933 --> 00:18:22,836
So I want to show all that in a matter,
but I'm just going through here.
411
00:18:22,902 --> 00:18:23,203
So
412
00:18:23,370 --> 00:18:25,805
here we have the zone system square
scale.
413
00:18:26,506 --> 00:18:30,276
And the reason why I went and picked to
the zone system Scales, because it's a
414
00:18:30,276 --> 00:18:30,443
visual.
415
00:18:30,744 --> 00:18:33,813
And I learned the zone system anzel
atoms the vysm.
416
00:18:34,280 --> 00:18:35,882
And so zone one is pure black.
417
00:18:35,949 --> 00:18:38,818
Zone tens peer white, you have these
gradient steps in between.
418
00:18:39,853 --> 00:18:42,989
And so zone v would be a dead center
and that,
419
00:18:44,90 --> 00:18:45,625
of course, is fifty gray.
420
00:18:45,792 --> 00:18:50,430
So with that knowledge I've had that, I
thought, ok, how can I apply the
421
00:18:50,430 --> 00:18:53,967
inverse square law to a visual plotted
out with zones?
422
00:18:54,734 --> 00:18:55,802
So let's do that.
423
00:18:56,102 --> 00:18:56,970
Let's see how this works.
424
00:18:58,38 --> 00:19:00,840
So I'm hoping that, I'm hoping that
425
00:19:02,342 --> 00:19:04,511
this will make sense to you, and I'm
going to go through it.
426
00:19:04,577 --> 00:19:04,944
And
427
00:19:05,378 --> 00:19:07,647
like I said, I just kind of put this
together.
428
00:19:08,982 --> 00:19:11,84
I'm hoping that I explain this
correctly.
429
00:19:11,551 --> 00:19:16,22
Because sometimes when I do a lesson,
if I do it twenty times, I get a lot
430
00:19:16,22 --> 00:19:17,624
better at teaching it than the first
time out.
431
00:19:17,791 --> 00:19:19,225
So you are the first time out.
432
00:19:19,459 --> 00:19:20,994
So I'm hoping, I get this out
correctly.
433
00:19:21,561 --> 00:19:26,66
So if I have a light source that's two
feet from my subjects, my subject,
434
00:19:26,733 --> 00:19:27,67
and
435
00:19:28,568 --> 00:19:33,773
I, let's just say, I put a piece of
white foam core behind my subject.
436
00:19:35,375 --> 00:19:38,244
And let's just say, for giggles,
437
00:19:38,978 --> 00:19:42,415
I have an f eleven aperture, which I
don't normally do want to do a
438
00:19:42,415 --> 00:19:42,582
portrait.
439
00:19:42,749 --> 00:19:45,752
But let's just say, I do because I want
to plot out some f stops for you.
440
00:19:46,986 --> 00:19:49,589
That white wall, if I get the exposure
on her face
441
00:19:50,23 --> 00:19:52,592
to be f eleven, the white wall behind
is going to be f eleven.
442
00:19:52,759 --> 00:19:54,761
There's a little bit of a depth
distance, but not much.
443
00:19:55,795 --> 00:19:57,464
It might be just a tad under f eleven,
444
00:19:58,498 --> 00:19:59,366
or say,
445
00:19:59,933 --> 00:20:03,470
brighter, no, it would be under underf
eleven, but it's pretty turn close,
446
00:20:03,636 --> 00:20:04,904
because just right up against her.
447
00:20:05,638 --> 00:20:07,7
So let's just say, that's my base.
448
00:20:07,540 --> 00:20:09,275
So my base exposure,
449
00:20:10,10 --> 00:20:10,710
f eleven,
450
00:20:11,211 --> 00:20:15,215
is on my subject and on the wall, or
piece of foam core, right behind her.
451
00:20:15,782 --> 00:20:17,384
So that's at zero feet.
452
00:20:17,550 --> 00:20:18,551
That's my zero mark.
453
00:20:19,52 --> 00:20:21,454
My light is set at a two feet mark
454
00:20:23,223 --> 00:20:24,24
from the subject.
455
00:20:24,257 --> 00:20:28,795
Ok, so let's see what happens when I
take out or move that white
456
00:20:29,529 --> 00:20:31,31
back to two feet.
457
00:20:31,531 --> 00:20:32,165
Well,
458
00:20:33,66 --> 00:20:33,633
something happens.
459
00:20:33,800 --> 00:20:34,367
It's kind of interesting.
460
00:20:35,1 --> 00:20:37,303
The first jump there is a two stop
difference.
461
00:20:37,637 --> 00:20:39,506
So from fleven to 562
462
00:20:40,173 --> 00:20:40,740
stops different.
463
00:20:40,907 --> 00:20:41,641
And so it's going to be
464
00:20:42,676 --> 00:20:43,209
from
465
00:20:43,710 --> 00:20:46,413
peer white, two stops down, which will
be a zone 88
466
00:20:47,147 --> 00:20:47,847
in value.
467
00:20:48,415 --> 00:20:50,83
And the rgb
468
00:20:50,817 --> 00:20:53,119
216, that is your Photoshop,
469
00:20:54,821 --> 00:20:56,256
plotting your Photoshop gray.
470
00:20:56,656 --> 00:20:57,691
So you can do that.
471
00:20:57,691 --> 00:20:59,92
If you know Photoshop,
472
00:20:59,626 --> 00:21:02,228
you can, maybe I put that in there,
because
473
00:21:02,429 --> 00:21:07,33
that's one way of seeing it in
Photoshop as an rgb 216.
474
00:21:08,201 --> 00:21:12,305
So let's go and see what happens if I
go 24 feet.
475
00:21:12,839 --> 00:21:16,9
So four feet is going to be a three
stop difference, a zone seven
476
00:21:17,77 --> 00:21:18,511
and it's going to be f four.
477
00:21:18,812 --> 00:21:20,947
So we go to eight feet,
478
00:21:21,614 --> 00:21:25,752
and that's going to be a zone, a four
stop difference, zone six.
479
00:21:26,519 --> 00:21:27,320
So now we go to
480
00:21:28,355 --> 00:21:29,289
sixteen feet.
481
00:21:29,956 --> 00:21:32,659
That would be a five stop difference at
2 point o.
482
00:21:33,460 --> 00:21:35,161
So now we have a zone five.
483
00:21:35,395 --> 00:21:38,732
So in a scenario where I have a white
wall,
484
00:21:39,799 --> 00:21:44,437
if I want to get his own five out of my
background, I've got to get it up about
485
00:21:44,504 --> 00:21:47,374
sixteen feet back to get true through
486
00:21:47,707 --> 00:21:48,308
five stop
487
00:21:49,109 --> 00:21:49,209
difference.
488
00:21:50,510 --> 00:21:51,211
And so
489
00:21:51,611 --> 00:21:53,213
we're going to have a cheat sheet in a
minute here.
490
00:21:53,213 --> 00:21:56,683
But I just want to show you the most
important thing is, when I move my
491
00:21:56,750 --> 00:21:59,786
light from two feet to four feet, how
it all changes.
492
00:22:00,186 --> 00:22:02,655
So a pretty drastic turn fall off.
493
00:22:02,756 --> 00:22:06,760
And if you kept plotting that out, you
could see it to go to peer black.
494
00:22:08,495 --> 00:22:12,165
I don't need to do that right here,
because, well, my screen's only so big, right?
495
00:22:13,466 --> 00:22:14,367
I could make this smaller.
496
00:22:14,601 --> 00:22:15,769
But anyways, here we have
497
00:22:17,370 --> 00:22:18,171
my 12345
498
00:22:21,74 --> 00:22:26,713
positions of that white foam core, and
watching how the value changes as it
499
00:22:27,147 --> 00:22:27,714
goes backwards.
500
00:22:28,281 --> 00:22:31,17
So if you went,
501
00:22:31,851 --> 00:22:34,20
let's say you took that background,
502
00:22:35,155 --> 00:22:35,855
one foot
503
00:22:37,223 --> 00:22:40,427
would be one stop because the two feet
was too stop different.
504
00:22:40,493 --> 00:22:43,463
So if you say, I only want one foot
that's just one stop difference.
505
00:22:43,797 --> 00:22:44,964
Just back at up one feet.
506
00:22:46,199 --> 00:22:49,936
And you can go in between here if you
wanted to say you wanted a zone five
507
00:22:50,36 --> 00:22:50,837
and a half or something.
508
00:22:52,172 --> 00:22:53,773
so let's take a look at
509
00:22:57,877 --> 00:22:58,345
four feet.
510
00:22:58,578 --> 00:23:02,716
So let's see, we're going to take our
light four feet from my subject,
511
00:23:03,149 --> 00:23:05,118
and let's see how now
512
00:23:05,952 --> 00:23:07,220
that scale of
513
00:23:08,822 --> 00:23:10,523
the zone system changes.
514
00:23:11,224 --> 00:23:12,258
This is important to understand.
515
00:23:12,992 --> 00:23:13,793
So my first wall
516
00:23:15,228 --> 00:23:17,464
is going to be a zone ten at 11.
517
00:23:18,198 --> 00:23:19,866
And so what happens at two feet now?
518
00:23:20,900 --> 00:23:24,471
Well, at two feet, if your light source
is
519
00:23:26,272 --> 00:23:32,145
four feet, doubling what I had before
from your subject, then your two feet
520
00:23:34,114 --> 00:23:36,316
marker is only a one stop.
521
00:23:36,649 --> 00:23:37,851
So it's a lighter,
522
00:23:39,619 --> 00:23:40,487
it's going to be
523
00:23:42,889 --> 00:23:44,624
twice as bright as
524
00:23:45,125 --> 00:23:45,925
the
525
00:23:47,460 --> 00:23:48,495
same position
526
00:23:48,962 --> 00:23:48,995
with
527
00:23:50,330 --> 00:23:50,663
two feet.
528
00:23:50,830 --> 00:23:53,967
Now right now I'm showing just a bare
hood, right?
529
00:23:54,200 --> 00:23:56,736
So you say, well, what happens if you
put a soft box on their octobox?
530
00:23:57,470 --> 00:23:57,937
Same thing?
531
00:23:58,338 --> 00:24:00,273
We're not plotting the harshness of the
light.
532
00:24:00,440 --> 00:24:01,274
We're plotting the
533
00:24:02,8 --> 00:24:02,976
fall off of the light.
534
00:24:03,143 --> 00:24:04,644
So you could have a
535
00:24:05,945 --> 00:24:06,546
six foot
536
00:24:06,980 --> 00:24:09,883
or seven foot octo or a bare head.
537
00:24:09,949 --> 00:24:10,717
It doesn't matter.
538
00:24:11,718 --> 00:24:14,688
It would make it softer if you had a
six foot or a seven foot octo.
539
00:24:15,388 --> 00:24:17,390
But we're not again not plotting the
softness.
540
00:24:18,992 --> 00:24:19,959
what is a four feet?
541
00:24:20,93 --> 00:24:20,493
Give us
542
00:24:21,161 --> 00:24:23,463
four feet is zone eight.
543
00:24:23,930 --> 00:24:24,964
So two stops.
544
00:24:26,32 --> 00:24:29,135
Eight feet, again, is going to be three
stops.
545
00:24:29,636 --> 00:24:31,371
And we go to sixteen feet,
546
00:24:32,739 --> 00:24:34,607
which will be a zone six.
547
00:24:34,841 --> 00:24:37,610
So before it was a zone five at sixteen
feet.
548
00:24:38,111 --> 00:24:39,212
So it's lighter.
549
00:24:40,280 --> 00:24:41,748
So what am I learning so far?
550
00:24:42,182 --> 00:24:43,983
If I back my light up,
551
00:24:44,484 --> 00:24:45,285
the
552
00:24:45,719 --> 00:24:49,756
distance between the subject and
sixteen feet is going to be lighter.
553
00:24:49,956 --> 00:24:54,194
Or the value, the value of my white
wall, is going to be lighter.
554
00:24:54,894 --> 00:24:56,262
At sixteen feet, it'll be lighter.
555
00:24:56,429 --> 00:24:58,231
At eight feet will be lighter all the
way across.
556
00:24:59,532 --> 00:25:02,202
As a general throw it's getting
lighter.
557
00:25:02,502 --> 00:25:04,804
So let's look at all of them together.
558
00:25:05,538 --> 00:25:08,41
Now some of you may say, Joel on board
with this?
559
00:25:08,174 --> 00:25:08,742
I don't know.
560
00:25:09,209 --> 00:25:10,410
I'm just giving you this.
561
00:25:10,677 --> 00:25:13,79
I think we're going to apply it here in
a minute.
562
00:25:13,213 --> 00:25:15,949
Hopefully it'll be a little more
interesting for you.
563
00:25:16,516 --> 00:25:17,50
So here's our
564
00:25:19,219 --> 00:25:23,289
pieces of foam, course, whatever you
want to call them, applotted out it's a
565
00:25:23,289 --> 00:25:23,857
lighter throw.
566
00:25:24,24 --> 00:25:26,593
And we're going to show it in one big
expanse in a minute.
567
00:25:27,160 --> 00:25:28,628
So let's go to eight feet
568
00:25:29,295 --> 00:25:29,929
and see what happens.
569
00:25:31,531 --> 00:25:32,766
So I have my wall.
570
00:25:32,899 --> 00:25:33,133
Right behind
571
00:25:34,200 --> 00:25:34,901
my base is f.
572
00:25:35,1 --> 00:25:35,535
Eleven
573
00:25:35,935 --> 00:25:37,3
at two feet, what happens?
574
00:25:37,370 --> 00:25:37,904
Well,
575
00:25:38,438 --> 00:25:41,107
it's only a half stop difference at two
feet.
576
00:25:41,474 --> 00:25:43,476
So at two feet, it was two stops
difference.
577
00:25:43,710 --> 00:25:45,912
At eight feet it's only a half a stop
578
00:25:46,79 --> 00:25:46,713
lighter.
579
00:25:47,380 --> 00:25:48,815
So as we go down our
580
00:25:48,948 --> 00:25:49,749
scale,
581
00:25:50,817 --> 00:25:52,652
one stop is going to be four feet.
582
00:25:53,453 --> 00:25:56,322
It'll be three stops, two stops at
eight feet,
583
00:25:56,656 --> 00:25:58,224
and three stops at
584
00:25:59,559 --> 00:26:00,326
sixteen feet.
585
00:26:00,493 --> 00:26:01,795
We plot it all out together.
586
00:26:02,95 --> 00:26:02,896
There they are.
587
00:26:03,229 --> 00:26:05,131
It's a lighter set of
588
00:26:05,265 --> 00:26:06,232
zones.
589
00:26:07,133 --> 00:26:09,769
The further I take my light from my
subject,
590
00:26:10,403 --> 00:26:11,37
the
591
00:26:12,38 --> 00:26:13,773
lighter gets as it
592
00:26:14,174 --> 00:26:15,675
throws across my scene.
593
00:26:16,276 --> 00:26:17,477
So let's talk about the light.
594
00:26:17,610 --> 00:26:19,346
This is kind of an interesting thought.
595
00:26:19,546 --> 00:26:22,882
So if I have the sun, which is for 94.5
596
00:26:24,250 --> 00:26:25,452
million Miles away,
597
00:26:26,252 --> 00:26:28,154
I have someone stand in front of that,
598
00:26:28,488 --> 00:26:29,456
and I've a white
599
00:26:30,423 --> 00:26:32,525
wall, white piece of foam core.
600
00:26:33,226 --> 00:26:35,829
If I back it up, what happens to that
white?
601
00:26:36,796 --> 00:26:37,430
Nothing?
602
00:26:38,431 --> 00:26:40,467
Because the Rick show is so small.
603
00:26:41,401 --> 00:26:43,136
So this is an interesting thing.
604
00:26:43,236 --> 00:26:45,438
If you have your sun as your source,
605
00:26:46,673 --> 00:26:50,910
and you have a white wall, you can back
your model away from that white wall,
606
00:26:50,977 --> 00:26:51,945
and you keep taking pictures.
607
00:26:52,112 --> 00:26:54,80
And as white, as just stays white the
whole time,
608
00:26:55,148 --> 00:26:56,683
because the sun is so far.
609
00:26:56,816 --> 00:26:58,251
So how would you get
610
00:26:59,219 --> 00:27:00,153
the sun
611
00:27:01,154 --> 00:27:02,722
to be a zone?
612
00:27:06,426 --> 00:27:07,360
Let's, say, 82
613
00:27:08,328 --> 00:27:09,662
stops.
614
00:27:11,231 --> 00:27:12,332
We'll find that out in a minute.
615
00:27:13,633 --> 00:27:17,771
You've got to go into what's another
planet, over a couple planets over,
616
00:27:18,905 --> 00:27:19,372
to have your
617
00:27:20,507 --> 00:27:21,107
background
618
00:27:25,78 --> 00:27:26,79
that's not happening.
619
00:27:27,147 --> 00:27:31,151
But what I'm saying is that the sun's
so far away that's why you have no
620
00:27:31,551 --> 00:27:33,753
change in your background.
621
00:27:34,354 --> 00:27:37,557
So if let's just plot this out, if I
started out with
622
00:27:39,459 --> 00:27:39,859
zone 550,
623
00:27:41,161 --> 00:27:42,95
gray background.
624
00:27:42,429 --> 00:27:44,264
So you say, how do I get that
background really dark?
625
00:27:44,330 --> 00:27:44,831
Well, start out,
626
00:27:45,932 --> 00:27:46,866
I have, usually,
627
00:27:47,400 --> 00:27:50,337
I carry a white sweep, a gray sweep and
a black sweep.
628
00:27:52,105 --> 00:27:52,672
you're a photographer.
629
00:27:52,972 --> 00:27:55,508
You should always have at least those
three
630
00:27:56,109 --> 00:27:59,379
rolls of paper, or the westcot x drop.
631
00:27:59,546 --> 00:28:00,347
I have the same thing.
632
00:28:00,413 --> 00:28:01,915
I have white, gray and black.
633
00:28:03,950 --> 00:28:04,951
So I put my gray up
634
00:28:06,586 --> 00:28:07,954
at two feet.
635
00:28:08,21 --> 00:28:10,90
Back it's going to be one stop.
636
00:28:10,590 --> 00:28:13,126
At a four feet, two feet it'll be two
stops,
637
00:28:14,427 --> 00:28:15,362
which will be zone
638
00:28:16,329 --> 00:28:16,629
three.
639
00:28:17,130 --> 00:28:19,32
But at four feet let's just, say, at
four feet
640
00:28:19,466 --> 00:28:20,967
here's how I can plot it out.
641
00:28:21,301 --> 00:28:24,671
So I know that once I get my cheat
sheet, that at eight feet is going to
642
00:28:24,671 --> 00:28:28,274
spread a little bit more, but at two
feet it's going to be really drastic.
643
00:28:28,742 --> 00:28:31,845
So zone one will be actually eight feet
back, pure black.
644
00:28:32,679 --> 00:28:35,81
So at two feet i'll have
645
00:28:36,416 --> 00:28:38,518
zone two will be at four feet.
646
00:28:38,818 --> 00:28:40,186
So it's a huge fall off.
647
00:28:40,653 --> 00:28:41,654
So
648
00:28:42,889 --> 00:28:45,759
you want dramatic, you want that person
to pop off the back,
649
00:28:47,794 --> 00:28:48,628
start out with a
650
00:28:49,295 --> 00:28:52,499
darker value background, and then back
it up a little bit, and it'll fall off
651
00:28:52,599 --> 00:28:53,133
really quick.
652
00:28:54,334 --> 00:28:55,669
All right, keep going here.
653
00:28:56,569 --> 00:28:58,405
I hope you're still with me.
654
00:28:59,305 --> 00:28:59,706
Here we have
655
00:29:00,907 --> 00:29:02,42
just a scale, like a wall.
656
00:29:02,175 --> 00:29:05,645
So what would happen if I just looked
at a squall, instead of just these
657
00:29:05,779 --> 00:29:06,546
slots of
658
00:29:07,614 --> 00:29:08,314
foam core?
659
00:29:08,748 --> 00:29:09,883
So here we have two feet.
660
00:29:09,949 --> 00:29:12,752
That's kind of what that wall, as it
tapers down, would look like.
661
00:29:12,819 --> 00:29:13,286
Ok?
662
00:29:14,921 --> 00:29:18,992
And then if I have four feet here, what
it looks like, spreading out
663
00:29:20,93 --> 00:29:20,794
eight feet
664
00:29:21,861 --> 00:29:24,631
and sixteen feet, will give us a
665
00:29:25,231 --> 00:29:29,135
barely, any transition going down a
little bit.
666
00:29:29,869 --> 00:29:31,671
So at 32 feet,
667
00:29:32,172 --> 00:29:33,606
barely, any transition,
668
00:29:34,107 --> 00:29:36,176
you know, 100 feet out, you know, I can
see the transition.
669
00:29:36,976 --> 00:29:37,744
So
670
00:29:38,345 --> 00:29:40,914
let's go to the zone five.
671
00:29:41,314 --> 00:29:42,282
Starting with zone five.
672
00:29:42,415 --> 00:29:44,150
Look how quickly it Falls off
673
00:29:47,387 --> 00:29:47,620
to black.
674
00:29:48,988 --> 00:29:49,456
And
675
00:29:50,824 --> 00:29:52,792
here's our cheat seat, a cheat sheet,
676
00:29:55,462 --> 00:29:58,565
what I would do, and I think I'm going
to try to, like,
677
00:29:59,65 --> 00:30:01,601
post this, i'll create this into a pdf,
678
00:30:02,35 --> 00:30:03,870
and then you'll have this cheat sheet.
679
00:30:04,37 --> 00:30:07,941
So let's look at a chart by looking at
our value and f stops.
680
00:30:08,341 --> 00:30:10,110
So you say, Joel, I think, an f stops.
681
00:30:11,611 --> 00:30:14,80
So if I want to stop
682
00:30:15,782 --> 00:30:18,84
darker, change to my background,
683
00:30:18,651 --> 00:30:20,653
and my subject is
684
00:30:20,820 --> 00:30:24,157
two feet from, or my light is two feet
from my subject,
685
00:30:24,824 --> 00:30:26,893
I know that to get a two stop
686
00:30:27,460 --> 00:30:30,63
darker background, I go to two feet.
687
00:30:30,663 --> 00:30:32,165
So this, as you can memorize, pretty
easy,
688
00:30:33,233 --> 00:30:34,868
match whatever distance you have.
689
00:30:36,36 --> 00:30:39,706
If you have a light, three future from
your subject it'll be two stops
690
00:30:40,740 --> 00:30:41,441
darker,
691
00:30:42,8 --> 00:30:44,144
three feet from the back of your
subject,
692
00:30:44,978 --> 00:30:47,313
if it's eight feet, 16 and sixty feet.
693
00:30:47,313 --> 00:30:50,83
So there we go, four on earth and
694
00:30:50,250 --> 00:30:51,51
no,
695
00:30:51,184 --> 00:30:51,851
945
696
00:30:53,620 --> 00:30:54,688
million Miles away.
697
00:30:55,288 --> 00:30:57,924
To get a two stop darker
698
00:30:58,391 --> 00:30:59,359
background,
699
00:30:59,626 --> 00:31:02,228
you have to get your background
700
00:31:02,729 --> 00:31:03,663
behind your subject,
701
00:31:04,264 --> 00:31:05,231
equal, 4945
702
00:31:08,568 --> 00:31:09,769
million Miles away.
703
00:31:10,170 --> 00:31:11,671
So with that,
704
00:31:12,172 --> 00:31:16,976
the reason why I kept that in the red
is if I memorize that as my cheat
705
00:31:17,143 --> 00:31:18,878
sheet, or my baseline, amount
706
00:31:19,379 --> 00:31:20,480
that's my baseline,
707
00:31:21,548 --> 00:31:25,285
and I set up a subject and I go, I just
want two stops darker background.
708
00:31:25,618 --> 00:31:26,920
So let's say I have a bunch of flowers
709
00:31:28,188 --> 00:31:31,791
on this wall, and I want the flower
just darken a little bit.
710
00:31:32,25 --> 00:31:32,592
And I go, ok,
711
00:31:33,960 --> 00:31:35,929
I'm going to use my twenty four's
beauty dish,
712
00:31:37,297 --> 00:31:38,264
my beauty dish.
713
00:31:38,331 --> 00:31:43,3
I want to put it 24 inches from my
subject to get a two stop darker value
714
00:31:43,303 --> 00:31:43,803
on those flowers.
715
00:31:44,270 --> 00:31:48,174
I'm going to take and have her step
away two feet from the background.
716
00:31:49,476 --> 00:31:50,243
Two stop difference.
717
00:31:50,577 --> 00:31:52,579
If it's a one stop difference, is one
feat.
718
00:31:52,912 --> 00:31:56,783
If it's going to be, if I want a three
stop difference, it's going to be four feet.
719
00:31:58,351 --> 00:31:59,919
If I'm too,
720
00:32:01,54 --> 00:32:03,56
if I have my beauty dish two feet from
my subject,
721
00:32:04,90 --> 00:32:05,158
you see where I'm going here?
722
00:32:05,225 --> 00:32:09,929
Once I understand that, I can say, or
my art director says to me,
723
00:32:11,531 --> 00:32:15,68
we're in a kitchen, I'm shooting this
lady she's baking a cake, and I want to
724
00:32:15,235 --> 00:32:17,604
see the appliances in the background,
but not
725
00:32:18,271 --> 00:32:19,372
over lit.
726
00:32:19,706 --> 00:32:20,807
But I want some value.
727
00:32:22,8 --> 00:32:24,477
Let's say, the art director says, want
just one stop
728
00:32:24,644 --> 00:32:25,445
difference?
729
00:32:25,779 --> 00:32:27,147
Well, then I have to go.
730
00:32:27,614 --> 00:32:28,515
And let's say, if
731
00:32:29,716 --> 00:32:32,485
I take my light, fore feet from my
subjects
732
00:32:33,153 --> 00:32:35,855
and she's standing two feet from
733
00:32:36,489 --> 00:32:40,326
the appliances behind her, then i'll
get a one stop difference.
734
00:32:42,662 --> 00:32:45,632
If he says I want a two stop
difference, I've got to move my light
735
00:32:45,699 --> 00:32:46,399
into two feet.
736
00:32:47,67 --> 00:32:47,834
Don't have a choice.
737
00:32:51,71 --> 00:32:54,708
Now, I might make a decision on what
modify I'd put on there that's a choice.
738
00:32:55,41 --> 00:32:55,508
But
739
00:32:55,875 --> 00:33:00,413
as I move my back up, my light, back
up, the background gets lighter to the
740
00:33:00,413 --> 00:33:01,614
subject value.
741
00:33:01,915 --> 00:33:02,549
So
742
00:33:03,216 --> 00:33:04,984
here's my cheat sheet, and that
743
00:33:06,353 --> 00:33:06,519
stops.
744
00:33:07,320 --> 00:33:07,854
So let's go
745
00:33:09,155 --> 00:33:10,590
and do it in a little bit differently.
746
00:33:10,890 --> 00:33:11,558
This is by distance.
747
00:33:11,791 --> 00:33:12,792
So I can say
748
00:33:15,61 --> 00:33:17,931
I have a light source, two feet I want.
749
00:33:20,900 --> 00:33:24,270
I look at my background and is two feet
behind that.
750
00:33:24,270 --> 00:33:25,305
I know it's a two stop difference.
751
00:33:25,538 --> 00:33:27,874
I look at my background, I measure it
as four feet behind.
752
00:33:28,41 --> 00:33:28,975
I know it's a three stop.
753
00:33:29,309 --> 00:33:31,311
So I have a little stars in red across
here.
754
00:33:31,878 --> 00:33:33,780
That's what I want to look at is my
base.
755
00:33:35,949 --> 00:33:39,552
I look down here, my two stop, two
stop, two stops, two stops.
756
00:33:39,853 --> 00:33:42,389
And then once I learn it as a two stop
757
00:33:43,857 --> 00:33:47,527
baseline, then I can calculate each
direction a little bit
758
00:33:47,961 --> 00:33:48,128
still.
759
00:33:48,261 --> 00:33:49,429
Maybe I got to go to my
760
00:33:49,796 --> 00:33:50,764
cheat sheet on occasion.
761
00:33:51,64 --> 00:33:52,966
But it's pretty easy
762
00:33:53,133 --> 00:33:54,834
to now calculate
763
00:33:56,336 --> 00:33:56,803
what
764
00:33:57,704 --> 00:34:00,173
is going to happen in my background as I
765
00:34:01,241 --> 00:34:02,575
start setting up my shoot.
766
00:34:03,610 --> 00:34:04,310
How are we doing?
767
00:34:04,678 --> 00:34:05,145
That's it?
768
00:34:05,211 --> 00:34:07,681
I think that's my last slide on this
soul.
769
00:34:13,53 --> 00:34:17,624
Maybe this will take a little bit of
you in the studio, and you might take a
770
00:34:17,691 --> 00:34:20,427
subject and a white and a gray
background,
771
00:34:21,695 --> 00:34:24,964
and just play a little bit and see what
happens.
772
00:34:25,598 --> 00:34:26,232
So
773
00:34:26,499 --> 00:34:30,737
you set your beauty dish up, or
whatever, metaphor you have put it at
774
00:34:30,737 --> 00:34:31,204
two feet
775
00:34:31,371 --> 00:34:35,675
and then put your white wall two feet
behind, take a picture and say, ah,
776
00:34:36,276 --> 00:34:37,744
that's a beautiful
777
00:34:39,145 --> 00:34:40,847
let's, say, it's a white wall.
778
00:34:40,980 --> 00:34:41,614
It'll be two stops
779
00:34:42,649 --> 00:34:44,918
from pure white, which makes it a light
grey.
780
00:34:45,51 --> 00:34:48,355
You go, that's beautiful, but you say,
hey, I want a little darker gray.
781
00:34:48,488 --> 00:34:49,456
We've got to back it up,
782
00:34:50,590 --> 00:34:52,158
and you can plot it.
783
00:34:52,892 --> 00:34:55,462
So I hope I know this is a little bit
longer.
784
00:34:55,929 --> 00:34:56,796
I hope
785
00:34:57,530 --> 00:34:59,666
this makes sense to you, and
786
00:35:00,500 --> 00:35:03,870
it gives you a little bit of an insight
to the invers square law, something
787
00:35:04,104 --> 00:35:06,706
I've avoided for forty years.
788
00:35:07,507 --> 00:35:08,641
And
789
00:35:09,75 --> 00:35:09,776
we're good times.
790
00:35:11,144 --> 00:35:12,278
It's nice to have this visual.
791
00:35:12,512 --> 00:35:15,81
Let's, say, forty years ago, I didn't
have a keynote presentation
792
00:35:15,715 --> 00:35:15,882
possibility.
793
00:35:16,583 --> 00:35:18,251
And that be someone on a chalkboard
with.
794
00:35:18,251 --> 00:35:21,321
And that was the easiest way to teach,
was through a mathematical equation.
795
00:35:21,955 --> 00:35:26,192
And I think that's why we're in great
times, is I can now, as an instructor
796
00:35:26,593 --> 00:35:32,198
that does not like math, I can go and
create a visual for you to help you
797
00:35:32,265 --> 00:35:35,935
understand something that in the past
was taught mathematically.
798
00:35:37,237 --> 00:35:37,904
I hope this
799
00:35:40,40 --> 00:35:41,74
gives you a little bit of insight.
800
00:35:41,374 --> 00:35:43,43
So we'll
801
00:35:43,777 --> 00:35:44,944
put it to good news
60373
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