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I'm here with my friend Stephen Kent, master didgeridoo player who's carrying this really weird didgeridoo. We brought him out here to take some pictures of him playing. But we also just want some shots of him just some head shots and things that we can use on his website, or wherever. So, we found this cool stand of trees which caught our eye because it's just all these neat vertical lines and there's been weird light playing through them. So, I'm going to take some pictures of him here, and he's holding this in a very strange way, and so, I think, and he's a very strange guy, so this is really revealing his inner character.
So, and now it's being revealed more and more. But watch what happens. If I'm just shooting in Program mode, and I take this shot oh my. Okay, discounting the expression on his face, let's take another one here, huh. Okay so Steven's pretty well exposed. He looks a little blue as if he's been left out of the fridge too long but that's actually just a white balance problem because I'm shooting in shade; I can fix that in camera raw. What? Look at the background, though, that's a blue sky back there, and it's not rendering very blue.
And there's a lot of green in the trees, that's just getting blown out. My background is overexposed, because it's exposing for him, which is great. I'd rather have him well exposed, but I'd really like to have that background too, because what caught my eye was this stand of trees. Curiously enough, the way I can fix this problem, the way I can darken that background is with my flash. Now you should really have it drilled into your head now that any flash pictures is actual composed of two exposures: a flash exposure and an ambient light exposure. So, I'm going to use the flash to illuminate him, and I'm going to change my ambient light exposure so that it's much darker.
So, let's look at how I might do that step by step; I know that's kind of a a big thought there to have all at once. In Program mode, if I pop the flash up, my shutter speed is going to be locked at a 60th of a second; that's just a fact of this camera. Yours might lock slower it might lock, lock in a 30th of a second or maybe you can change it. Either I, I want flexibility to change shutter speed, so I'm going to change to Shutter priority mode. The camera in Program mode meters at a 50th of a second, so lets just start there. I've dialed in a 50th of a second. What I would like to do is darken this exposure.
I want it underexposed so that the background will render properly. So how do I get underexposure? This is just straight, basic exposure 101 stuff. I can get underexposure with my exposure compensation dial. Remember, in shutter priority, no matter what I change my shutter speed to, it's always going to try to choose an aperture that will yield a good exposure. And right now, what it thinks is a good exposure is when it's overexposing the background. So I'm going to dial in two stops of underexposure on my exposure compensation dial, and take another shot. Thank you, Steven. Okay, discounting the fact that he's terribly underexposed, look at the background now.
I've got blue sky again, I've got green in the trees, I've got generally a lot more detail. I've set my ambient exposure properly, now I'm ready to fill in my subject with some flash. So, I'm just going to pop up my flash here, make sure That everything is set properly. I'm still in ex-, in shutter priority mode. Okay. I've still got the exposure that I want in the background, but now in my foreground he's got radiation burns, he's way overexposed. You should have an idea of how to do that after what you saw earlier in this chapter.
I'm going to go to exposure, flash exposure compensation, and dial in one stop of underexposure on the flash. That's not changing my background, but it is dimming the flash. He looks a little less hot now, less bright spots and things, but I think it's still a little too bright. I'm going to go down a third of a stop, more. I'm still getting a little glare off of, off of his cheekbone, so I'm going to go, oh, it didn't actually change. I'm sorry, that's the same exposure as the shot before. Let's try this now, I should now be two thirds under.
That's looking better. What I'm looking at is just his skin tone; it's more even, it looks a little more natural. What's nice about this fill flash is it's also filling in all that light under his hat. So now I'll just try a couple of these. I got things set properly and he's just working it. Steven, your working it. Maybe, I feel like we should have some, a fan blowing on you or something. Okay, alright good. So what I've done here is textbook flash photography. I've thought about my ambient exposure, I've thought about my flash exposure. I'm thinking about the flash as a fill light.
The sun is still my key light and I set the ambient exposure by dialing in an under exposure using exposure compensation, regular exposure compensation. I found its, you just keep looking at me that way. I found, I fixed my flash exposure by dialing in negative flash exposure compensation. So these are the two concepts that you've always got to work with: ambient exposure and flash exposure, and thinking about whether you need key or fill. The thing to kind of wrap your head around is this idea that you can use flash to darken your background.
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