classroom pics

[rosie_snell]

hi - i usually shoot still life but have to shoot a school classroom with kids/

computers - not used to shooting mixed light, natural and flash/artificial school

lihting - any tips on using flash but retaining a natural look - there may be a

need for a long exposure shot too - will be shooting digitally with a metz and

or 2x bowens monoblocs....

thanks in advance...

[joey]

If you have time to set up the studio lights, that's the best option. If not, just set up the camera and Metz flash normally, and bounce the flash off the ceiling. With the digital camera, you'll be able to check to make sure everything is working right. Also, if you're using one of the Metz handle-mount flashes (45, 60), you can turn on the smaller secondary flash to fill in the shadows, while the larger head is bounced off the ceiling. If you can't use bounce flash for some reason (dark ceiling, unevenness, etc.), point the flash head straight up, and tape an index card at a 45-degree angle so the light is reflected back towards the subject.

[rosie_snell]

thanks for that - were you thinking of using a softbox or using the cieling as

one - and would forget about available light - dont want it to look too artificial -

any ideas? - where would you position lights?

[a.d. steward]

Balance with the most abundant incidental light, if its other than daylight then filter

the flash accordingly.

[rosie_snell]

wasn't really thinking of colour temp, more about the look of the shot, have to

show the large amount of computer equipment but also the kids, want to avoid

it looking too flat - any suggested lighting plots?

[Rob_L1664876404]

Rosie,

 

I'm afraid you're in for a little more trouble that other responders have indicated (unless you're shooting black and white). Most modern classrooms are lit by flourescent light these days. The problem with flourescent light is that it's not only a different color temperature than daylight, flash or incandescent - it doesn't emit the full color spectrum (even the new "cool" flourescents). I have found it difficult to get a decent color balance with flourescent in the mix. OmniBounce makes a green cap to go over your flash that shifts the flash more in the direction of the flourescent color temp, but it's still not exactly the same. If possible, I would suggest turning off the flourescents and using a mix of daylight from the windows and either your on-camera or studio-style flases.

 

Hope this isn't too scarry.

[John G.]

You'll evidentally need to test, but I can think of two approaches:

 

1. Leave the ambient lights on, and use the raw mono block as a main light with the Metz as a fill. (it works better if you have a TTL flash, you can put it on auto, I use a metz as the main and a Nikon flash on a Nikon for 1/4 or 1/2 auto fill). I often shoot in open offices in this style, shooting at 1/60th @ f1.8 / 100ASA and everything mixes together nicely, you can even get away with direct side lighting. It helps to have an assistant though, no stands. Sometimes, I bring in an additional tungsten light to warm the background or to edgelight in yellow, otherwise the shots would be too clean. It's a wedding set up, you have to test first.

 

2. But if the shoot is going to go very fast or crazy, it's sometimes better to be safe and I'll put up one or two shoot through umbrellas to just evenly light the whole place, you can't go too wrong that way, shots might be a little flat though.

 

I'd leave the ambient lights on in any case, you need a broad lighting in to match the atmosphere.

 

Good luck!

[John G.]

Was I clear? The fill is an on-camera flash, and at that point you can do almost anything by calming the shot down or cranking it up with more or less fill power. Good luck!

[rosie_snell]

thanks everyone - last post kind of clear but wonder if you mean a standard

'bowl' when you say raw - if this points firect at the subject wouldnt it be a little

harsh/artificial - wou;d bounce or brollys be better?, not too worried about

casts as i can take them out later and also may suit the more creative shots.

could you give more info on appropriate modifiers (if any) and position of

main light?

 

thanks again,

[John G.]

Yes, when I said 'raw', I mean the undiffused flash head or a simple reflector. I don't think you're going to get what I'm saying, if you want to email me privately, I can try to send you a sample, but I'm not great at answering my email.

 

The set up I describe is a simple wedding double light set up. The question is, will your auto flashes work together or do you have to work in manual? The small 'OEM'(original manufacturer)?!? flashes are cheap, you can buy them used for under $200.US. The idea is to be mobile and quick, that's why I usually have my assist hold the Metz flash. No stands and I'm quick to do a lot of variations. This is good, because as you know, from your commercial still life work, those photos have no resale (stock) value, but with the class room shoot, there's plenty of stock value, so if the CDirector has five single concepts at five sets, I'd rather shoot all five concepts at every set, sell the shots they pick and keep the rest for stock.

 

I approach these enviormental shots (kinda) like a movie set, I try to augment the lighting that I find there, and although I imagine a class room as having broad, diffuse lighting, I'm not afraid to throw in a good hard light to edge, illuminate, or isolate my subject. We are talking mostly artificial light after all, form over content in this regard.

 

So lets say you walk into the room, the ambient background light is 60th @ F2, I can set my Metz to auto F2 and my on-camera flash to auto F2, one eighth power. I'll shoot at 60th @ 2.8 with the Metz in a dramatic position, hand held by my assist. Everything blends in, and the color varies depending on the ambient light. You can meter yourself, if you want to, the on-camera flash at 1/4 power won't add much more than a quarter stop. Test it. Color is important, without it, you've delivered nothing special. Photoshop the green to yellow and you'll have it made!

 

If I set my Metz to under the ambient light, it might not show up much at all, or if I set my on-camera flash to auto 1/2, it'll fill in enough to subdue the Metz. By having 'feet' on my flash I can go through a ton of variations in a few minutes, I might shoot 3 rolls of film in ten minutes. Another variation I do is to have my assist hold a colored gel over the Metz while I move in with my on-camera flash spotted, this give me a clean subject with a colored background, you can experiment. Bracket as neccessary, it does take a bit of a knack.

 

On the other hand, if I am given a set, and have to wait for models, then I might just take the time to erect a couple of shoot through umbrellas. These give a clean soft light and get the job done. Cross light or back light where appropriate, or just put one up besides the camera and concentrate on composition and styling.

 

But overall, I'd say that you should stick to the styles of lighting that you're familiar with. I confess that the first shoot I did in this style took me three test shoots and six hours, and six rolls of film before I went out and did it, but now I do it routinely. You kinda need to know where and what you're lights are doing without modeling lights, basic training for still life.....

 

But with the lights you describe, and I didn't look at your work, I'd perhaps suggest the monos into umbrellas, keep centered on the main subject and compose with the extraneous stuff. Bring tape to tape down the stands if there's going to be kids around. For a less sharp look, I'd shoot through the umbrellas, if you have enough power. Ambient light is neither soft nor hard, it can be either, what makes location light is that it has a presence.

 

Good luck, gotta run, hope I haven't confused the issue, this post not proof read.