FREELessons: 14Length: 1.6 hours

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# 4.4 Fill Light

In this lesson you will learn how to add a big fill light source, meter for it, and get it positioned just right.

## 4.The Shoot6 lessons, 51:17

### 4.5Background Light10:29

So in this lesson, I'm going to continue working on the lighting for the shot by adding a big fill source over here on the right side of these shoes. So you can see I've grabbed another light stand here. And this is another stand on wheels, this is actually called a junior roller stand here, and it's essentially a c-stand top, but with a big, big base. This is much bigger than the wheeled base that I have on the other stand. And this actually comes with the wheels on it. Unlike a normal C-stand, the bottom of this does not have a one and one-eighth inch junior-sized pin. But these wheels are really, really fantastic, it's got a much wider wheel base here. So I'm not as concerned about using a really heavy sandbag, even with this light boomed out, because this type of stand is really, really stable. You can see on top of here, I have a 40-inch grip arm with a knuckle here or a grip head and another knuckle that's personally attached to this grip arm on the bottom. And on top here, I have a studio strobe. This is an AlienBee B800. It's a 320 watt second studio strobe. Now the cool thing about the studio strobe is that on the front here, it does have a modeling light. So if I had the lights much lower in this space I could see basically what I'd be getting in the final image if I was using all of these type of lights because I'm using mixed speed light and studio strobe lighting I can't really do that. And I also can't really do that because the video lighting that I have here is much more powerful than this modeling light, so. The model light's really not gonna do a whole lot but it is a nice feature to have. If you can keep the ambient lights in your space a lot lower. Now I'm not going to be using just the bare flash like this. That would not look very good. When I'm gonna do is I'm gonna put the standard reflector on here and then I'm gonna attach a 43 inch shoot through umbrella. So let me get that set up. So first I'm going to attach the standard reflector here and just to show you I'm gonna get this positioned over to the side here. And the reason that I want this on the side is because I don't want to throw a whole lot of light on the background. So I want to kinda keep the light in this direction. So I'm going to turn this on and get this set up over here. And again, the weight of this light is on the right side, which means that as this turns here, it'll self tighten because the weight is on the right side of this knuckle. So just to show you that this is not the right light quality, I want to take a light meter reading here, says F8. Come up just a hair. There we go. All right, that's reading F9 right there, so that should be pretty good. Let me take a test shot here with the camera, and let's see what that looks like You can see that that is filling up the scene with a little bit of light, but it's not really doing a whole lot. So let me kick up the power here to 1/8th power. Take one more meter reading. It says F11, let's just see if that looks right. So I'm kinda getting a doubling of the shadow, and that's not really gonna work. Plus, this light is not really kind of reaching into the shoes because it's not close enough. The angle of the light here is gonna be casting a shadow here. So it's gonna get the edge here, maybe a tiny bit of this back section here. But it's not gonna be getting into all the nooks and crannies of this object. So what I wanna do is make this a larger light source. And a really cheap and inexpensive way to do that is with a white shoot-through umbrella. Now this particular umbrella is made by Wescott, and it's pretty inexpensive. I think it costs around maybe $20 or$30, and it actually came with a black backing. So this particular umbrella can work as a white shoot through, which means we're gonna shoot through the umbrella and we're gonna put the product on the other side. But if I put the black backing on it, it actually works as a white bounce umbrella. Which bounces the light here, and then goes back to your subject. If I do shoot through, I can get this puppy really, really close, which means that the relative size will be much, much larger. So that's what I'm gonna go for. I probably should turn this off, so I don't hit anything I'm not supposed to. And this, essentially, gets this light closer to the shoes now because the lighting source from the shoes perspective is the umbrella. And that's probably a good two feet closer, which is going to make the light source bigger, plus the fact that this is much bigger than the reflector here, which was acting as the light source before. So this is gonna work out really nicely I think. A couple things are gonna happen now that I want to keep an eye out for. One, this is going to change the lighting output of this light fixture. So let me just take a quick meter reading here, I'm gonna turn this back to transmit so I don't take a picture with my arm in the meter. [SOUND] There we go, it's giving me F8, which is pretty close to I think where I have the camera set. But, if I wanna get F9, I'm gonna increase this just a little bit. Take another meter reading. [SOUND] There we go, F9. So now if I take a picture, let's see where we're at. I am getting some bleed on the background here. And I think that's because some of this light here from the reflector is actually shooting out past the side of the umbrella here on the background side. So I wanna scooch this umbrella a little bit closer here. Something like this. And I'm just gonna fire it off. [SOUND] That should be pretty close to filling this up. The other thing that I wanna do is I wanna get this guy a little bit closer cuz I really wanna have this give my shoes a nice soft effect, and the closer I get this light source, the better that's going to work out. So I'm gonna lock down two of these castors here. And then I'll do the rest of the positioning here with the stand. So something like this and maybe it would look nice to get this up a little higher. Maybe kind of over just a little bit like this and see what that's going to look like. Let me make sure that's not in my shot. No, it's not, it's looking great, which means I can get it actually just a little bit closer. Cool, well, the corner of that is just creeping in. So I'm just going to lift it up just a hair. Much easier to do if I had an assistant, obviously. So I think it's looking pretty good terms of the position of the light. I just wanna make sure that the metering is right, so I'm gonna switch this back to transmit again. Press measure here, take a reading, says F13, try that one more time, right about here, F13. So, it's a little bit hot. So I'm gonna turn this down, dump the power and I'll try another meter reading here, F10. Give this guy just a little bit less juice. F9, all right, let's try this right here. Hey, that's looking really nice. Now what I've done here is because I've gotten the light close, now I'm getting the nice reflection here along the tongue, if you will, of the shoe, this top portion right here. And I can actually see that with the modeling light that I have in here. In fact, if I turn off track, it should kick up a little bit so that we may be able to see that just a little bit better there. See this reflection right here. That's coming from this light source. I'll show you I'll turn it off. Boom and you see because this camera is pretty much in line with this camera, they're both seeing about the same thing there. And so that's creating a really nice, pretty subtle highlight there. It's subtle because it's large. If we took the umbrella out of there, it would be a very small hard reflection. But I really like the nice soft texture that it's giving the shoe there. If anything, it might be cool to get this just a little bit more over the shoes here Just to maybe get a little bit more light on the inside of the shoe. I'm not really sure if that's gonna work. I'm just gonna take another meter reading here to make sure that we're cool. F9, yep, it didn't really move a whole lot so let me try one more test shot here. And I think I like that little bit better because that's giving me an even bigger highlight here along the tongue and the toe of the shoe, so I'm going to leave this positioned right here for now. And the next step is to add a little bit of light on the background. So check that out coming up next.