Dark, DARK Exits?

Ok, what do you guys do to capture exit shots where there is virtually almost no light anywhere? Ex: we did a wedding this past weekend that was at an outdoor venue and the only light was under the wooden, covered picinc/reception shelter; the exit occurred around 9pm, and the couple came from under the shelter, down a little gravel path with the guests lining both sides blowing bubbles, to get into their pick up truck. There was very little light coming from behind the couple from the shelter since the lighting was mostly little strung up Xmas tree type lights with some colored, revolving lights. I had my 580EXII on camera, with my 70-200 IS, and I found that most of my shots focused on the closer bubbles and not the couple, whom I could hardly even see through my camera. Do most of you, in this kind of situation, use some kind of constant light? If so, is there a type that is very portable and light, and not real expensive? Thanks.

Tough one. I think that at least I would setup one of my portable lights and leave the modeling light on - not fire the flash but at least enough to see through the viewfinder and use flash on the camera.

A little video light isn't going to give you enough light for moving shots. It works for posed shots but for dynamic shooting it won't give you the shutter speeds you need. I believe you said you work with an assistant, right? Have them hold a speedlite on a stick a few feet above your head, walking with you to keep it in that position as you and the couple move. You can use wireless ettl or manual, it doesn't matter. I'd probably use wireless ETTL with the flash pointed straight up to send the signal to the slave flash. That way you can still use your AF assist light which will help immensely in obtaining focus. Since you are using flash, you have many more options for DOF control, so you can stop down to F/8 if you wish, shoot wide, like 24-35mm, and the better way over using AF is to manually focus to the hyperfocal distance, keeping the couple within that range. That way you can just fire your shots off without even worrying about focusing. The flash freezes motion, the aperture and wide focal length gives you lots of DOF wiggle room, and the hyperfocal distance lets you even forget about focusing. You can shoot bam bam bam bam bam bam bam and all will be sharp, in focus, and well lit.

As a general note to the general public... most people tell me it's too nerdy to know this kind of stuff, but as you can see you'll always run into situations where this kind of stuff becomes important.

Michelle,

I've copied and pasted my reply to your question on the other post here so others might get some use from it. I've also added a few more images to illustrate what I do.

I did a similar shot a couple of weeks ago to what you are describing. I used a 16-35 lens, 580EX on camera and one off camera light. You can see the light on the balcony in the shot. I would not attempt to use my 70-200 for a night exit shot as the focusing is too difficult, as you found out. I like to get in close to my subjects as they exit and walk backwards. The increased DOF from the wide angle minimizes focusing errors.

I LOVE NERDS!
Yes I do have an assistant--though he prefers the term "husband"! lol. Ok, let me throw another spice in the mix-- I have an ST-E2, that would be better than the on-camera flash, yeah? Next question; how do you "focus to the hyperfocal distance"?? Sounds dangerous.

Thanks, Lloyd. I'm sure i must owe you money by now.

picturecrazy wrote in post #12464481
A little video light isn't going to give you enough light for moving shots. It works for posed shots but for dynamic shooting it won't give you the shutter speeds you need. I believe you said you work with an assistant, right? Have them hold a speedlite on a stick a few feet above your head, walking with you to keep it in that position as you and the couple move. You can use wireless ettl or manual, it doesn't matter. I'd probably use wireless ETTL with the flash pointed straight up to send the signal to the slave flash. That way you can still use your AF assist light which will help immensely in obtaining focus. Since you are using flash, you have many more options for DOF control, so you can stop down to F/8 if you wish, shoot wide, like 24-35mm, and the better way over using AF is to manually focus to the hyperfocal distance, keeping the couple within that range. That way you can just fire your shots off without even worrying about focusing. The flash freezes motion, the aperture and wide focal length gives you lots of DOF wiggle room, and the hyperfocal distance lets you even forget about focusing. You can shoot bam bam bam bam bam bam bam and all will be sharp, in focus, and well lit.

As a general note to the general public... most people tell me it's too nerdy to know this kind of stuff, but as you can see you'll always run into situations where this kind of stuff becomes important.

Thank you, Jim! Nice visual teaching, which is how I learn best. I have a 35mm I guess that would work ok, huh?

Michelle Brooks Photography wrote in post #12464760
Thank you, Jim! Nice visual teaching, which is how I learn best. I have a 35mm I guess that would work ok, huh?

The 35 will work just fine but a wider lens is more forgiving if your focus is slightly off.

Michelle Brooks Photography wrote in post #12464712
I LOVE NERDS!
Yes I do have an assistant--though he prefers the term "husband"! lol. Ok, let me throw another spice in the mix-- I have an ST-E2, that would be better than the on-camera flash, yeah? Next question; how do you "focus to the hyperfocal distance"?? Sounds dangerous.

Thanks, Lloyd. I'm sure i must owe you money by now.

If you like nerds then we'll get along! hahaha.

I would definitely use a 580EX as a master. A 430EX will do a fine job as a slave at night. The problem with the ST-E2 is that it fires an invisible IR beam forwards. The 580 fires IR beams through it's flash so you can point it wherever you want. That's why I said I would point the flash upwards and have the slave flash held a few feet above your head. That way it can receive the signals easily. An ST-E2 wouldn't do well in this scenario. That is one reason I never bought the ST-E2, since a 580EX does almost everything the ST-E2 does but better.

As for hyperfocal distance... look at the following chart as a guideline:
http://www.dofmaster.c​om/charts.html

At f/8 at 24mm, you look at the distance scale on your lens and set it to around 10ft. Then you have quite a huge working range to keep the couple in focus. This also relies on you using rear button focusing. I hope you are doing that! Otherwise your camera will attempt to refocus for every single shot. In a situation like that, it will only PREVENT you from getting the shot.

It doesn't help this thread, but I thought I'd mention that I've yet to do an exit photo. Of every wedding I've ever shot, there's not been a single exit photo opportunity. Usually, the couple lingers on until most if not all of their guests have left. A shame because I'd love to do them for the album.

Peacefield wrote in post #12468487
It doesn't help this thread, but I thought I'd mention that I've yet to do an exit photo. Of every wedding I've ever shot, there's not been a single exit photo opportunity. Usually, the couple lingers on until most if not all of their guests have left. A shame because I'd love to do them for the album.

During our consultation prior to the wedding I will ask them if they are going to do an exit. Often times they had not thought about it. In two different instances I was the one who convinced the couple plan some sort of exit.

Peacefield wrote in post #12468487
It doesn't help this thread, but I thought I'd mention that I've yet to do an exit photo. Of every wedding I've ever shot, there's not been a single exit photo opportunity. Usually, the couple lingers on until most if not all of their guests have left. A shame because I'd love to do them for the album.

I don't think I've ever done one either - but I've had this same kind of situation in some very very dark places. I do more or less what Lloyd described. It may help to look at the marks on your lens like he described that show you the distance from the lens to what's in focus. On my 16-35mm it is only 3 feet. So if I focus on something far away from me, then I know everything 3 feet or farther away is going to be in focus. And if you use back button focus, you're all set - just hit the shutter. Your on camera flash should provide enough light, but your shots will be way cooler with flash off camera too.

Thanks Lloyd, Jim & you other guys! All the posts help in some way or other. Lloyd, I do use back button focus, so I'm good on that. I'll have to practice on my assistant/husband with the hyperfocal distance...course, that means I'll need another somebody to hold the overhead flash...oh well, we'll work it out! Thanks again!

Michelle Brooks Photography wrote in post #12469019
Thanks Lloyd, Jim & you other guys! All the posts help in some way or other. Lloyd, I do use back button focus, so I'm good on that. I'll have to practice on my assistant/husband with the hyperfocal distance...course, that means I'll need another somebody to hold the overhead flash...oh well, we'll work it out! Thanks again!

Exit shots are some of the few times that I simply use on camera flash. That is what I used in all my examples for the key light. While it's better to get your light a bit higher, the circumstances of walking backward while surrounded by a group of well wishers and having an assistant hold a light up are a bit too daunting.

I frequently set up my bare flashes (often with CTO gels) on light stands behind each row of persons lined up (and ideally some distance away to give a little more even light distribution) and high overhead, plus on-camera focus assist.

Very nice shot! I seem to be missing something, tho, on this method, along with some of the other images, which seem to have much more ambient light (at lease behind the subjects) than the situation we faced-- and that is how to get the focus on the subjects in the first place before your flashes go off. My first mistake, I see now, was using my 70-200 at a wide f-stop. Reckon if I'd had my 35 on at a higher f-stop it would've helped a lot.

form wrote in post #12469764
I frequently set up my bare flashes (often with CTO gels) on light stands behind each row of persons lined up (and ideally some distance away to give a little more even light distribution) and high overhead, plus on-camera focus assist.