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Creative Studio Lighting

Lesson 12 of 12

Blacklights and UV Powder

Lindsay Adler

Creative Studio Lighting

Lindsay Adler

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Lesson Info

12. Blacklights and UV Powder

Lesson Info

Blacklights and UV Powder

This is going to be for the last lighting setup we do this right here looks like an alien I think everyone see it um this is an adaptor to add to your stroke hens that makes them into black lights so it's very very cool the reason that that is so nice is you absolutely without a doubt completely khun shoot just regular black lights and still do black light photography uv uv lights so you can go ahead and go to spencer's goto wherever you know whatever you need to do um and use those lights but I convey ari the output in the angle when I use this so I can actually have dramatic light and black lay for cities you black light it just kind of glows and his everywhere but with a black light maybe you could get two of those these bars you know they're the lack like black light bars and put them in a different pattern and change the direction so you could do that but this will actually turn my strobes into a black light again something you would clearly rent or you try the black lights yourse...

lf and I'm gonna go they all hot it was that one have you put this on a different one for me actually don't even need that one this one's fine where you get the makeup so all of the need of the bulbs just gonna show everybody so I'm just going to tell you what this is and encourage you teo go experiments with it. These are kino flows, okay? They're constant fluorescent tubes in the second creative I've ever did I did a photograph this guy with these in a tick tack toe pattern and I photograph through the tic tack toe pattern and it makes tick tack toe catch lights in the eyes it is a very, very similar quality of light as a ring light because if a ring light is just this circular frontal constant light source it's the same thing he's just make tic tac tos in the eye so it looks more interesting you can rent these actually coming ballast actually come in it's a bank basically and then it has a power source ballast that hooks up to it. Um I was talking to several people many people have made an equivalent on their own. The good thing about keenan flows themselves is that kino flows are cool. They don't get hot like other lights dio they also can you could get them either tungsten or daylight. So if you're trying to balance if you want to have thie tic tac tos in the eyes and you want to balance it with daylight or you have some lights in the background they want to balance it with you can do that but you can also buy fluorescent tubes at things like home depot or lows, wherever you go, um, you know, you can't necessarily dial the power up and down in those, and sometimes you have to do with flicker and the color isn't right, but this I think this particular four bank with the ballas is twelve hundred, and I know that if you're going to for just the cool shoot through tick tack up till effect, you can do it for about one hundred, one hundred fifty if you're, um, you know, kind of handy with that stuff, so check it out if you look back on my block if you search kino flows kay I and o space f l o okay, and kino flows, you'll get an idea of what it does, and so you just put them in different patterns and you shoot through them. They're constant lights, not stroke, they don't flash their constant this's plastic um, yeah, they're plastic and they have a plastic shield. Yeah, they're fine. Yeah, they're they're very safe and it's nice because what I'll do is I'll put them like on off something like this and hang them off of a stand and then shoot through them, so now I have, like, two strips in the eyes, I saw this very, very famous shoot can't remember what magazine with a photograph surfers there's surfers with really cool strips in their eyes, they're rethinking a flows and was very narrow, and they made the skin like kind of greasy, almost, and they were photographing them like this, and they're photographing the surfers through those and that's effect. I don't know if anyone's ever seen those, but if you're wondering, it was done with kena flows. Um there's also one other famous photographer. He did these really, really close up head shots of a lot of celebrities and heads of state were there, like there's, a famous one of angelina jolie, where it's like intimately closely shot was slightly wider angle lens and they have these gigantic catch lights in the eyes and to really narrowed up the field. He was using two sets of these the four banks um, side by side and shooting and shooting with a wider lens so you feel look, it has like we did before with this too soft boxes that has the cat, I look affect to it where there just be a shave or a little bit of shadow between the eyes, and it was shot with the kino flows, so he was shooting very wide apertures two point eight, maybe even wider. So just their eyes were in focus and then the back of their heads were out of focus. It's really interesting portraiture I'm sure people in the chat rooms can can identify who it is I have the name on the tip of my tongue he's the one guy goes by one name like luton or stipulate that hundred or someone although as soon as I say that someone ability to guess, I'm sure all right, so we're going to end with making a mess, okay? And you want to grab a chair so that you can, you know? And I'm probably going over last time we did this, they got all of them if you like, the powder was all over my face and all of my clothes and so okay, you know it's cool, so let's talk with that we bring all the powder over here, bax okay? So we have made our light into a black light and what's nice is I can also vary the power with the reason that that is important is sometimes you stand right here sometimes if you're using a regular black light and you have other ambient light, it'll mess up your photo because the black light isn't strong enough to overpower you, get him, mix a daylight and then it's not that glow that you usually want from shooting a black light what's great about the strobes is I can pump them up really strong so that the overpower the ambient light and the other reason that's important is for shooting a black light it's hard to focus it is really hard to focus so now I can have lights up my camera can focus by but then when I strom the uv light it will overpower that okay kind of like what I'm sure we'll talk about later on this week about how you can kind of cut out and being late same idea, eh? So let's take a look at what the producer aaron bought for me um these are this this particular brand we just made it up that slice of the moon uv powder pigments paint pigment powder pigment um I'm sure like party or rivers know about this um the brand that I usually use my c when I've done this before, what does makeup forever makeup forever has uv pigments a big makeup brand but these were ten dollars apiece on amazon so not too bad and what we're going to do is we're just going to make a mess on her face here we go powder everywhere um that's what colors did we like? Orange was really strong way like thinking oh, and test them because I think they're different okay, here comes the best part and I'm gonna have you keep your eyes closed um uv lights not good for the eyes so just close the eyes yeah it's not necessary plus sized crazy creepy when would you be like look really weird? Okay and could you switch my lens? Tio here we go. Oh, dear ready head back for me way here we go ok then took your head down fast. Okay, okay shake around a little bit so you don't get anything in your eyes okay? Now had backup on looks straight at me. Okay, good. I mean, just do a little bit you like my mask? Do you like the art of this? I used to have a makeup artist, so I get to make up artist now. Okay let's do green and blue thank you for being awesome she's like yeah, you get to make art. Okay, okay, alright coffers needs if you need to get your head back down so you can breathe. I'm not that evil just mildly evil there's ah, a photo that I took that was an advertisement for sigma where covered this guy in red powder and then the next day I realized it was part of the stains we tested this on becky last night. It doesn't say we test it on her she had to be the guinea pig so she may have been created like today with like, paint over all right? And I might just do a little bit of dab of the orange just the orange is very, very bright which is why I tested it it tends to overpower things all right? So I'm going to ask for some paper towel so I don't destroy my camera with powder and I'm going to make making are okay good. Okay, here we go. Let's do this okay? You can have chicken had new dude, you got to do so you don't have it in your nose thank you. You look beautiful. Thank you for volunteering for this unless you didn't unless you got like, commandeered to do it. Okay, perfect. Alright, my hands are pretty clean for that gonna bring my light weigh in okay? And it's really hard to see for this week with a modeling light what's going on unless you're in pitch black so the directionally I'm just gonna kind of go it and fronts frontage angle will you protest? Here I am shooting with my signal one fifty macro lens again because I'm gonna get really close. One time I tried this, I all I had was a seventy millimeter macro lens and every shot was gonna screwed up and I couldn't figure out why I couldn't figure out why it's because with a seventy millimeter I was in the way of my light site was trying to get close enough because the seventy millimeter you're having a focal length so it was right here I was blocking my light one fifty allows me to step back more give a little bit more distance but still have a macro shot we're gonna do that when I move this alright let's do a test and I'm gonna have you I just have to guess on my exposure here let's test this out this is just a test close your eyes for me all right we pump it way way up way way way up keep going keep going how high is it going? Nine justices yeah, okay good you'll see in a second on gonna load next one lad. Uh so let's try some macro shots here ready keeper is close and hold still for me oh, yeah you like this one and you come from words to him close. No. All right, let's, try over here. I'm gonna have u turn ahead a little to your left and becky, we move this light over so left a little bit carried their perfect and like I had a little more straightforward right there. Good. So you'll see in this picture that I can give a direction of light oh, and I was wondering why my color balance is messed up I'm on flash this is clearly not flash you see I could have a directional light that would be very hard to achieve if you're just using a black like there's so much um so much direction or so let's just go to auto and see what it does let's try this now watch the colors change okay changed too much changed a bit I mean I can't really close for lifts say from in the way of my light and one more slip straight on sweet I'll do two more shots like that cool perfect head to the left a little bit right there and I'm gonna do one more macro shot all right one more thing so they're just right just interesting different guys I would do one more I shot I'm going to want one that closed from above if I moved no writing that up a little but one word from above it's cool and then one more open I just you guys and see what it looks like you enjoy this open I think all right, so let's see what we can dio to wrap that up see what kind of questions that we have here fine I'll say it's gonna load the creepy in a second okay? So that's like really cool detail really interesting maybe write crazy creepy olm issues I'm just do one completely in profile again for direction I shouldn't want completely in profile okay close your eyes real quick, okay so same thing remember how we did short like move the light after the sign that's what I'm doing here but my backgrounds gonna go black anyway so I can shoot from here it's short light but it's not rembrandt in section just room light but I can do that with black light as well and all the different powders have a different effect you khun buy jewelry and fingernail polish and all that crazy stuff so I know that I'm going to shoot something like this um in editorial very soon probably in the next couple weeks and I get home so I'm trying to pass on to you the same things that I would do for my job and same things I do for my sheets I love the change of color to that it's such a different color than what what you see on her face cool is that okay? Um actually if you don't mind staying if you guys wanna take a couple shots when you're done if you don't mind yep they're saying cool perfect actually looks like the ultimate no catch light right? Yeah. Oh my gosh it's creepy yes, I like it. I I've only ever saw like, eyes open look okay is I thought glow in the dark eyelashes that were kind of yellow on big so it was blue against uh yellow so it looked really interesting so it can be done interesting you find some glow in the dark contact lenses that the family? Yes oh yes they do have the good idea good thinking okay, guys. Well, maybe just a couple of questions on this just a couple and very cool. Thank you for showing us something that you actually are going to be doing for an editorial before I said I think it's john most of my tricks for the next couple of a couple months awesome you'll see all that stuff being photographed possum so what was eighties question? Uh well oh adrian far had asked from england can use this sort of powder and a black light for an action shot such as throwing it at the model and capturing yeah, yeah, I mean, the biggest thing would be depending what lights you have if you throw the powder, it will be more of a blur if you have, like, lower and light. So what you would want to do is you'd want to have the lights at low power and moved them close it's getting to physics here but your lights actually don't all fire at the same time the same duration your flash duration changes. So usually when you pump your lights up to full power, they're actually on longer it's not really I mean, someone has to do with wattage but you'll get more of a blur when they're on longer so what you want to do is you turn it down and power, so they're faster, but you moved your lighting closer to your subject so that it's still bright on their face on day. One of the ways to try to get around that is, if you have these packs, you can actually set your frustration. So if you guys walk over to the sets later on the school rose, if you go to these packs, I consent my flash duration and so I can pump it up. If I'm trying to achieve something where the powder's throne but it would definitely work. You might have to have two of these set, you know, maybe like I think of our throwing powder, just like I would for powder or like powder. When I was doing a fashion shot. I'd have one light from the front and then another one from behind because particles look better lit from behind, they pop. So if I know that the powder's gonna hit and fly off this way, I would have a light, a black light, and I have another one of those here from behind to capture the particles.

Class Description

Creative Studio Lighting is part of our special bundle Lighting Toolkit.

Join award-winning photographer Lindsay Adler for an introduction to the essentials of creating high-impact studio lighting with minimal fuss or expense.

Drawing on years of experience, Lindsay will introduce you to the basics of studio lighting and give you strategies to apply these basics in creative ways. Along the way, you’ll explore unusual light modifiers, crafty ways for working with limited gear, tips for ensuring that light is flattering, and more!

This course will inspire anyone ready to take their work to the next level, whether you’re a veteran photographer or just starting out.

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Justin Tui

This is my second course purchase from Creative Live amd im a short way in but already love it. Lindsay Adlers style of teaching is easy going and simple to follow along with. Her personal work is amazing too so i feel confident that im getting knowledge from a trustable source. Im definitely going to continue to invest in more content from Creative Live and I rock the podcast everytime a new ep comes out.

a Creativelive Student

I love watching Lindsay work, she teaches with ease as if it were a one on one session. Would love to assist her or at least attend one of her workshops soon. This course was very helpful as well as opening my eyes to a few things that were always there, but just able to see them, thank you Lindsay

Tracy Whiteside

Only 1/2 way through but I knew in the first module that Lindsay Adler is the best instructor!! So easy to understand, great demonstrations, LOVE HER!!!