The further away is from the open, the darker it’ll be. So, if there’s a huge exposure and contrast difference between your subject and background, you can move your subject a little further away from the entrance or bring the backdrop closer to it to even things out and get a good balance between the two. The closer something is to that open door, the brighter it’ll be. After all, if the main light source for your shot is that soft light streaming in through the big open garage door, it’s a bit like having a big giant softbox and light falloff resembling the inverse square law still sort of applies. The placement of the backdrop and your subject distance relative to the open garage door is going to give you a lot of control over the light levels falling onto each. You’ll want a background stand of some sort and there are plenty of commercially available options out there, but you can DIY something for that, too. Just make sure to iron out any wrinkles in it first. And if you have nothing available, again, you can use inexpensive bedsheets. Pye uses a hand-painted backdrop here, but you can use whatever you have available. So, picking the right time of day is key.īut as far as setting the scene, it’s fairly simple. You don’t want to shoot in your studio when the sun’s blasting through the big open door, so depending on the direction your open garage door faces, there are more than likely going to be certain times of the day when the light will be pretty awful and your subject will be squinting. The first thing you need to think about when using natural light in this way is the time of day. Even if your particular garage limits you to head and shoulders shots rather than full length, you’re still going to be able to take advantage of some of these tips to help you get decent results. Obviously, some are much larger or smaller than others, but the principles Pye explains can easily be adapted to fit most sizes. How easy this particular setup will be to create really depends on the size of your garage.
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