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How To Flashing intex cloud pace

here we go, come on jame we'll be quick bare chested in this weather isn't a good idea. did you know that james trained both schwarzenegger and stallone both how to be tough in sub-zero temperatures. janes that's it yeah lean on the fence. perfect. all i'm going to do is just repeat what we did indoors

but out here without walls naked flash first, i'm going to be quick because i don't want to freeze james, he's quite a nice chap really. it's difficult to get the camera to focus. janey can you put the light on james, for a moment thank you. great now i can focus, i can't focus hang on. put the light on james please. right i'm focused, okay.

and now take a picture, right there we go. bare flash very stark, very harsh. it's kind of spiky isn't it? there's no real shadow behind james but that's because there's nothing really behind james to shadow onto. polystyrene cup pop it on the top and see what happens

right light on james please janey so i can get the focus to work right and next shot, hmm a much much softer light, but as you can see it's very very dark my suspicions about the thickness of the cup i think are proved accurate. because the light is escaping the cup and going out in all sorts of directions, there's no white walls to plant some ofit back but there's no light walls to bounce some of it back. that is a very very dark image indeed. i'm not going to mess around with the paper, because the paper

and the film canister were almost identical. what i am gonna do is just pop the canister on, there we go and see what we get from that. right light on james please janey. there we go, go it, the light is going onto james because the auto focus can't see enough in this light to pick up a focus that looks to me to be better although james you do look horribly dopey in that one.

the light is softer it's nicer underneath his chin it's not so much burnt out now its just got a nicer more natural look to it with our little film canister. that's because the film canister is circular, but it's shattering the light but it's also allowing enough light to pass through in the direction of james. finally let's just try our business card,

right here it is. your shirts undone mike does that matter? you see i'm tough as hell too. we're the butch brothers aye james. right there we go, shirts done up okay card at an angle in front of the flash just like we had it indoors light on james please janey so i can focus, so we can focus on, got him.

just want to check my there we go. my focus is right, compose the shot fire the flash, you can't even see him. do you know what you can't even see him at all. let me see if i can do it again just one more time. nice one james, focus it right i've got to be very careful here. just take a look back to me janey i've locked the focus by holding the button i'm holding the card at forty five degrees

and very very carefully bringing it up to my eye there's the tiniest merest faintest ghost-est hint of a james there, why is that when we had such a beautiful result indoors? there's nothing to bounce the light off is there? there is no light transmitting through this, there are no white walls for the light to hit and shatter

and wrap around james what's happening is the lights comingout of the flash and it's hitting onto this card leaving at ninety degrees and keeping going off into forever. now you might be thinking mike that's absolute nonsense because you think it's because there was some lights indoors

let's just check that one out shall we. come on james. come back in the warm james. right what we're going to do is i'm going to prove to you that it has nothing to do with the lights that are on in here and that that exposure was purely with the flash. james have a seat, this time can you just sit the other way around i just want people to understand i'm not just showing them the same picture all over again. right that's cool, that's good

so i'm going to turn, we're gonna have to put the top light on that means everything's going to go blue, jane has white balanced the camera for the lights that are in here, go and watch the white balanced film i'm not going to explain it now, what i'm going to do is retake the credit card picture in here but without these lights on.

i'm going o kill that one, come over here and kill this one, so janes going to have to pop the top light on as i do it, here we go, now then let's line up james back in the same place shine the light at james quickly janey so i can focus, got him, okay.

nice stuff, get my card forty five degrees just as it should be, now it's going to be slightly different because jane is standing up next to me now, can you sit down again janey so that you're in the same place, that's better. so we've got the same lighting conditions i've got it focused on james just got a different composition there we go,

well done mate, you look very miserable though, cool you see what i mean, it's the same shot, there is no other available light in here other than the little bit skimming off that top light. as you can probably tell, that's not really having much to do with it, is it? it's all about the environment, the light is hitting this and shattering and rattling around the room and it's this environment bit that you have to understand, you can diffuse till you're blue in the face but

your in an environment where you can't control the light then you're hiding to nothing. for example this method wouldn't work in the hall of a castle, say you're a guest at a wedding great big dance hall with a high ceiling and no walls near you, you would have the same effect as you did outside. you're better off to use something like my little canister diffuser which i've lost, it's lying around in the garden somewhere. have a play with this.

play with light, try it in different circumstances then you'll start to understand that there is no harden fast rule, about the way things have to be done. it's all about learning how light works and how it rattles around then you can begin to control it to getthe results that you want.