|See setup shot below|
I've been scouting for a location for a project next weekend and came across the vacant lot you see above. I asked Cristy if she would come out and model with a prop. She chose the accordion - awesome choice....
I'm using speedlights, so...I can't overpower the sun in the middle of the day out in the open. Around sunset I'm in business and on those nights when there are some clouds in the sky, I get excited.
Mixing Ambient and Artificial Light - part II
|Test shot for ambient light in the environment|
In the picture on the above, you're seeing the scene exposed more or less "properly" with the help of my 28" softbox. The buildings in the background really don't represent Toronto's finest architecture and there isn't a lot of detail in the clouds. To bring out that drama, increase your shutter speed to make the scene darker and bring out the colour and detail of the sky. David Hobby, "The Strobist" calls this "the drama button" with good reason.
The next thing to do is to see what aperture setting that leaves you with. In the above scene, it's still relatively bright as we're shooting into the direction of the sun. This means I have to close my aperture down to get the shutter speed to sync with my lights. The shots at the top were taken at 1/250 sec, f/9, ISO 100 and still my speedlight was at full power a few feet from my subject. And since I had my light in the softbox, I know I'm losing more than a stop of light.
Now that the exposure is set, it's time to compose your shot.
Some important take-aways from Zack's workshop:
"Eyes to the light" was maybe the second-most repeated phrase. Without having someone look directly into the light, it keeps the eyes bright and gives you some pleasing catch light.
Another setup we tried was lighting the background and the subject with the same light source. I ran into some trouble with the darker green paint as it was more reflective and came out too bright. I had to try and work with that in post even after trying to reposition my light. Finally the solution was to find a part of the green wall without the darker paint on it, which worked out much better. Again, "eyes to the light".
...and as in this previous episode, watch for the model snatching your camera away from you to leave you standing there with an accordion like this: