Lessons
Class Introduction
13:12 2Why Strobes & Film?
05:09 3Using Sync Speed
10:21 4How To Avoid Ghosting
05:45 5Equipment Overview
04:12 6How To Use Your Camera With Strobes?
06:27 7Triggers & Receivers
03:39 8How To Set Up A Light Meter & Strobe Unit
08:03Demo: Equipment Set Up
07:59 10Create A Natural Light Look
10:05 11Light Modifiers
09:39 12Catchlight In The Eyes
08:41 13Metering Overview
03:40 14Meter With Strobe For Color Film
22:44 15Meter With Strobe For Black & White Film
26:00 1645 Degree Light Placement
09:01 1790 Degree Light Placement
15:01 18Backlight Placement
04:13 19Feathering Light
08:07 20Lighting For Groups
25:44 21Speedlights with Film
08:42 22TTL Vs Manual Mode
09:21 23Gear For Location Film Photography
03:26 24Set Up On Location
04:08 25Know Your Film Lab
16:21 26How To Find The Right Lab
14:47Lesson Info
Metering Overview
As film photographers, we know that metering is very important. Right? It can absolutely make or break an image, and it's the foundation for creating that really good negative. So I talk a lot a lot a lot about metering, in my one-on-one class, and so if you're really confused about like the fundamentals of metering, please check that class out. But, just quickly, I just want to reiterate, that any time you're metering, no matter what kinda light you're in, it is your meter's job, your meter's always looking for middle gray. That's what meters do. So what is middle gray? Well, middle gray is in the zone system, that perfect middle spot between absolute black and absolute white. That's what that term means, middle gray. And, again, every meter out there is designed with that in mind. It's your meter's job to find middle gray, but it's your job, as the artist, to decide where you want that middle gray reading to be in your scene, okay? So, we do that with metering. And again, when we're ...
setting up our meter, we want to put in two of the three dotted points that make up the exposure triangle. Usually when you're outside you're working with natural light, you put in your ISO and you put in your aperture. But again, because we know shutter speed is so important when using strobes, when you're setting your meter up to work with strobes, you put in your ISO and your shutter speed. I personally always rate my film, whatever film I'm using, at box speed. So, the film comes, it has a number on it. Portrait 400, Portrait 800, Fuji 408, whatever that number is, is the box speed. It's the ISO that has been given to that particular film stock by the manufacturer. I always just shoot my film at box speed. I don't rate my film something different, and I know a lot of film photographers do, I don't. And again, if you want to learn more about why, totally check out that one-on-one class cause I talk about it for days. But, for now, when I'm shooting, I'm gonna put in the box speed of the film that I'm using and I'm gonna put in my shutter speed, which is my camera sync speed, because I know that that is so important. And then I'm gonna take a meter. A meter reading. Now, there's two kinds of metering that you can do. There's reflective metering, that means your meter is reading the light that is bouncing off your subject. It's taking that reflective metering. And this is a great method when you are out, you're doing landscape. I know Daniel Gregory talked a lot about this in his class because he shoots landscapes, tree photography, that kind of stuff, and he uses spot metering. It's great for that. I don't, I prefer incident metering, and certainly when working in studio with strobes, it's always incident metering. So what incident metering is, is it's measuring the light that is falling on your subject, as opposed to the light that is bouncing off your subject. So that's what we're going to do today. We're gonna talk about incident metering with studio strobes and we're gonna start with metering for color film.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
Wow! with a lot of online stuff out there one can become rather overcome with too much information, however, the way Sandra presents her courses is just perfect! Her honest and simple and easy to understand approach was just what I needed. Not once did I think she was just going through the motions, she really loves what she does and it shows. To be able to rewatch and rewatch was also a key for me. Since I have dyslexia I have to take things one half step at a. time. After completion of the class I had a new found confidence when using strobes. A must have.
Micah Hewett Images
Out of all the classes I own on Creative Live, Strobe Lighting with Sandra is my FAVORITE! She is an incredibly kind and gifted teacher. She explains everything on a simple level and then gradually build to more complex issues. I am 100% happy with this course. Thank you Sandra!!
Amy
Do you own a film camera? Then you NEED this class. I knew I *kind of* wanted to try shooting with a strobe, so I bought this class as some encouragement. But honestly, I half expected to do the class and not actually buy the strobe (because strobes are scary!). But as soon as I finished this class I IMMEDIATELY bought a strobe, umbrella modifier, a backdrop, and seamless paper (in Storm Grey because I basically want to be Sandra.) I felt so empowered to shoot with strobes and film and suddenly what had seemed terrifying now seemed doable. My very first test roll turned out great after following Sandra's easy tips. Now that we're in the winter months, I can shoot indoors with my film camera and strobe! Thank you, Sandra, for so generously sharing your knowledge with us and for being such a great teacher! And to anyone even remotely considering this class, DO IT. There's no way you'll regret it.
Student Work
Related Classes
Lighting