USING GELS ON YOUR FLASH FOR BALANCE AND EFFECT – Photography Tips and Tricks

what’s going on YouTube today I’m going to teach you one of my favorite tricks in photography today we are at Independence Oaks in Clarkston Michigan and I’m going to show you how to take control of your light temperature so that you can create even more dynamic portraiture in the shade as we all know shade is one of our favorite places to kind of lead people in photography we really like to shade because of the soft balance light that it provides however it provides a little bit of a difficulty because the color temperature of shade is actually vastly different from the color temperature of daylight now our flash products are all balanced for daylight so they are at around 5500 Kelvin which is great when you’re using the Sun as a secondary light source or other 5500 Kelvin balanced lighting however once we’re in the shade that completely changes and it can actually cause a lot of problems in the images so right now we’ve got this camera at 5500 Kelvin and as you can see everything is very very blue but when we bump it up to the actual value of shade somewhere more around 6,200 all the way to 6700 now I look a lot more properly balanced while the highlights on the ground are going to be much warmer so I’m going to show you how to eliminate that discrepancy and actually get a really cool effect and even change the look of the entire image when you’re working in the shade with lighting equipment we’ve got Jake in front of my young new oyn 360 which is at the moment powered at 5500 Kelvin temperature we’ve also got the white balance of the camera at 5500 Kelvin now if you look closely at the part of his shirt that’s being illuminated by the Y in 360 you can see the difference between the highlight and the shadow it is a very crisp white if you look at the shadow side it’s a cooler tone it’s much more blue and it actually doesn’t balance at all this is a problem that we’re constantly facing when we’re shooting in mixed lighting sources or if we’re using flash while shooting in the shady environment okay now I have increased the white balance of both of the cameras to 70 100 Kelvin now as you can see the shadow side is actually much cleaner we got rid of a lot of that blue however if we’re looking at the part that is being hit by the daylight bounce light source which is that young new LED again we can see that now that has a little bit more of a red tint to it there’s one really easy way to solve this so I’m going to go grab my go-to x86 hundreds out of the car and we’re going to use that to take a few portraits of Jake here I’m going to show you guys the difference from using it just balanced at 5500 to jelling it so that we actually have to compensate using inverse color theory and that’s going to give us a much more balanced look with the shade and it’s also going to change some characteristics of the background so I really want you see how it’s going to change the look of the portraits and it’s going to give you some much cleaner results overall all right guys I just want you to see how I’ve got my gel affixed to my mono light so traditionally with the speed light it’s a lot easier to just lay it in front and use some sort of device to secure it to the sides with the mono light it’s a little bit different because we’re using an omnidirectional bulb typically I’m using rubber bands I just actually started purchasing silicon rubber bands unfortunately they’re not here yet those silicone rubber bands are going to allow me to not have to worry about like the heat transmission basically all I did I cut a of half CTB I’ve also got quarter and I’ve also got full but I’m using in this instance half CTB just enough to go around the entire bulb obviously we still got that front open but that’s not really a huge issue because it’s an omnidirectional bulb so lights going everywhere and a majority of our light is actually going to be turned into that blue color and if you guys haven’t watched my other videos I’m actually using the go decks 8600 BM which I highly highly recommend I absolutely love this light and the entire go deck system so this is kind of how we’re setting it up for today but there’s plenty of different ways that you jel it you could actually gel your actual modifier that’s pretty much it there’s only two ways to do this this is my favourite environment to use the half CTB gel on basically what’s going on here we’ve got Jake and complete shade as you can see he is shade everything all our sunlight is behind him but that still gives a little bit of highlights on his left side because he’s standing in that pool of sunlight the reason this is one of my favourite ways to shoot this is because once we increase the color temperature of our light and have to do that warming balance to compensate for the blue of the light we’re going to see the daylight that was originally white shift up to a much warmer oranger tone so let’s show you guys here what I mean spring like one arm kind of on the ya-ya just like that perfect pretty nose just a little bit more this way and a little angle yup yup and tight so I got a few images that I want to share with you guys I’m going to show you kind of see how red that lighting is on his left side that’s where the sunlight is hitting them now I’m going to show you what happens as soon as we take away the CTV on this so now I know that we took off the CTV which means a couple things it means that our white balance is going to shift from seventy one hundred which is what I’ve been using with that half CTV all the way down to about fifty five hundred the other thing that’s going to happen is we’re going to gain a little bit of light because every type of gel has some degree of light loss whether it’s like a third of a stop or two staff sometimes when you get with bigger gels I’m going to decrease the power just a little bit to compensate for that and I’m going to show you guys how much this image is going to change so as you guys can see we’ve still got pretty much the same look on our subject however our background our greens especially are a way way more aqua tone and we don’t have that beautiful orange haze coming in on the shoulder it’s very balanced it’s very white and kind of kind of boring so that’s kind of exactly what this CTB gel is for is balancing with the shade and also shifting the color that we’re getting from the Sun we are in our next spot and I just want to show you basically what’s going to happen with our color temperature again so this is a daylight balance and as you can see our daylight looks pretty clean but there’s that little bit of aqua tone in the back but once we pump it up to about 7,000 boom everything explodes it so everything is way more gold and we’re getting a way cooler tone out of this now okay so this has a lot more daylight in the scene but it’s still going to give us a really cool effect this one’s about to look sexy huh sexually okay so for these first couple of shots we’re going to go daylight white bounce and see how that one looks the knees to the right come into that knee a little bit more even more man yeah there’s something differently legs like try crossing it for me try crossing one like up like the 90 yeah yeah now bring yet now kind of like moving into that right one just a little yeah yeah there we go alright so we got some cool ones with daylight balanced now we’re going to put that CTV back on and check out the difference it snug there you go dig tight okay so we got the CTP on now we’re going to go back up to seventy one hundred and see what we get yes go back to that pose for sure good lord my friend it’s beautiful it’s like you’re like bad boy Jesus right now the shoulders way through stiff do you want to see one I am a sexy man right there perfect so you’ve seen that technique in shade now that’s not the only place that is useful you can also use a CTB in a completely daylight environment to completely change the look of the background that’s being hit by that daylight the same thing is going to happen that was happening with our back lights in the previous instances except this time it’s going to apply to a whole scene so rather than being daylight balance we’re going to shift this whole background of daylight field and get a really really moody red sunset II kind of vibe let’s get it cracking you guys will probably see right on his nose I’m gonna zoom in a bit you see that kind of highlight right there on his nose I’m actually going to try to keep that because I want to get that red vibe chin up and like looking up a little bit more in saw but still in that direction like back at the other camera yeah we’re going to do one more quick comparison get the daylight to show you guys what that looks like in this final shot actually real quick let’s go no flash for one yond this is one of my least favorite things about using the back to the Sun technique or side to the Sun is that the entire subjects face now is in shade which is at 6500 or even upwards depending on the rest of the light but we’re going to be lighting home with 5500 now the problem that’s going to create I’m going to take one quick shot here just so you guys can see it now I’ll put the shot off the problem that that’s going to lead to is that we have a daylight balance of light source for the lit side of his face however as we’re transitioning into the shadow side of his face not only are we transitioning the amount of light into the shadows but the color is changing and we’re getting blue skin tones and we really don’t want blue skin tones because it just kind of makes the skin look a little bit dead a little bit gross turn this back this way perfect I think this will illustrate really well what happens when we’re using 5500 Kelvin light and we’ve got a shade side of the subject alright guys so I hope that this helped you out or at least gave you another idea to try out and go and put into your outdoor photography especially your single life photography now you can take this as far as you want you can use a full CTB and get even more yellow backgrounds you can also take this a complete other way if it fits your style more and use a CTO gel to actually make your light more Orange now commonly that’s something that we would do like inside a church to balance with tungsten lighting however it’s no rules in photography so if you wanted to bring it out here and just get like a wildly blue background that’s something that you can implement into your style alright guys best of luck with this technique if you use it if you try it out I’d love to see what you come up with go ahead and link in the comments an image that you created with this and beyond that if you liked the video please hit the like button subscribe for more and let me know what you guys want to see in the future all right take it easy YouTube

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