So everything I did in this instance with loki okay darker more dramatic when we come back everything I'm going to do is going to be high key so on white bright backgrounds very glowing we're going to bounce light a lot we're going to use a lot of reflectors so this was much more of the dramatic for high impact right that's what we talked about so lots of tight grids lots of shadows playing with the angles of light and then later we'll use drama because of how much light there is and how glowing that light is would come up here let's finish this out taking questions from folks first of all s dietrich was wondering whether for the sin of foil whether they could just use aluminum foil where does that get too hot no that would get too hot right it's different it's not the same thing um because aluminum foil yet you can cook and bake on but it's it's not it's not the same malleability of it right um this is like if you actually saw it it doesn't just crumple like aluminum foil like you can...
actually shape it so when I turned into the snow in the front when I have this in my studio this nude I have is it's basically a long elephant trunk and then I make it a circle on the end so it's just like a tiny spot aluminum foil wouldn't be the same heat warnings I still don't think it's a good idea maybe they remember it doesn't yeah so like this I mean I can shape I can make it into whatever shape so I wanted to be I don't like that on a kind of everett and about five other people were wondering uh difference between continuous versus stroke when you're looking at these kind of general modifiers and we're giving those these kind of basic tools that you can use create obviously I mean we've got if we can show the monitor we've got a huge variety of looks we achieved with just the same tools does continuous versus strobe does that have any impact and what do your suggestions and thoughts okay, so for continuous lighting the effects of the modifiers have will be the same that's why I was talking about for example the water they called probe pro photo pro daylights they what's one yeah it's exactly fit into a beauty dish exactly I totally great so most times you're right so most of time for continuous lights they don't have these same modifiers and once you get into the ones that are heavily modifiable they're very very expensive exactly uh so I'm assuming at that point you're producing a movie thea other the other car you've got you've got money uh the other part of it is that the reason I like studio strobes if you convey ari the output output a lot more easily. Uh, so if I want those two back room lights to be two stops writer, I just style it up with continuous lights, the want, most of them on the market. Now, I could bring him a little closer. It can turn them all the way on, but that's about it. Most of these lights are going to give you six to nine stop variables for how much power output you khun give, which is a lot.
Ready to capture gorgeously-lit images without expensive gear or complicated lighting setups? Join portrait and fashion photographer Lindsay Adler for an exploration of high impact, low-fuss lighting.
In this course, you’ll learn how to achieve a wide variety of visual styles using basic zoom reflectors, a beauty dish, and a soft box. You’ll explore dozens of possibilities for setups that require three or fewer lights. This one-of-a-kind learning experience will give you the tools you need to create dynamic, beautifully lit images -- without investing in crazy modifiers or breaking the bank buying multiple strobes.
Lindsay will be using Profoto gear during this class.