All right, so let's talk about our lights for a second. …This is the light that sets everything off. …This is set on 1 32nd power plus 2 3rds, so roughly what, a 16th power, let's call it. …Not a lot of light, but this light has to do two things. …Number one, it has to trigger any of these other three lights, because once it …triggers one light, the other lights will see it and they'll go off too. …And number two, it's going to provide fill that will come from almost right on …the camera's axis. So any, any shadows that these other …three lights create are going to be filled by this one to exactly the level …that I want. So I'm going to be looking for detail, …but not full brightness. I mean, shadows make drama, so you want …to make the drama, but you also want legibility, where you want to be able to …see things. So my key light's going to be over here.…
Right now that's on a stand. but it's probably going to be being held …by a voice activated lise, light stand, AKA, Dave Kyle. …And he's going to follow the goalkeeper as they, as they come across. …
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.
- Setting up a multi-strobe shoot
- Capturing athletes in action
- Balancing fading daylight with flash
- Tips for using color gels and flash accessories, from cold shoes to softboxes