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Alright, so we're gonna try something really kind
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of trippy here, and we'll see if it
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works out.
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So what I'm gonna be demonstrating is a
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reflection in a piece of artwork, but it's
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actually reflected two or three different times.
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I was just in this room, and I
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was exploring around with my eyes, seeing how
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we could demonstrate reflecting in a piece of
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artwork with a flash.
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And as I was exploring around, I was
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looking in this piece of artwork, and I
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could see this mirror reflected, which is on
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this wall, the opposite wall of the piece
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of artwork, in the artwork.
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But then within the mirror, I could see
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myself reflected.
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And I really have no idea how any
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of that's happening, like what is reflecting off
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what surface, and what's double reflected, and what's
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singular.
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Like, I actually have no idea, but it's
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more about having the curiosity to see the
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potential, right?
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I don't actually have to know what's going
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on to see the potential, right?
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I don't need to know the physics behind
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it.
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So I'm gonna head on over here and
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show you what I was seeing from what
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angle.
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So when I put, when I go in
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this position right here, I can see this
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artwork, obviously, that's in the foreground of my
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frame, and I'm gonna fill the foreground of
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my frame with this piece of art.
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And I'm gonna use ambient exposure that allows
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me to show in the final photograph these
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swirly things.
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So there needs to be enough light on
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it, and I need to be at a
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high enough f-stop.
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And within this glass-covered artwork, I can
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see the mirror over on that wall reflected.
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And within that mirror, I can see myself.
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Okay, now, I don't really pop, but I
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can still see myself.
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So I've got to figure out how to
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make myself pop within there.
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So I'm kind of doing like self-portrait
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triple reflection here.
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So what I'm gonna do first is I'm
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gonna set my ambient exposure for what I'm
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looking for with this artwork.
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So I'm gonna go to 1 200th of
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a second.
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So 1 200th of a second, I'm at
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ISO 1600.
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I'm finding one, and I want a fairly
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high f-stop.
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I'm with a 35 lens right now.
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I'm at f4.
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I'm finding 1 200th of a second way
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too dark.
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So I'm gonna go down all the way
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to I think about 1 80th of a
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second.
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We're gonna try that to start.
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Okay, so I've got my ambient set.
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I haven't even turned on my flash yet.
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But I can see that it could all
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come together nicely.
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And all these tiny little micro adjustments I'm
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making with myself and my camera make a
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big difference to the composition.
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One little detail I'm going to take care
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of before I start shooting is I can
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see in this part of the artwork, it's
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reflecting the open doorway here, which has a
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big distracting highlight.
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So I'm gonna close the door.
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So now I need to make myself pop
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within this reflection.
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I'm fairly small in the frame, so the
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easiest way to make myself pop and become
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recognizable is not to actually flash for my
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skin tones, but to flash for a silhouette.
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Because it'll be high contrast, you'll be able
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to see my shape, you'll be able to
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see my form, and I'll pop a lot
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more.
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I'm gonna move this flash.
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And the place where I'm going to flash,
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I'm going to move this flash a little
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bit to the side.
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And the place where I'm moving this flash
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to is actually, I can see exactly in
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this reflection what's behind my head.
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And I can see this seam in the
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wall is behind my head.
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So I'm gonna point the flash right at
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the seam in the wall.
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I've got a grid on it.
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I want a grid on it because we've
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got white ceilings.
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It's fairly closed off in here.
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I don't want the light to spill everywhere
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and destroy my ambient exposure.
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And I might actually even need to put
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a tighter grid, but we'll start with that
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for now and see how that goes.
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Okay, tricky part is going to be focusing.
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Actually, if I turn the modeling light on
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here...
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Oh, that's perfect.
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If I turn the modeling light on, I
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can see it in the reflection.
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I can put my silhouette right where I
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need it to go, and I can focus.
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Well, hopefully I can.
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Let's see if I can focus.
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Okay, so I'm going to focus on that.
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Oh, no.
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Okay, let me take this off.
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Let's see if I can focus without the
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grid on.
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Okay, there.
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That helped.
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I was able to focus.
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I'm going to put the grid back on.
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And I'm going to start at about four
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for power.
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Okay, we're going to take a test shot
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here.
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Let me just zoom in and make sure
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I'm sharp.
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The composition's good.
138
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Actually, that's pretty bang on.
139
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I'm actually, because the flash is so close
140
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to the wall here, I'm finding the cone
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of light that it's projecting is very small,
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especially with the grid on.
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I'm going to see what it looks like
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with the grid off.
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It might completely destroy my ambient exposure, but
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I'm going to try it anyways.
147
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There's only one way to find out.
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And I'm fiddling with my silhouette a little
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bit.
150
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Normally, I would shoot with this right up
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against my eye, but we talked about the
152
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importance of the negative space in silhouettes.
153
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So I'm slightly holding it away from my
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face, so I've got some negative space in
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the silhouette I'm creating of myself.
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And pop.
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Yeah, that did definitely affect my ambient exposure.
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There's a lot more light on the painting
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now, but I don't know if I mind
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it so much.
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Let's see here.
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My silhouette definitely pops.
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I'm going to try one more with the
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grid back on and the flash backed up
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just a tad so that the cone of
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light is a bit wider.
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Because as the light comes off the flash,
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it starts very narrow and it gets wider,
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even if you've got a grid on it.
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I'm going to back this up.
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Just problem solving my way through this.
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I think I might need to refocus now.
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I'm going to just take that off for
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a sec.
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And refocus.
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Got it.
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Put it back on.
178
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Turn that up to 5.4. Let's see
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how that is.
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Just checking to see if I'm sharp.
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Alright, that is an interesting self-portrait.
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And it's kind of gimmicky, but it just
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came out of curiosity.
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That's it.
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It was lots of problem solving.
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Again, I have no idea what is reflecting
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and what and how all these reflections are
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coming together.
189
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But you don't need to know.
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If you just put your eyeball in different
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spaces and explore the room, not just by
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coming in the room and looking around.
193
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But coming in the room and looking at
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different angles and different positions.
195
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You can discover really interesting things that you
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might not have noticed otherwise.
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So it's sort of being open to the
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creativity and the opportunities that exist.
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They already exist.
200
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You just have to find them.
13270
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