THE SET UP CON­STRUCT YOUR RAYS OF LIGHT

Ar­range your scene to cre­ate beau­ti­ful shafts of sun­light through the win­dow

Photo Plus - - Canon Skills -

01 SMOKE

We need to fill the air with par­ti­cles, as th­ese catch the light and cre­ate our rays. A smoke ma­chine is an in­ex­pen­sive way to do so. The mains-pow­ered one we used cost about £30 on­line, plus a lit­tle ex­tra for the liq­uid it needs to cre­ate the smoke.

04 THE SUB­JECT

When­ever we back­light a sub­ject like this only the edge of their fig­ure will be il­lu­mi­nated, any parts of the body fac­ing the cam­era will be in shadow. So a side on pose can of­ten be the best choice, with the face an­gled to­wards the light.

02 BACK­LIGHT­ING

To make smoke or any other air­borne par­ti­cle show up back­light it by mov­ing the light be­hind the sub­ject, an­gled to­wards the cam­era. Our Speedlite is po­si­tioned out­side the win­dow, but if you pre­fer to use the sun you’ll need the right time of day.

05 LIGHT RAYS

To cre­ate shafts of light it’s im­por­tant that the qual­ity of light is hard. Soft, dif­fused light won’t work. The smaller a light source, the harder the shad­ows. We need a small, strong light source like the di­rect sun, or a Speedlite fired bare like this.

03 BLINDS

To split the light into sep­a­rate shafts you’ll need some vene­tian blinds or shut­ters. But you can try all sorts of other shapes, like slat­ted pan­els. Or you could sim­ply craft your own by cut­ting some holes in a piece of card­board.

06 FLASH TRIG­GER

When us­ing a Speedlite through a win­dow like this we need to be able to trig­ger it wire­lessly us­ing ra­dio trig­gers. Our Speedlite out­side of the win­dow is fit­ted with a re­ceiver, while the trans­mit­ter sits on the cam­era’s hot­shoe.

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