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How To Flashing fly iq230

in this video, i shoot a location portraitusing both flash and ambient light. hello i'm gavin hoey and you're watchingadoramatv, brought to you by adorama, the camera store that has everything for usphotographers. today i'm at the gatwick aviation museumfor a shoot where i'm going to challenge ambientlight against my flash, to see what can produce the best, most creative pictures. now i can't do this on my own so todayi've been joined by roger. roger is a fully qualified paid-up member of thepilot society...i thought he was a boxer but it turns out he's actually apilot so this is brilliant.

so i'm going to start with some ambientlight. let's see what shots we can get right here and then we'll move on toflash in a minute. when i'm working with ambient light only, i will put my camerainto aperture priority mode. that's my favorite mode to shoot in. it means thatthe camera will figure out the exposure. all i need to do is tell it the apertureand the iso i like, anything that makes my life a little bit easier. now, today we'vegot kind of overcast lighting. it's not particularly dynamic or dramatic but forportraits, overcast is often exactly the kind of ambient light you want to shootin. so we've got roger here, who's going to lean against the plane looking all piloty.

that's good. i'm going to shoot a coupleof different apertures, because, of course, with ambient, i can mix my apertures upreally easily without having to worry about exposure. what i see on my camera is exactly whati'm going to get, and that's one of the delights ofworking with ambient. the other delight, of course, is it's free i haven't had to pay for this sunshine. it's here. obviously with ambient, the downside, i can't do this in the middle of thenight. we would need extra lights, so

ambient has its pluses and minuses. let'stake some shots, see how they look. ok, roger, that's great. so one of the great things about workingwith ambient is if i want to shoot at f/2.8 which i can with this lens, i just dialin f/2.8. if i want more depth of field, i can just dial in f/11 and take thesame shot. i don't have to move, i don't have tore-calculate, i can let the camera do the thinking. if i wanted to move roger around... so roger, if you just lean with your back against the plane, i come around the other side, i don'thave to worry about moving the lights

around. i can just move around. that'sfantastic. that works really well. if i want to get adifferent angle, i can. ambient light is here all the time. i canmove around fluidly and get a much lower angle. i'm going to come around to the other side of your roger. again, if you can lean with your shoulder, just like you were, that'sperfect. however it does throw up some problemsbecause the direction of light is out of my control. if it isn't right, if it isn't working, there's not a lot i can actually do or is there? whilst i might not be ableto change the direction of the sun,

easily, i can at least control somethingabout it using reflectors. now reflectors, as the name suggests, allow you to bouncelight in to fill in shadows and to give you some control back with your ambientlight. now these are great because they arekind of small. they fold-up really tiny. they're pretty cheap as well and it's agood thing to have if you're an ambient light photographer. now have a look atroger's face when i use the reflector. at the moment, there's shadows underneathroger's chin but when i get the reflector, and i put the reflector in, i can fillthe shadows in. because it is an overcast day, i'm using the silver reflectorrather than a white reflector to push as

much of the limited amount of light thatwe've got here today underneath roger's chin. now of course icould do this myself but it does become quite tricky so anassistant for a reflector is a really useful thing, so christian, i asked myassistant for the day, christian, to come in. so you're going to hold the reflectorand if you just angle it until you can just get a little bit of light just about there. fantastic. and we'll pop that in. that's superb andagain i'm going to come down underneath. and if we compare that to when it's not inplace, as you can see, there's much more

shadow compared to the shot where it was actually in the shot. so as you can see i have now switched to flash. i've got my streaklight 360 inside a 95cm parapop glow softbox, just to soften the light down a littlebit. we're going to put it nice and sort of in front of roger, something like that. that should give us a good position. now,before i take a picture with flash, i'm actually going to set an ambient-lightreading and my camera is telling me, well f/11 but i want to get the sky a little bit darker so i'm going to underexpose by a stop tof/16 so that should make the whole shot a

little bit dark. here we go. that gives me a much moredramatic sky, but clearly roger's underexposed by a stop. well that's where the flash comes in. ineed this flash to produce enough light to light roger at f/16, so we get the flash meter, point the dome at the flash, turn the flash on and at full power it's telling me f/22, so if i drop this to half power, f/16,that means i'll get a correct exposure on roger. one-stop underexposed on thebackground.

if you want to find out more about thisstuff, remember to check out the adorama learning center where there's loads morevideos on how to mix ambient and flash. ok, let's take that shot. here we go. there's no getting away from it. flashgives me so much more control of the light and it's pretty simple to do. however it's not all good news. i don'tget the ability to move around. now i can move, i mean watch this, if istep this way and i shoot with a more telephoto end of the lens, i get the samelight. it doesn't matter how close or far

away i am, but what matters is thedirection so if i come around the other side. if you want to spin yourself around, roger. now if i don't move the light, you can see what's going to happen. let's just take the shot, here wego. i mean, it's moody. it's arty, but it'snot what i wanted. now, of course, it's not too difficult, ican pick this up, it's not nailed to the floor. i can pick this up. i can move it around, but i need to re-meter every time ortake test shots, so flash, well, it works, but it's a slower process.

let's take the shot. so both ambient and flash have their owndistinctive looks and their own pluses and minuses. let's do a shoot around the aviationmuseum using both flash and ambient and see what great pictures we get and thenwe'll compare at the end. okay are you ready? let's go. so we've moved inside to the gatwick aviation museum. we're lucky it's got a lovely big hanger because it's chucking it down with rain outside. well,this is a british summer,

what do we expect, but ambient light andflash work both inside and outside. now obviously with ambient light insidei'm relying on the electric lights in here, because the windows are kind ofsmall but there's enough ambient light still to take pictures, so let's get ashot of roger, a nice wide shot, we'll get the museum in the background. ok, roger we'll just take a nice and wideshot and it looks fine. it looks exactly how it looks to my eyes, and through theviewfinder and that's not really a surprise because that's what you get. ambient light- what you see is what youget. i'll be honest, it's perhaps not the

most exciting of lights. that's whereflash comes in. now that looks completely different to myviewfinder and that's what i like. i like the fact that flash gives me a whole new lookto this shot. i've gone through a few of thesepictures and i found the processing in photoshop, i've actually done pretty much the samething with both the flash shots and the ambient only light shots. so, let's have a little look. now this isa picture lit by flash, i like those, i think a bit more, thecontrast, the mood,

i think that really works for this dayand i'm going to take that idea even further by jumping over to the effectshere in camera raw finding the de-haze and just increasing the de-haze quite abit and de-haze is a lovely new feature. it really boosts contrast, really bringsout detail and if i go back to the basic panel, i can supplement that even more bygetting my favorite slider clarity, of course, and popping some clarity in there. now those two sliders have done some badthings to the colors so i'm just going to take the vibrance down just to mutethose colors down quite a bit. i actually think that helps a lot withthis picture.

that's fine i can do some other basicedits here. i can bring back to the highlight detail and open up theshadows a little bit. all of those kind of standard things aregreat but what i want to do now is just make the sky a little bit darker and thelower left side of it darker too and the great news is, i can do both of thosethings using a single tool. so anything that multitasks, that'salways a good idea. now the tool i'm going to use is a localadjustment tool right at the top here, the radial filter and i'm just going to dragout a nice kind of little oval shape like that, something like that, we canchange that in a second.

what i want to do is probably justchange the exposure rather than the shadows and we'll just bring theexposure down, i'll give this a little rotate and we'll drag that into position. something like that, and that reallyhelps us to darken the sky, darken that lower left corner and i can just bring some, let's put some more clarity in and there we go. that's great, to really take that to town. now, once you've done those changes you often find that once you've made big changes, you need to go right back to the beginning and make some small ones. in this case,all of those changes have made the whole

thing feel slightly under exposed sowe'll just bring back a little bit of brightness into the shot and there's a bit more fine tuning to do but there you go, that's basically my final picture completed. well there we go, we got some greatpictures using a combination of light and that's what photography is all about. no rights, no wrongs. now if you want tosee more videos from myself and the other amazing presenters right here onadoramatv, you know what you've got to do, you've got to click on the subscribe button. i'm gavin hoey, thanks for watching.