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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.
Alrighty. Okay guys, lets see what you got. Okay, I need to, I need to just watch this before I shoot. Feel free, go ahead, get him Matthew. Okay, let me see how that looks. Okay, when you get him, you really gotta sell it, okay? Come after him, none of this like, I'm taking it easy on you because you're an old guy stuff. Okay, move everything a little bit that way, a little bit. Okay, good. Okay, now there you go, get him. Okay, (SOUND) Excellent.
Okay, let me see how that looks when. Can I see it? Yes I can. So Matthew, all right, go after him. Got it. All right, so I'm going to give you guys a break for just a second. Just free style, whatever you want. Go after each other, teach each other a lesson. And I'm going to shoot some, I'm just going to shoot whatever I see.
Get them. (SOUND) Don't get away from that light. (SOUND) Don't let him do that to you, Matthew. Get him, get him. Get him, get him. (SOUND) Oh, that was sweet. (LAUGH) Alright, take take a break for a second give me a big swing on that light up there if you could.
And just let let it swing way out there towards, towards the wall where the light stand is right there. Nice, nice swing. Good, good, perfect. Don't move, don't move, you're fine. (SOUND) Okay. Alright, we got lots of good pictures. I'm going to try something a little ambitious, okay? You guys, you guys ready to amp it a little bit? >> Okay. >> Can you take a breath, alright? So you guys are both really quick. I want to try and, and help me choreograph this, because I'm, I may not know fencing. >> Alright. >> Okay? >> so what I want to try to make make what we can do is, if possible, is to just have a short, short, choreograph thing that's very, you know.
That's where you're not, just like, ta, like going 190 beats a minute, like you are now. >> Right. >> And, and if you want, we can take a shift, rest up a little bit and you guys can come back. But what I'd like to do is to have one of you lunging at the other one. And the other one like, like they come back to try to avoid it, okay? >> Okay. >> do either of you feel comfortable making that, making that backwards jump like that with that great form that I just did? Right? Don't laugh at me. Don't laugh at me. >> You want her counter attacking at me. Yeah, I don't care about that at all. >> So, so, walk me through how you guys think you'd like to try it. The main thing is, whoever, whoever's leaping back, I want them to be fairly close to this line.
Because if we get it timed right, it's going to look like a cobra trying to strike a mongoose and the mongoose is saying, sorry, not today, alright? Okay, so figure out how you want to do it and then walk it through in slow motion and and then we'll run through it a couple times, okay? These look sweet. Okay, I'm going to lock everything down. That looks good. That looks good. Okay, oh, whoa, whoa, oh. No, we're good. Okay, go ahead. Okay, now I, okay, got it. Got it. (SOUND) That is pretty sweet.
You got some extension that time Ross. (SOUND) Alright, there we go. Just keep at it. >> Whoa. >> (SOUND) Oh. (LAUGH) This looks really epic guys. This is sweet.
(SOUND) Okay, tell you what. For the last couple, Ross, go ahead and let your feet flair out a little bit, and we'll see if that looks even better. Geez, nice extension that time. (SOUND) Alright, alright, come back here, you gotta see that. That just, I just want you to see these before.
And then, I'm going to have, I'm going to have you give that a push and I'll shoot the light out. You're going to have the best poster in the neighborhood in, in a few days. So alright, let me bring, let me bring these in. >> Look at that. >> Yes. Okay, yeah, yeah. That's going to, okay. Oh, missed that.
I missed, it's okay. I missed, you, you didn't miss. I missed. LAUGHS Okay. Okay, I need to wait for the flex, I think. I'm, I'm grabbing the moment it hits and that's not where the, the tension is visually. Alright, good. Let me look at that. (SOUND) Okay. So, okay. We can move it about, about a foot that way, because you really extend, Gabrielle. And I want to make sure you, I want to make sure you don't want to go into the shadows back there all righty? (SOUND) Okay. (SOUND) Alright, so don't get too, like, I've done this 500 times and so I'm going to just make that up.
I'm going to let you guys just go ahead and freestyle a little bit to. Because you will, it absolutely will get stale doing the same thing over and over again. Fortunately, I can't see your face, so it's all about body language if you are getting stale. So, alright, yeah. What was the bell (LAUGH) oh, that was sweet. (LAUGH) Hang on, okay? Alright, well, you know, I think we're going to have to move everything a little bit that way because by the time you can, yeah.
Let me see, maybe I'm wrong. Okay, got it, I've got my timing. Make sure you're a couple of feet behind the light. >> Like when I enter? >> No, I mean it like I don't want the light right over your head. So have the light a couple of feet my side of you, okay? So your, you're a little bit towards the wall from the light. Not much. Okay, now wait a minute. Gabrielle, come up to the line and stand on the line. I'll grab a focus. Excellent. Thank you.
That was nice. nice on your part, bad on my part. But oh, but, but the the reach is right because you had, you had her by then and your blade was all bent and everything. So, your feet weren't perfect but you had finished the move and you were going in. Alright. Okay, go ahead. Sweet, sweet. A bit of blade. Alright, come, just so you see, I want you to come back here come back here Johnathan so you can see this.
So here, there's a picture existing, you won't have the light in there. And this is maybe the tell me, so you got the, everything's bent and everything's off the ground. You're just splayed up, like >> That's nice. >> So, that's kind of the moment that I'm going for, and I'm going to play on variations of that. So, I'm, I'm not looking through the camera because I'm, I just want to have my finger, like if there's, if there's no pressure, and then there's half pressure. That makes a meter come on, and then you gotta get to a 10. I want to be at 9 and a half with my finger just watching you and just twitching. >> Okay. >> Alright? Okay, do not let me forget to do a light swinging picture after we do this sequence, okay? because that, the magic doesn't happen without us moving that light out of the way, alrighty? Oh, wait a minute. Stand, stand on line Gabrielle.
I'll make sure I got you in focus. A little more, perfect. Thank you. Nice. I'm tempted to zoom in and look at every one of these. And maybe instead you foot, maybe your, it's looks better when you're, the toe is just starting to leave the ground rather than you're already on the air. But that's a me thing, let's do a you thing. You just keep doing it. You know what? We've got that, like, three times. Sweet.
So, I don't want you to burn yourself out. let's give a, a lamp swinging one, so we can make sure we get that registered, and give it a nice push. I want it five, six feet out there towards the mirror. Perfect.
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