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As they get very close to the ends of the room, it'll brighten up a little.

As they move away from center, one light becomes main and the other becomes fill. The light will be very even across a large area in the center of the room. You cannot hide from this light, and everything will look good. This will give even light that is somewhere between frontal 45's and side-light. The easiest lighting technique of the three is to put a strobe in each corner, behind me (but mostly to the side of me as the room is long and thin) to the left and right. So, here is my thinking, in order from safest to edgy. Then you set your camera to fluorescent white balance and everything reverts to white. If you are going to use the ambient as a component of the exposure, you'll have to green your flashes. We will shoot at 1/250th at f/2.8 at ASA 400 and try to light the sparring area to f/2.8 at ASA 400. That means at ASA 400, shooting at 1/250th at f/2.8 is going to underexpose the ambient-lit portion of the shot by 1.7 stops. The ambient exposure in the room is reported to be 1/80 at ASA 400. All three of my choices use two speedlights (more powerful lights if you can get your hands on them, or ganged speedlights if you have four flashes) aimed up into the ceilings near room corners. Joseph said he will be using Vivitary 283's and Pocket Wizards. So let's look at three lighting possibilities, each related and each very easy to change to one of the other two options at a moment's notice. That is going to solve our height issues very easily. Other good news: We have a white, low ceiling.

So my first choice would be a wide-to-short-tele zoom for this session.Īlso, as far as the background is concerned, is anyone else seeing the possibilities for some cool, specular background portrait shots? Even action portraits. So I shoot from an angle as low as possible, and zoom in until the two people just fill the frame. The main thing I want to do up top is not to let the ceiling line creep into the photo. (Shooting on the angle makes it shrink with distance because of angular perspective.) That will keep my red backdrop as large as possible. I will likely be moving left and right as I shoot, staying low, so I am always shooting on a line perpendicular to the red wall. I'll be shooting along the room divider area opposite the red wall.

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That means compromising best I can between wideangle (for full body shots up close) and long lens (to keep the wall filling the frame as much as practical) as I shoot. In fact, I will choose my shooting height and direction based on keeping that wall as a full backdrop if possible. I will definitely want to use that if I possibly can. That's a ready-made backdrop, as far as I am concerned. The first thing that jumps out at me in this room is that red wall.

#ONESAFE PIX HOW TO#

Problem number three: How to get the light over the heads of the other spectators, and have your stands out of their way, too. Problem number two: How to light the room to where they can move around and still be in good, consistent light. Problem number one: How to keep the little guys from accidentally destroying your lighting gear. Solutions (mine, at least) after the jump. Hint: The first problem you'll need to solve has absolutely nothing to do with light. But first, take a moment to think how you might approach this shot. I want to think through this one out loud and walk through what I would do and why. He posted a question on the Flickr threads looking for advice from other readers on how to design the lighting. will be photographing kids sparring against each other in this room at a karate studio.

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