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In this installment of the Lighting with Flash series, photographer and Strobist.com publisher David Hobby demonstrates using strobes when shooting sports—in this case, some kids playing soccer. After providing an overview of his lighting strategy, David shoots some action shots of goalkeepers diving for the ball. Next, he shoots some portraits of the soccer players, employing a compact softbox attachment as a key light.
In the second half of the course, David photographs a group of fencers, transforming the bland lighting in a gym and freezing the athletes' action as they leap. Afterwards, he shoots a group portrait of the fencing club.
Okay, so, for these, for these fencing pictures, we're doing a little bit of a trick. If, if you see that light hanging down in the middle of the picture, it looks kind of neat. But I'd really like it if the light were gone, if the light itself were gone, the, the fixture, but the light it's making was was, was still happening. So, we're locking everything down on a tripod. We're shooting lots of action shots, and then have them coming up and swing the light around, and, and get the light away from where it normally is. I'm going to be shooting some pictures while that light is moved out his normal path. So then we can go into Photoshop, lay the picture of the light moved away in one layer.
Lay the picture the light right over in another layer, and now we can literally glow in and, and just erase that light. As long as the light's fairly consistent on the wall behind them, it's going to look fantastic. So we literally el, erased the light not to a gray background or a white background. But to its physical background because we've implanted that picture with the background behind it in the same light. So if, if I play my cards right, you're going to see a picture where the light looks really cool but your mind can't quite figure it out. And you start thinking it's some really neat quality of light just coming down from out of the frames.
So I'm, I'm really psyched to see this. I think it's going to work well. So when they first started fighting, we were going through our choreographed one, two, three, pop, one, two, three, pop. I knew exactly what they were going to do when, afterwards, I told them just to, just to start free form, and we made lots of pictures. So what you saw was me trying to grab that choreographed anticipated moment, over and over again, at first. But later when they started going more freeform, I was just laying down a button. My most powerful flash is set to one quarter power, which means that it can fire four times very quickly before it dumps that full charge.
That means I don't have to wait 2 and a half seconds, or 3 seconds, for the recycle. I can go, boom, boom, boom, boom, but I can't go, boom, boom, boom, boom, boom. I can't do that 5th one. I have to wait for a full charge after that. So, I got motorized sequence capability as long as I don't go more than four frames at a time.
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