all right, so speed lights there's a lot of different speed lights available. The entry lights or for people who just maybe don't have a built in flash and they just want a little kicker flash just toe help illuminate things that are directly in front of you. They don't have any bounce capabilities, so it's kind of limited in what they could do. We have intermediate level flashes, which I think are often pretty good choices for people who want to get involved in this type of work. They're going to give you some options, a little tilt and swivel so you can bounce against ceilings and walls. Sometimes they'll have little infrared A F assist beams that will let your camera focus under low light conditions. And many of these will allow you to work wirelessly if you have another flash of that style. Or you have a camera with a built in flash that has a wireless system so that you can put your cameras off to the side without a lot of cords and cables running all over the place. If you use fl...
ash a lot, you're photographing large groups or you need to shoot in rapid sequence. The top of the line flashes typically have faster of recycling times because they're more powerful. They're gonna have external plug ins where you could have an external battery powering your flash. If you're gonna be shooting for a long period of time, they have extra little features, little bounce, many cards and reflectors and so forth, all built into them. They'll have sinks so that you can work in studio environments and with all sorts of lighting equipment on little diffusers, so that you can work with wide angle or even fisheye lenses. And these two will often have thes wireless connections. And so Canon and Nikon started with with these wireless systems, and it's grown and expanded to pretty much all the systems out there. And so there are some good options, and I have seen some really elaborate photographs of people who have been hired by the manufacturers and have been given tens of thousands of dollars of their expensive lighting gear to fire something all T t l. And I'm just thinking you could have done this whole thing with a few 100 bucks in basic flashes if you would have been willing to use manual, and they were clearly doing a set up shots. So there we have a chance to test it on. And so I think spending a lot of money on these flashes isn't the best choice for most people. You could actually go buy some decent lighting equipment for the price of three or four of these flashes because they do tend to be quite a bit of money. But for an event photographer, somebody moving around a lot, these could be really, really handy. So Strobe units, there are some more manual units out there. This old style was called the Potato masher because it looks kind of like a potato masher handle out there. And they were known as nice, powerful flashes that have a good kick. And wedding photographers had those for a long time, and I still see him. I don't There must be a prop house in Hollywood because in a lot of the movies they have news reporters in kind of these people that clearly aren't photographers, but they're posing as a used this, but they are very powerful. As for us, a handheld device. When we get into the studio, we have model lights, which our lights and power units all built in. And this is kind of nice because it's just one unit. You plug it into the wall or battery pack, and it's got everything you need in there. The more serious photographers will have flash heads, and then they'll be plugged into the power source, a power pack or a generator. And this is gonna be able to control Mawr and send more power to the slashes. And so these flashes could be really, really powerful. And one of the advantages of these is that they can fire very, very quickly compared to some of the other speed lights, as well as being more powerful so you could shoot, ah, model spinning and address at a very fast shutter speed and having just a lot of light on them. So the flash is happening in just 1/1000 of a second for freezing motion. And so one of the things that these companies air going for is the fastest flash think that they can get. And then there's a lot of other things that we're not gonna get into really in this class. But there are ring lights, so that you can actually shoot straight through the lights. You have really a seamless shadow. This area if you're doing a close up face portrait.
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Full-length class: Fundamentals of Photography with John Greengo
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As a photographer, you will need to master the technical basics of the camera and form an understanding of the kind of equipment you need. The Fundamentals of Digital Photography will also teach something even more important (and crucial for success) - how to bring your creative vision to fruition.
Taught by seasoned photographer John Greengo, the Fundamentals of Digital Photography places emphasis on quality visuals and experiential learning. In this course, you’ll learn:
- How to bring together the elements of manual mode to create an evocative image: shutter speed, aperture, and image composition.
- How to choose the right gear, and develop efficient workflow.
- How to recognize and take advantage of beautiful natural light.
John will teach you to step back from your images and think critically about your motivations, process, and ultimate goals for your photography project. You’ll learn to analyze your vision and identify areas for growth. John will also explore the difference between the world seen by the human eye and the world seen by the camera sensor. By forming an awareness of the gap between the two, you will be able to use your equipment to its greatest potential.