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Lighting with Flash: On Location, from Close Up to Portrait
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Taking the initial shots


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Lighting with Flash: On Location, from Close Up to Portrait

with David Hobby

Video: Taking the initial shots

David: Okay, I think, I think we're ready to to see if our, our lights are, are going to work, and. We're, I'm just going to have you work and do what you want to do. I would think I would think more turned towards this light, maybe split, split the difference. I think you're good right there. and then I'm going to shoot some pictures and tweak a little bit. And I'll let you know when we're final. Albin: Okay. David: And then at that point we'll shoot the pictures that we're really, really going to end up using, so. Albin: Alright. once we get the lights right, i really want to defer to you about not having you do anything that is inappropriate from a blacksmith's sense because they pictures will be used by the conservancy.

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Lighting with Flash: On Location, from Close Up to Portrait
1h 20m Appropriate for all May 13, 2013

Viewers: in countries Watching now:

In this installment of the Lighting with Flash series, photographer and Strobist publisher David Hobby visits a conservation center to photograph subjects small and large, demonstrating flash lighting techniques along the way. The course begins with a close-up shoot of a small frog—and with details on how to light close-ups and macros using a small softbox and a reflector made of crumpled aluminum foil. Next, David uses multiple strobes and umbrellas to transform a dark blacksmith shop into a warm backdrop for a portrait of a craftsman at work. In a bonus chapter, David discusses an approach for organizing photo meet-ups that have a purpose: leveraging the talents of multiple photographers to quickly create a set of photos for a worthy organization.

Topics include:
  • Uncluttering the background of close-up shots
  • Adding flash and refining exposure
  • Setting up lighting for a portrait
  • Organizing photo meet-ups that have a purpose
Subjects:
Photography Cameras + Gear Flash Photography Portraits Lighting
Author:
David Hobby

Taking the initial shots

David: Okay, I think, I think we're ready to to see if our, our lights are, are going to work, and. We're, I'm just going to have you work and do what you want to do. I would think I would think more turned towards this light, maybe split, split the difference. I think you're good right there. and then I'm going to shoot some pictures and tweak a little bit. And I'll let you know when we're final. Albin: Okay. David: And then at that point we'll shoot the pictures that we're really, really going to end up using, so. Albin: Alright. once we get the lights right, i really want to defer to you about not having you do anything that is inappropriate from a blacksmith's sense because they pictures will be used by the conservancy.

And by you and the last thing in the world we want to have you do is like licking the metal bar or something like that. Albin: That's fine. David: Ok. (NOISE) And I'll know. I, I'm going to see if I get in a fire, basically, is what it comes down to. So first I'm going to get everything nailed down at a two fiftieth of a second, and then I'll worry about the fire. (NOISE) Eh, there we are.

(NOISE) Okay. (NOISE) Alright, so I can already see a big difference between shooting at a two fiftieth and shooting at a thirtieth. (NOISE) Okay. (NOISE) Everything looks pretty good from the front, except for this key light. (NOISE) I'm going to walk this around a little bit to the side. What are you making Alben? Albin: Hook. David: Okay.

When you can rotate around. Albin: Oh. David: No, no, that's good. I want to see your face, man. (SOUND). Okay, that's looking much better. A little bright on the top of your head. I think I'm going to fix this. (SOUND). Ellis, that's like a chalk box. Albin: Exactly. (SOUND). David: So I'm cheating this umbrella a little over to the left. And trying to, oh, I like the way that fire glows when you get it lit up.

We're going to go dark in here in a few minutes because I'm going to. Albin: That's okay. David: (SOUND) Okay. (NOISE) Now, increase my fill a little bit. I just jumped my, my sink on the flashes up in the rafters.

I gotta remember to put a couple seconds in between them. That's better. >> (SOUND). Alright. So, I'm going to, I think I'm going to need to kill. Why don't I kill, why don't I kill both back lights? Male Speaker 3: Yeah. David: Is that doable? Male Speaker 3: Yep. Unplug it from the, yeah, there you go. No, not that one.

Let's see if we can get away with leaving this one. David: That fire totally lights your face. I'm, I, I want to, I want to incorporate that when you're, when you're, when you're moving in there. We're getting a lot from the doors, honestly. Albin: Yeah. David: But that is what it is. (NOISE). Alright, Alvin this is looking a lot better.

I'm going to have, just try to remember to, no it's okay, it's okay. Two days ago I was giving a dancer dancing lessons and now I'm talking to a blacksmith and telling him how to position himself. With a hammer, who has a large hammer. Albin: No, no. I was just trying to think. David: (LAUGH) Okay. It's too hot now. And check them right back here.

(SOUND) There we go. (SOUND) Okay. In a moment we're going to, we're going to drop the lights, especially when he's doing this kind of stuff because that's really cool back there with a low light. I see cool it down a little like that. Albin: The tip because I'm hammering it.

David: Ahhh. (NOISE) This looks really good Alvin. >> Okay

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