All language subtitles for 3_Exposure Compensating

All right?

I promise we're going to get out in the
field.

But

when we did the editing of me out
shooting faith, I explained this high

speed sync and calculating to where to
end up on my shutter speed.

So

I thought, you know what?

I think I got a better way to show
that.

And I created a

chart

that I hope will make you kind of see
this visually here, instead of me counting

f stops off into the field, like I did,
or shutterspeed.

So

remember, I can do this with my camera.

And let me explain how I do it in the
field first.

So let's say I'm at f, a power on my fa
aperture and fh power out of my strobe.

And I'm doing the typical, the old
school way of just non high speed sync,

just regular strobing my subject.

I get good light, I get the background
looking really good.

And let's say I end up at

a shutter speed of two orth a second

at

eight.

And so I want to go

and calculate where to end up with my
shutter speed as I open up my aperture.

So I want to go to 14.

Let's just say 14, and then I can
click.

And on my camera, most cameras are set
to third stop increments.

So I go 12

fight.

Sometimes it jumps too fast.

So 123

would give me an f.

would bf, 4123.

F, 2.812.

Point o.

One to three would be 14.

That's a five stop range.

Now, where do I set my

shutter speed?

Well, I can calculate that the other
way going.

Count counting 123,

that be 500th a second, or 400,
depending on where I start.

If your sync speeds to fifty, or my
spinks happened to be 21200,

then you can count all the way up.

Well, that's one way to do it in the
field.

So you count five stops

up, or if it's four stops up, or
whatever it is, whatever your

calculation will be, a number of stops,
then you counter with your

shutterspeed.

we can see that visually.

So let me show you.

Here.

I have my cheat sheet for high speed
sync.

And I will,

I've already created a pdf of this so I
can have you guys get access to it.

And what I would do is, I would just
take a snapshot of it and have it on

your phone.

So you just put it in a folder that
says, cheat sheet, whatever.

You pop it up and go, oh,

there's my shutterspeed so let's just
do it visually here for you.

So I'm having an output of an f eight
on my strobe,

which is about right underneath a
canopy of

trees on a high noonish, or, say, four
in the afternoon, whatever I think we

were at.

So you count

12345,

that's five stops to f

1.4.

Then you go down the chart, you go one
to 34.

They have 4000.

Or if you started at,

if you started at 200th, a second it's
going to be

give or take three.

What does it come out?

I don't know what, 320 or something,
300200

of the second, I think.

it'll get you in the ball part.

Because you fire one off, you go, oh, a
little dark on the background.

Okay, let's change that, or a little,
and depends on.

You've already calculated the value of
darkening the background a little bit

to give that person a pop off.

The background

that's already been calculated, but
this just gives you a quick way to go.

Pop down the chart.

There you have it.

So if I was putting out at flf, let's
say, I was shooting out into the sun,

like I did earlier, but the sun was
really going down.

But let's say, it's higher noon the
sun's up, and I started at eleven.

So I count that would be six stops.

That would end up at 18 thousands of a
second.

Now,

because I said, there's only so many
variables that you can go in directions

eventually.

You don't even need this cheat sheet.

You could almost say, hey, I'm shooting
high speed, sink, I'm going to be out

under the sun it's pretty bright, the
sun's up, it's three in the afternoon,

whatever, and I want the sun on the
shoulder.

I'm going to put out an f eleven,

a light

on my strobe, and my shutters below
it's going to be 18 thunders a second.

Once you get to certain parameters, you
don't have many options to go through.

So it's not like you have to

memorize a whole bunch of different
calculations.

But this is a good cheat sheet.

So

my brain does not work very well with
math and fractions.

And so,

and I say, I'm dyslexic to a certain
degree.

And I was given a lecture.

I just got back from South Dakota,

and I was in front of a group of
people, and I was talking about that,

and I said, that I'm dyslexic.

you could look at that as a handicap.

I can't read

subtitles very fast.

So my wife's like, let's watch this.

Movies and subtitles like, oh,

I can't do that.

My brain doesn't read that fast.

And my brain doesn't get.

But

having the fact that I'm a dyslexic
type mind,

I do lots of workarounds.

And so I figure out things

that can solve a work around to make it
really easy for people to understand.

And then

I usually solve the problem.

It just takes me a little longer, and I
come up with a way that might be a

little more creative, and it's
different in thinking outside the box.

I would look at, if you're kind of like
me, and you go, f stops, and, oh my

gosh, your brain just can't calculate
very well.

You actually have an advantage,

because now you can learn work around,
and you can think about things like

being a creative artist, and maybe not
get too sucked into the calculations of

things.

But here's that little cheat sheet.

So I did that in the field for
everyone, and then we went to record it

or put it in, and it's like, hmm, I
didn't explain it that well, you know.

So I hope that makes sense what you're
doing is you're increasing,

you're opening up your

aperture

on your

lens to get more light in.

So you got to counter that by having a
Shorter or faster shutterspeed.

So it's like a teeter totter.

So you go open up,

and now you got a counter with the

So it's not rocket science, but it is
something that you have to work through

in the field.

And I would say this, if you're doing a
high speed sink for the first time,

your head can spin just a little bit
and you want to throw in the towel

don't.

It's not that hard.

Now, there's one little side thing to
this whole

high speed sink that, when I tested it
a couple years ago, and then

I've noticed it with some other high
speed sync strobes,

sorry, I'm just getting over the flu,

that when you go from one to one of the
second or 1250th, what depends on your

sinks beat,

and you cross into the high speed sync
zone, that would be anything above your

sync speed,

you actually lose one stop

of value.

And I put that at the very bottom.

Keep in mind that some strobes will
lose one stop exposure value from the

12 and a second to 14th of a second, or
when you enter into the high speed realm.

Now I've only tested that with two
strobes,

the Cana speed lights

and the godox 86 hundreds.

And both of them worked exactly the
same.

I lose a stop.

Now I don't know if that was with every
strobes,

every high speed sync strobe, I don't
know.

No one's ever told me that I've never
seen any documentation, or anyone

explained, that you lose a stop between

the first jumping into the realm of
high speed sync.

I don't know

when I started calculating it.

I'm like, I'm a stop off,

even though I counted.

So

keep in mind,

in some cases that actually works out
to my favorite, because I'm trying to

knock the background down a little bit
in value anyways.

And so when I counted up and I take my
first picture, say, well,

you know, it's a little dark, whatever.

I maybe I add one stop of iso.

So I go from iso 100 to 200, solve the
problem,

because you're going to be limited on
your shutterspeed.

So iso is your next

variable that you can adjust

your

compensation.

So that's just a little tycave

that I've discovered.

And I have not seen, like I said anyone
that has explained it.

And so I thought, well, maybe it's just
canopy lights.

I tried to go to ox 86 term, did the
exact same thing.

I now have the new

fj four hundreds.

I've been testing those for about three
months.

I couldn't say anything.

I have not

made a conscious effort to look at that

step and see if I'm losing a stop.

So i'll do that.

Next,

when I get a chance, i'll do a test on
that.

And I got a workshop this weekend, so
maybe we'll pull it out, and i'll

explain this, and we can test it right
there.

But

I hope that explains the high speed
sinking and the calculation.

I'll give you this pdf that you can do.

You probably don't really need this
pdf, but at least

you can see it visually.

Now, how to make it a little bit easier
when you're calculating.

But remember, we had the ability to
take a picture and go,

I'm out, three stops, two stops,
whatever.

It's not that hard.

I did that one

photo walk in click con.

And I was out there in the field
shooting with this.

And literally, I went 1004

click,

and I had my shot.

And Aaron was like, wow.

That was easy well, because I know that
I have only so much

limited

options that I can work.

So we're going to go now, finally,

to watch faith as I'm photographing or
out in the field, and you'll see me.

I'm shooting,

oh,

let me do this.

I've got to take a break, because I
didn't bring it up right now.

I'm going to show you

real quick, the two exposures of f
eight and f 14 side by side.

I did not do that.

So I'm going to just

take a quick break, and i'll bring that
bet right back.

All right, ok, I lied.

I got one more thing to show you.

I got so many things I'd try to do at
one time.

Here is,

here is the image of faith at f eight,
which is not

22, but it was the exposure that I got
to when I was underneath the canopy

of the trees.

And I had to get some, a nice darker
value of the background.

So there we have, faith.

And then,

not the best picture, but it's showing
you.

And then here it is, counting up my
stops

to 1.4,

and then going straight to

the, I think it was 16000th of a second.

And somewhere around there, 14000th of
a second.

And got me to an ultra, shallow depth
of field.

Look.

So those, let me show you again.

So there's f 84.

So you can see there's a big difference
in terms of the mood and the feel of

that image.

I love this child up the field, and I
think you will too.

And in some cases, this is not a bad
background.

Now there's a few cluttered things back
there, but in some case you're at a

park, and it's just terrible.

There can be construction going on the
background.

You go to shoot it wide open, and boom,
everything goes soft.

That's what I'm trying to teach you.

I hope that comes across.

So now

we're going to go to

faith in the field.