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from the May 2012 category

What up all you Tuesday Tips and Trickers??!!! Jody and I just got back from Toronto where we were guest Keynote Speakers for the Exposure Show and now we are back and rockin out today’s tips!

Today, we are going back to a series we started last fall where we take images from weddings and workshops, and break them down for you guys so that you can do them as well! Ready? Here we go!!

 

So this image above, although it can seem crazy looking, is actually not that difficult to pull off and the entire look was done all in-camera with zero Photoshop! Images like this are something that we do for workshops, for engagement sessions and for bridal shoots (or if we shot senior sessions, this would be something we would rock out) because we have a little bit more time to set them up and light them.

The above shot was taken later in the afternoon (about 45 minutes before sunset) in front of this cool salt barn that is just near our house in Franklin. Here is how we did it.

 

Exposure Settings on the 5D Mark 3 with 24-70L 2.8 lens

ISO 100, 2.8, 1/100th of a second

Here is an image that we took of the barn with a down the middle exposure trying to capture a little detail in the sky and a small amount of detail in the salt barn itself. As you can see, it is MUCH brighter in the sky (the sun was setting behind the salt barn so it is back lit) and much darker in the foreground of the composition. We wanted to see a cool, moody sky, but also see the details of the metal roof inside the barn, and of course, see our models faces.

 

ISO 100, F/6.3 1/100th of a second

The first thing we did was get the exposure that we liked in the sky. All we can do is control the sky with our camera settings, and then we can add light with our flashes into the dark areas that exposing for the sky gives us. So we under-exposed the sky by 2 stops to give it a very moody feel. Typically, we will under-exposure the sky by one or two stops at the most and usually not more than that, otherwise we will have lost almost all detail in anything that is not in the sky (like the trees, grass and anything else in the foreground). We also always keep our shutter speed (to start) at 1/100th of a second when using flash.

ISO 100, F/6.3 1/100th of a second (same as previous shot)

Next, we took 2 580EX flashes, put our remote Cyber Sync CSRB receivers on them (so we can fire them off from our cameras Cyber Sync CST Transmitter), put FULL CTO Gels over the flashes (using Velcro) and using the little boot stands that those flashes come with, put them on the ground just inside the barn and pointed them straight up so they would reflect off the metal ceiling.

Using the CTO Gel over the flash gives a nice, warm glow which looks great when using them late in the day (because the sunlight also warms up as it sets). We simply powered them up until they lit the metal ceiling at the settings we already set our camera to in the previous shot. We watched our blinkies on our camera screen and watched the histogram making sure what these flashes were lighting up was not under-exposed, or too overexposed and just lit the ceiling with nice detail.

 

Exposure Setting same as above image

 

Now we added the main light (we turned off the background lights so you could just see the main light). The main light is a 24×32 Westcott Softbox, powered by the Einstein mono-light and the Vagabond mini.

We simply set up the light to camera right (making sure the center of the light source was above the center of the eyes), moved it just far enough away so it was not in the shot, then powered it up to match the settings our camera was already set to.

Since our camera was set to under-exposure the sky by two stops at ISO 100, F/6.3 1/100th of a second, then IF we power our main light up to those settings (so that same amount of light hits our subjects face) then we will get a perfect exposure on our client while under-exposing the sky by two stops. So, we used our Sekonik L358 light meter, and on the meter manually put in the ISO to 100, the shutter speed to 100, then kept powering the light up and taking meter readings until the f/stop read 6.3.

 

Now to add that extra drama on our client and to light up the ground just behind her, we added a fourth light! We had another set up that was exactly the same as our main light (shown just to camera right above) but took off the front diffusion panel so the light shot straight out of it (you can see that light to camera left with the big white arrow pointing at it), giving it a contrasty look (smaller light sources make the light contrasty). We kept the main part of the softbox attached so the light would shoot in her relative direction, and not shoot back into the camera. We had to turn that background “kicker” light so that we could not see the bare bulb, but the model could, otherwise we would get lens flare which would give away the effect we were trying to create.

That background light came in high and at a 45 degree angle to her right shoulder. That way it does not hit her face and create hot spots on it. The exposure for the background light was done using the light meter held just over her shoulder, then we powered the background light up (using the exact same settings as the main light, ISO 100, 1/100th of a second) until we reached the exact same exposure of the main light of 6.3.

 

We typically power a Kicker light like that to either 1 stop under the main light exposure, or the exact same exposure for added drama. Remember, even though your camera is set to ISO 100, 1/100th at 6.3 and you meter the background light to those settings, the highlights will look blown out because light gets brighter as it comes towards the camera. So under-exposing by 1 stop will give nice detail, and exposing the same as your main light will give it a ‘hot” flashy look.

Here is a behind the scenes image with all the lights powered up.

 

Now, in the final image, we composed it so you saw the cool details of the model, background and sky, shot it a little low for drama and made sure to place her head inside the domed ceiling so no lines were intersecting with her face. We then did a quick clone job in post to remove the small 580 flashes that were in the background (normally, especially for a wedding, we would hide those small lights behind our client, but we needed two of them to properly light everything up and could not hide them in the final shot).

Final Image Settings:

Canon 5d Mark 3

ISO 100, 1/100th of a second, f/6.3 at 35mm on the 24-70 2.8L lens.

Edited in LR4

We also rocked a few shots with our other awesome models! You can see the bright lines on the background light on his right arm (camera left) and how it adds that sharp, contrasty pop to him.

 

We hope you guys enjoyed this Tuesday Tips and Tricks!

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May
23
2012

See You in Toronto this Weekened!

by Jody on May 23, 2012, posted in Speaking

For all of you Northern folk (aka Canada :) , we are going to be in your neck of the woods this weekend!!! We are pumped and honored to be speaking at Henry’s Exposure show!!

When: Sunday, May 27th

Where: Presentation area 4

For more information on what we will be speaking on at the Exposure show as well as the other speakers, visit the Speaker’s Page.
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Registration is LIVE for our 2012 IN-CAMERA Spring Workshop Tour!

REGISTER HERE!

Newsletter Subscribers got first dibs on the seats for 24 hours, and now those not subscribed are able to sign up! Don’t miss the chance to have your photography forever changed!

PHOENIX, AZ
COMPLETED

_______

NASHVILLE, TN
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Today’s Tuesday Tips & Tricks is about something that we have been using for a few years now, and something that we WISH we had been using ever since we started shooting! There is nothing more frustrating then when you are shooting a portrait of your client, and the focus point you want to use is just outside of the composition you are wanting to shoot.

So you end up focusing on your client, re-composing the image, taking the shot and THEN have to do it all over again, because if you try and shoot two images in a row, the camera will re-focus wherever that focus point is now pointing and most likely go OUT of focus (or focus on something you did not want in focus). Annoying! Then you end up bobbing and weaving your head like a trained monkey all afternoon and your client thinks that there is something seriously wrong with you upstairs! :)

There has to be a solution to this irritating problem. Welcome to the world of back-button focusing!

Your camera has a myriad number of different points at which it can lock focus on your client, and depending on your camera of choice, some of those focus points are stronger than others. As an example, on the 5d mark 2 (a very popular wedding camera for many years), there are exactly 9 focus points. One in the center, and 8 others around the middle part of your frame. You can manually select (if you choose to do so) any single focus point and place that on whatever you want to be in focus on your subject (preferably the eyes of your subject if they are looking towards the camera), then hold the shutter button half-way down and wait for the focus square to beep and flash red, the camera has then locked focus, then you can just shoot the image, or re-compose the shot (while still holding the shutter half-way down which locks the focus point) and then shoot to get the composition you want.

The problem with a camera like the 5d mark 2, is that the center focus point is exactly nine times stronger then the outer 8 focus points, so if having your image in focus is important to you (which is should be!) then you will mainly want to stick with using that one only. The issue is, that most compositions don’t work with you focusing in the middle of the frame and shooting without re-composing your shot. So, you end up putting the center focus point on say your subjects eyes, focusing, then re-composing the shot and taking the image. Then, if you want to shoot another image similar to that one, you have to repeat the whole process. This really is inconvenient when shooting moments, because moments happen very quickly, and many times you need to shoot multiple images very fast which is hard to do when you are re-composing each and every shot!

 

“Well why don’t you just use the outer focus points dude?!” is something you might be thinking right about now. The problem there, is unless you buy a camera with TONS of focus points, there may not be one where you need it when you need it, and, the outer ones may be soooo weak, that you won’t be in focus most of the time anyway (unless you shoot Nikon, which in that case, most focus points probably work really well!!). The other problem with having the camera constantly trying to achieve focus every time you take a picture, is that even if you have a camera with powerful outer auto-focus points like the Canon 5d Mark 3, your client may move slightly out of the focus point you are using, and while you are shooting fast, the camera may miss an important shot while it was re-focusing.

As you can see in the above example, if I was using a 5d Mark 2 camera (which only has 1 powerful auto focus point shown here in the center of the frame), I would have to first put that focus point over the eyes of my subject, then re-compose the shot as seen above, then take the image. Then, for every new image I want to take, I would have to do that process over again. Slow and frustrating!

So, it is better to be able to tell the camera when to try and achieve focus, and when to shoot images, and the only way to do that is to separate the two functions using back-button focus!

With back-button focus, you press one button with your thumb to focus, and the shutter button only takes the picture. The shutter button never tries to achieve focus because it is disabled from that button. What this does, is let you, the photographer be in control of each and every image which means that images will be captured by your talent, instead of the horrifyingly non-talented awkward kid named “Hello my Name is Bobby Cannon” on auto! The less the camera thinks and the more you think, the better your life will be and the better your images will be!

So now you can focus on your subject using the most powerful focus point you have (or the one that is closest to the focus plane you are trying to achieve), then re-compose your shot and shoot as many images as you need without having to re-focus. As long as your subject stays on the same focus plane, you don’t have to re-focus!! Now, as you coach your client to get a great smile, or as moments are happening quickly, you can focus once, then fire away without the camera trying to constantly achieve (and miss) focus!

As great moments are happening in front of the lens, you can fire away and not miss a shot!

 

How to set up your 5d Mark 2 with back-button focusing:

 

1. Go to your custom functions menu shown here and go to C. Fn IV and enter it.

 

2. Once in C. Fn IV, you have 6 menus. You will want to change menu 1 (shown at the bottom of the above image) to option 2. What this does, is it changes the function of the shutter button so that it only activates the in-camera meter and takes images, and it moves the Auto Focus function to the AF – ON button on the back top right of your camera.

3. This adjustment is optional, but what this does, is it moves the auto focus button from the AF-ON button (that we just enabled in step 2) to the one right next to it, the AE LOCK button or the one you use to lock your exposure when shooting on auto modes (which we rarely do). Now, with this option enabled, you can focus using the AE Lock button and if you simply keep holding that button down after the camera focuses, it will also LOCK the exposure if you happen to be shooting in an auto mode. It’s also closer to your thumb, so finding it is easier.

On the 5d Mark 3, you can have both the AF-ON button and the AE Lock button on to achieve focus which is better in case your thumb slips from one to the other.

With this option enabled, you would not have to press this button to lock exposure, then press the AF-ON button to achieve focus as you would with it disabled.

 

 

 

Side-Notes:

1. To set your camera to back-button focus is different for each camera, so refer to your owners manual for cameras other than the one listed above.

2. If shooting at a shallower depth of field than 2.8, or if you are shooting a long lens in very close to your subject, be wary of re-composing a shot as your focus plane can change dramatically. In those cases, you will want to only use an auto-focus point that is DIRECTLY over the area you want in focus, and then do NOT re-compose your shot.

3. Spend time practicing this method as you need muscle memory to do this naturally. You DON’T want to try this out for a wedding unless you have used it for while and feel comfortable with it!

4. The camera will now take images even if you have NOT achieved focus. So, don’t assume a shot is in focus just because your camera takes the picture.

5. If you use an Expo Disk for color and exposure and are sick of having to put your camera on manual focus to take an image (you can’t take images unless your camera can focus when it is set to auto-focus), now you can shoot away since the camera no longer needs to focus to be able to shoot! Just press the shutter button any time to take an image whether or not you have achieved focus.