Hey this is Daniel Norton, I’m here in my studio in New York City with Pauline, and today I’m gonna show you that something that’s commonly called the Book Light. Book Light… it’s good when things have names really.. it’s really cool. So it’s basically essentially using two ways of diffusing light, to get an extra diffused light. Basically you’re bouncing the light, and you’re sending it through diffusion, so what I have here is a four-foot Chimera frame, fitted with a reflector, white reflector in this case, and I’m gonna bounce my Profoto B1X off of it. In this case I have the zoom reflector on there, I’ll show you guys with a little modelling light – the reason why I have the zoom reflector is, I don’t want to waste light, you know, so I want to get as much light as possible here, anything that flies by is not really gonna help me, so I want to definitely do that, and you’ll notice the angle I have it at, right, I’m not bouncing it like this, like you may have seen me doing with V flats before, because what I’m going to ultimately do is, create a book shape or a V shape like this, with the diffusion, and that’s gonna allow you to bounce in and then back out to Pauline. So here’s the diffusion panel, it’s a full diffuser, four foot, same size, I have it here, once we lock this thing in, and again we want to create kind of this V shape, so this light is here, I’ve kind of nested the C stands together, you probably see that. We have sand we’re got just one sandbag on both of them, this is kind of out over the non you know sand bagged area, but it’s pretty safe over here, so if you’re on a busy set, you might want to put another sandbag, all right, so go and do this. So you guys can see it, so over here on my camera, I do have a Profoto A1, but I’m just using it as a controller, so I can fire the light so first of all we’ll start with no.. no flash, yet see what we get. I’m at 1/30th of a second, because it’s kind of dark outside with f/4, there we go, and that gets our windows pretty much where I want them. Remember I need light that hits the window’s because they’re white shades and it’s gonna make them look a little brighter. So I want them to be a smidge dark, so I’m gonna bring this guy up whatever my TTL to is to basically to zero, and let’s see what this looks like, nice and pretty, here we
go, good here we go, nice and even, I’m just gonna check it, okay, looks like give me a little bit of a darker exposure than I want, so I’m gonna kind of eyeball that, come back you know, it’s heavily backlit situation so the TTL needs to kind of figure out what’s going on. You want to bring it up half a stop, a little bit more, good, I think that’s about where I want it, yeah, the idea here is is like tremendously flat kind of catalog feel, to the images. So now that I’m set in this kind of situation, I’m gonna throw my controller into manual, so it stays where it’s at, and I’m going to commence shooting, so I turned it up again, just a smidge, I’m just looking at it, yeah that’s good, all right, here we go, good good, isn’t fast, I have the camera on beep, the light rather, as usual, so I know where it’s ready, good, I’m shooting through a bunch of shots, this is pretty forgiving, I mean it is coming from one direction, so you don’t want to have her completely look the other way, but uh towards the light is nice, I am shooting at 1/30th, so I you know, I am being cautious of too much movement, I’m kind of waiting till she locks into her spot, not shooting it kind of in the move, yeah, let’s hurry, let’s take a peek, easy, you can see a little bit of camera, a little bit of movement at 30th, so we want to definitely make sure that we’re locked down there we go that one’s good. So that’s the only thing you want to be a little cautious of with this, is a little bit of camera movement, something I’m gonna give the light just a smidge more, the lights dropping outside, and as it does it’s making the whole image feel a bit darker, so I’m gonna turn up the lights a little bit more, let’s see what that looks like. That’s good, take a quick look, I always put the computer as far away as possible, so I get exercise, that’s better, all right you guys know I like my stuff a little bit hotter. Good, nice, good, beautiful, now because of our proximity to the windows that’s the reason why we’re gonna get that little bit of blur guys, if she wasn’t close to the windows, and you would have no problem, even with a slower shutter speed. It’s really the light, the flash is mostly lighting her, but we are getting some light on her without it. So a couple more, sometimes when it’s super easy you just have to keep shooting, because it just feels good, good, nice, that’s pretty. Yeah there we go, nice and easy, right, just like that, but uh you have to make that sound when you’re done, but that’s like the important sound to make. That’s always the awkward part of it they have to go back to where the camera was, so that’s it, right this is the Book Light, you may have seen this talked about. I think somebody probably started calling it that, I don’t know who, somebody’s gonna tell me in the comments. Blah blah blah, I named it the Book Light. Well there you go, it’s basically you’re, you’re doubling up, you’re your diffusion, you’re bouncing, and then you’re diffusing because if you were to just keep adding more diffusion to this, this is already a full diffusion, it’s not gonna really diffuse it much more. It’s just gonna cut down your light, but by bouncing it first, you’re scattering the light which is going to make it more diffused, so it gives you that really big kind of cloudy day light, coming through the window. No thanks for watching this, I will put Pauline’s information in the description, so you guys can follow her follow me DanielNortonPhotographer, be sure to subscribe to AdoramaTV and ring the bell. I’ll see you next time OnSet.