Hi everybody, this is Brian Allen with the Mindful Eye and the Art of Lighting.

The image I am going to show you today, sort of showcases of technique. A little trick if you would. I just love to us; it is something you can use inside and outside to create some really neat effects. That is working with the lance flayer, so most of the time we are turned to avoid lance flayer with kind of this hood and stuff on our lances.

I have to keep those flair effects out but if, you are seeking that out, and trying to using in harness that effect. You can have a lot of fun with it. Obviously, we are doing so well so it is pretty easy. You got the sun in the natural light source back there that we all know create lance flair but how would you do that inside. What if you want to create that same effect in your studio or in location and that is what I am in charged to cover you today. So it is a really easy technique, we will go through this pretty quickly and I hope you enjoy.

Let us take a look at an image, here we go, so this image sort to show cases the technique and just to make sure you all know what I am talking about. This is what I mean by the flair. You know you can see a big bright light source effect here, shining directly into the camera and it is creating this flair across here. So we characterized about all this big spots of light on the models face, so to add this lance flair. I have another image here that make sure even better.

Again, you can see the lights source in this case. To think about just like the sun back there, in this case it is a studio screw. We will talk about that in a minute. Again, it is shinning right into the light and right into the camera lance and creating this spots is reflected light spots across the face of the model. So that is the basic effect that is what I mean about the lance flayer. Of course, we still have to expose the models face, we are barely lighting on the front side of this image and then I will play this flair effect for creativity.

So before I go in to the lighting diagram, let me take a quick look here at the over all Meta data and here it is, shooting this image with a Cannon 5D and a 24 to 105 mm F4 lens, kind of zoom on this all way out, in terms of working photo link to hundred millimeters. I am using strobes here, so I am taking that 1180 of a second, that is particular camera stinks of a two hundred of a second or slower, so 118 it gives me a fits with in those parameters and then in terms of an aperture choice. I am shooting here at F11 and the reason there is it’s a good sharp aperture for this particular lance and in terms of depth of the field I definitely do not want any flow of focus issues here.

I want this to be a good sharp image. I am going actually white the face in sort of harsh way as you have seen, so I want to be focus. I want the expected are to show through, and then finally ISL200 is a good noise free eyes in this camera and it gives me a little bit of room on the low of the ISL scale. To go down to 200 if I want to bump the exposure in a crude way, so that is my basic camera settings, now let us take a look at the lighting diagram. I will show you how to pull this off, really, really easy. This case I got the model just against the white seamless paper on the background stand and of course, I had a camera on here.

There I am playing working about six straight ft away from the model of this point and the way that you get the lance flair effects is really easy. It will just take simple scroll with an open reflector.

And it is just an open mellow dish, no light modification what so ever, in situation in a way that it is maybe five or six ft behind the model and go on just over. Over her head and show her this case and kind of situating the model between the lance and the light. To block the similar light but I want to enough of it to come through to create that flair effect and you can see that in camera pretty well with just a modeling lights. Take a few test shots and you will definitely see the effects you are getting. Remember when we are shooting F11 in terms of the working aperture on the face here and I can tell you I probably at least to stop enough above that on the metering with the lens flair light. Some place shooting there at the maybe F16 or so.

So we still have to light the face and to do that in this case, I use a ring flash and I love this technique. The ring flash really just feels in on the shadows and gives you this nice sort of harsh and dramatic and some source of specula light. While simultaneously feel in all the shadows and that work really well in the combination with this ring flair set up, because the lance.

That light come through in the hair can produce some sort of odd shadow in the face, so the ring flash fills all that in. Gives me a nice dramatic lightning effect on the face and that is it. It is that simple, two lights really easy set up, and I hope you have a fun with that.

Let us take one more quick look at the images there you go. That is for winning up with in this case, and then with that, I think we are done, so I appreciate you are being here. Thanks for checking out this edition of the Art of Lightning and we will talk with you soon. Thanks, bye.