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What I'm going to attempt to demonstrate here
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is a reflection in artwork using off-camera
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flash.
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So to set the scene here, this is
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in our kitchen, or our dining room, and
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all I've done is moved the table out
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of the way.
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This is a piece of artwork that we've
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got up on our wall that Eric and
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I picked up when we were in China.
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And it happens to be glass-covered, and
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that's the key.
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Because it's covered in shiny glass, it has
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the potential of reflecting the scene, okay?
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Now, one of the first things I need
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to decide is if I'm going to reflect
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my couple within this scene is where to
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do so.
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And just like any normal scene, in order
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for them to pop on the landscape or
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within the artwork, within the reflection, I have
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to pick an area of darkness, because that's
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where I can make them pop.
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If I try to light them up somewhere
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in this part of the reflection, they're gonna
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be very low contrast and hard to see.
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Whereas if I choose a dark area of
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the art itself, that's a dark part in
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which for me to light them up, okay?
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So I can light them up within the
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darkness.
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So I need to choose my shooting position,
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I need to choose which lens I'm gonna
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use, and then where is my couple going
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to be relative to my camera so that
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I can hopefully make them fit within this
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part.
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So, and I also want you to know,
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guys, I haven't done this shot yet.
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This is my first attempt, because I want
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you to see that there's a lot of
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problem-solving that goes into making this work.
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It's not like a one-click boom.
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You need to work, you need to tweak,
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you need to make adjustments, and it doesn't
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always work.
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More often than not, it doesn't work out.
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I think I've got a good chance of
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being able to make this one work.
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So what we're gonna do is we're gonna
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bring, Jesse and Jenny are gonna come in,
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and they're gonna be my real couple for
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this.
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And I don't know where I want you
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guys yet.
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That's the tricky part.
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So I've got my 85 millimeter lens on,
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and right now I'm gonna basically figure out,
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turn this on, first of all, my composition.
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So where I'm going to be.
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Now, right away I see my reflection, because
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I've got quite a bit of natural light
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coming in.
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So I can see my reflection within the
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artwork, but I'm quite dark.
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So I think I'm gonna be able to
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hide within this.
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And then if I light my couple up,
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they should reflect within the glass.
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So with 85, I'm basically filling the frame
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with the artwork itself.
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And now, you guys need to be, and
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actually I can see with my hand.
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As I put my hand up here, I
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can see exactly where they need to be.
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So I need you guys about here.
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But I need you smaller.
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So can you go as far back towards
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the glass as possible?
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Okay.
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Okay.
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And you're already in the position I want.
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Backwards spoon, okay?
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And that's perfect, because what I'm seeing is,
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I can actually, because there's enough natural light
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on them right now.
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And I will try this just with natural
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light to start with.
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I can see that they, the shape of
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their upper bodies fits nicely within that dark
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mountain top.
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So I'm gonna do an ambient test shot
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here.
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And because I think I'm gonna need flash,
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I'm going 1,200th of a second.
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And I'm upping my aperture quite high.
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I'm gonna start at F7.1. Because if
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I go wide open on this, when I
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focus on them, the artwork itself is gonna
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be entirely blurry and out of focus.
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You're not gonna be able to tell that
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it's reflected in artwork.
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So I need a high enough depth of
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focus that I can see the artwork and
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my couple.
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So I'm gonna try 7.1, 1,200th
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of a second.
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So I'm up at, let's go ISO 1600.
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Okay, and thankfully, because I've got that natural
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light on them, I can actually autofocus on
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them.
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Often that's the crux.
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You can't achieve focus.
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So then I need to get a light
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source on them in order to focus.
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Or we can do the trick where we
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bring in the iPhone flashlight and we hold
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it right there.
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And that gives me something to focus on
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in the reflection.
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But in this case, I can grab focus
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on my couple.
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And this is just a test shot, guys.
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So don't stress out here.
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Actually, it is struggling to focus.
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Okay, I've got them right where I want
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them, but there's not nearly enough light on
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them.
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So what we're gonna do now is I'm
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gonna bring in a flash and I'm gonna
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light them up.
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The reason we're doing this, guys, instead of,
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like, if you turn around and you come
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around this side, Jesse, and then the backwards
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spoon, okay?
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This was my first instinct, but I realized
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as soon as I light them, I'm gonna
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light up this wall and this wall is
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gonna be a big, distracting highlight.
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Within the reflection.
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So if you turn around back the way
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that you were, I think I can have
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the light coming from out here, which is
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where it's already coming naturally, and not worry
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about it hitting any walls and being distracting
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elements in the reflection, okay?
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So let's try this.
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Flash, A1, gonna turn it on, and I'm
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gonna turn up, I'm gonna start quite bright,
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quite high power, because I'm basically trying to
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overpower this bright natural light.
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Transmitter for my flash.
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I might be able to get away with
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no grid, just because they don't have any
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immediate walls right around them, and I'm coming
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from outside, but if that's a problem, I'll
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have my grid, can throw that on, and
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I'm gonna start with just a quarter-cut
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CTO gel.
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This is the most subtle gel, and it
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seems to get the skin temperature right.
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Okay, so I'm gonna put that on the
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flash.
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That in.
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Okay, and I'm coming up just a little
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higher than their heads, and the angle of
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this light should be nice in that it's
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kind of a nice edgy side light coming
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in from the short side.
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Okay, I'm gonna aim it right at the
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couple, and then my next test shot will
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help me get the position perfect, and then
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I can start dialing in the right flash
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power.
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Okay, I'm gonna turn the transmitter on.
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Pop a test shot, yes.
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Okay, so now here we go.
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Okay, here we go, three, two, one.
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Okay, I'm just eyeballing it for the flash
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exposure now.
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Okay, it totally changed my ambient exposure.
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Is it just because I don't have a
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grid, or did I mess up?
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Okay, let's get a grid on there.
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That changed the entire exposure, so I think
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that light bounced off all these white walls
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and ceiling and totally changed the ambient light.
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Let's see if that grid solves that problem.
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Okay, let me try just, I'm gonna go
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ahead and go, oh, I'm at F4 now,
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what happened?
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I bumped my camera, that's what happened.
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So I bumped my aperture setting, and the
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aperture dropped down to four, which is why
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now the ambient exposure is so bright.
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So I'm getting that aperture back at 7
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.1, which is where I had it, and
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so now let's try it.
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Here we go, guys.
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Yes, okay, that's what we want.
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So now we're gonna finesse this, and the
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flash exposure is actually dead on right now,
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and it is 9.0 or 1.5
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power.
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So it's a little bit too edgy, so
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I'm gonna bring it out here, a little
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bit shallower.
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Okay, and the temperature's great with that gel,
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so now we're gonna work it.
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Okay, so we're gonna snugly now into each
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other like that.
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Okay, and I'm gonna leave my focus, because
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I'm up at F7, so I'm okay here.
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Get them positioned right where I want them.
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And here we go, into each other, little
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snickle there.
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Okay, you can see it.
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Wow.
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Oh my goodness, that's so cool.
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Okay, that is cool.
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Let's, I really like this, let's work this.
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Wow.
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That's cool.
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Okay, let's just get a few more frames
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into each other.
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I'm getting great, great light on Jenny.
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Jesse, I need you to be a little
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bit more like into her temple there, nuzzling
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there, so that I can have this light
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hitting more of your face.
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So almost just like, yeah, yeah.
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And angle your face a little bit more
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left so I can get more light, yeah,
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and now into each other like that.
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That's great.
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Checking.
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Yes.
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Okay, I like that.
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I wanna try one other thing here, and
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I actually really like that, but I wanna
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try one more thing, and that's turning you
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guys around into the penguin position, so facing
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each other, okay?
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And what I did there is essentially light
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them up with hard light coming in from
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the side within here.
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This time, I'm gonna create, try to create
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a bright spot within this dark area in
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which to silhouette them, okay?
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So I'm turning them to face each other,
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and I'm going to try to light up
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this wall behind them.
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We'll see how that works.
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So I'm gonna take the light.
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I'm not gonna change anything with the light
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output yet.
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I'll use the same gel.
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I'll try it without a grid first.
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Actually, I'll leave the grid on.
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Let's leave the grid on.
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Angle it.
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Okay.
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So I'm hoping to light up this part
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of the wall, and so now you guys
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are gonna be silhouettes, so I need side
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profiles, kind of forehead to forehead, but with
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a little separation.
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Okay, that's great.
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And I can see it right in the
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sweet spot.
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Okay.
272
00:10:56,470 --> 00:10:58,350
I'm gonna leave my focus, because I'm in
273
00:10:58,350 --> 00:11:02,990
the same position, up at F7.1. First
274
00:11:02,990 --> 00:11:03,630
test shot.
275
00:11:05,770 --> 00:11:05,950
Ooh.
276
00:11:09,230 --> 00:11:09,750
Okay.
277
00:11:11,110 --> 00:11:13,830
Okay, so I got a nice, big, bright
278
00:11:13,830 --> 00:11:15,730
spot behind them, and they're perfectly silhouetted.
279
00:11:16,030 --> 00:11:19,750
It's a little bit too bright, and it's
280
00:11:19,750 --> 00:11:22,170
just white, so I wanna get a warmer
281
00:11:22,170 --> 00:11:24,630
gel on there, and I need to get
282
00:11:24,630 --> 00:11:25,770
it tighter, because it's too big.
283
00:11:25,810 --> 00:11:27,750
It's silhouetting my curly hair here as well.
284
00:11:28,330 --> 00:11:33,270
So what we're gonna do is switch to,
285
00:11:33,950 --> 00:11:35,290
we're gonna stack some gels.
286
00:11:36,570 --> 00:11:39,310
Okay, so we'll try the half cut with
287
00:11:39,310 --> 00:11:40,390
two grids.
288
00:11:45,010 --> 00:11:47,390
So I'm hoping to make a smaller bright
289
00:11:47,390 --> 00:11:49,110
spot and a warmer bright spot.
290
00:11:50,050 --> 00:11:51,850
And right away, that's gonna hold back a
291
00:11:51,850 --> 00:11:53,150
bunch of the power as well with those
292
00:11:53,150 --> 00:11:55,390
grids and gels, so it might be where
293
00:11:55,390 --> 00:11:57,510
I want it anyways, because it was too
294
00:11:57,510 --> 00:11:57,770
bright.
295
00:11:58,890 --> 00:12:00,990
Okay, perfect position, guys.
296
00:12:07,460 --> 00:12:09,520
Okay, we're getting closer now.
297
00:12:10,960 --> 00:12:11,880
And you know what?
298
00:12:12,340 --> 00:12:13,460
I don't like it warmer.
299
00:12:14,080 --> 00:12:16,300
So I'm gonna take those gels off, because
300
00:12:16,300 --> 00:12:20,900
actually the white bright spot is kind of
301
00:12:20,900 --> 00:12:23,480
monochromatic like this is, which is what I
302
00:12:23,480 --> 00:12:25,160
want, or I'm just gonna go black and
303
00:12:25,160 --> 00:12:26,360
white on it, so no gel.
304
00:12:29,160 --> 00:12:32,020
The two grids is making it about the
305
00:12:32,020 --> 00:12:35,420
right size, and I'm gonna turn it all
306
00:12:35,420 --> 00:12:37,380
the way up now, because those grids hold
307
00:12:37,380 --> 00:12:38,080
back a lot of light.
308
00:12:38,660 --> 00:12:40,280
Okay, here we go.
309
00:12:42,400 --> 00:12:44,400
The bright spot is not in the right
310
00:12:44,400 --> 00:12:47,880
spot, so it's lighting up behind Jesse more
311
00:12:47,880 --> 00:12:49,660
than Jenny, so I'm just gonna reposition it.
312
00:12:49,840 --> 00:12:51,420
Left a bit, down a bit.
313
00:12:53,000 --> 00:12:55,340
Tasting the soup, adjusting the salt.
314
00:12:57,100 --> 00:12:57,720
Here we go.
315
00:12:59,400 --> 00:13:01,420
Actually, can you guys go right together with
316
00:13:01,420 --> 00:13:02,260
the hips?
317
00:13:02,640 --> 00:13:03,520
Yeah, right in like that.
318
00:13:03,720 --> 00:13:04,220
There we go.
319
00:13:04,560 --> 00:13:05,200
And chin up, Jenny.
320
00:13:05,700 --> 00:13:06,020
Perfect.
321
00:13:11,050 --> 00:13:12,250
Oh, we're really close now.
322
00:13:14,770 --> 00:13:16,470
The bright spot is just a little bit
323
00:13:16,470 --> 00:13:20,050
too small, so I'm gonna just back it
324
00:13:20,050 --> 00:13:20,510
up a bit.
325
00:13:24,710 --> 00:13:25,150
Okay.
326
00:13:27,010 --> 00:13:27,450
Perfect.
327
00:13:28,550 --> 00:13:30,350
Okay, this is great.
328
00:13:30,530 --> 00:13:32,170
Now, make it real, guys.
329
00:13:33,570 --> 00:13:34,350
Give her a tickle there.
330
00:13:35,770 --> 00:13:37,430
You're having a chuckle there, Jenny.
331
00:13:38,170 --> 00:13:38,570
Yes.
332
00:13:40,530 --> 00:13:42,070
A little more separation there.
333
00:13:42,610 --> 00:13:43,690
Yes, that's better.
334
00:13:44,110 --> 00:13:44,650
That's way better.
335
00:13:44,770 --> 00:13:46,290
And again, we're trying to get that organic.
336
00:13:47,130 --> 00:13:47,450
Okay.
337
00:13:48,410 --> 00:13:49,390
Passion and lust.
338
00:13:50,030 --> 00:13:50,750
There it is.
339
00:13:52,590 --> 00:13:53,270
Good job.
340
00:13:53,350 --> 00:13:53,690
You wanna see?
341
00:13:55,070 --> 00:13:56,150
Let's see if we can.
342
00:13:56,550 --> 00:13:56,890
Whoa.
343
00:13:57,930 --> 00:13:59,430
Oh my goodness.
344
00:13:59,650 --> 00:14:00,730
Those are in so, yeah.
22597
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