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All right, there you have it.
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That's our approach to off-camera flash.
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Well, it's not our approach, but it's the
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approach that we use.
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And I think we originally learned that on
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the strobists years ago.
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But it's the approach that's worked best for
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us when we want to make our own
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light, or when we have to make our
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own light.
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And sometimes we don't have a choice.
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I feel like one of the best tests
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of a wedding photographer is to put them
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in a dark venue or a situation they
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don't have any control over.
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I remember the first time we actually used
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off-camera flash during a ceremony was at
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an aerospace museum.
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And literally three minutes before the ceremony, they
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turned all the house lights off.
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And so we were forced into the situation
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where we had to use off-camera flash.
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And we practiced it, and we knew how
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to.
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And if we hadn't, I don't know what
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would have happened.
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But it wouldn't have been pretty.
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ISO a million.
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ISO a million.
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Okay, so off-camera flash to the rescue.
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And that's just the tip of the iceberg,
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guys.
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Off-camera flash opens up a whole crazy
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world of creative possibilities.
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And so next week, we're going to start
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to get into those possibilities and show you
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how and where we use off-camera flash
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to help us solve all kinds of photographic
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challenges.
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And in order for that to be as
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valuable as possible for you, for this week's
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homework, we want you to just practice the
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mechanics of balancing your ambient exposure with your
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flash exposure.
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In order to make this a little easier
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for you, if you're just starting out, perhaps
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try this indoors or after dark.
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Pick a subject, and we're not looking for
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award-winning photos here.
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Just practice that three, or perhaps you're at
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the stage where you can make it a
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two-step process.
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Practice controlling the light with grids.
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Practice having that light coming from different angles.
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Experiment with broad light and short light.
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Practice tweaking the color with gels.
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And if you're looking for something a little
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bit more challenging, practice using two or three
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speed lights and isolating two or three separate
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subjects within a scene.
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And then, if you want to go really
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advanced, try practicing this outdoors with moving targets
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that you have no control over.
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We'll see you back here for week number
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five, where we're going to dive into the
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two-man toolbox of tricks.
4569
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