To create the storyboard effect seen in images7-14
to7-19(above) and7-19to7-23(next page), motion in
avarietyofshotswasrequired.Thisrequiredeitherahigh
shutter speed or flash to stop the action. I chose to use
flash. You have to be careful when combining instanta-
neous flash lighting with continuous lighting. Because
you will need a slower shutter speed for the tungsten exposure, you will get
some blur whenever the ambient light bleeds over onto your subject. In the
images in this series where the model is flinging the shirt over her shoulder,
notice the blurred edges of the garment (such as at the top of the next page).
With a scene like this, you also have an additional problem in that the
model is moving both toward and away from the camera. Because of this,
your depth of field is critical. You may need to use a narrow aperture, such as
f/8 or f/11. Fortunately, with today’s digital cameras, you can boost your
ISO without much difference in quality of the image. This will help prevent
having to drop your shutter speed too low.
Throughouttheseimages,noticehowtheflashintensityfallsoffquickly—
it has a pronounced effect on the walls of the hallway walls, particularly in
CREATIVE TECHNIQUES 1097-14, 7-15, 7-16, 7-17, 7-18.Creating a visual storyboard lets
you practice lighting active subjects while your model shows
off her acting abilities.