Lighting 101

Lesson 50 of 65

Filling and Refining Existing Light

 

Lighting 101

Lesson 50 of 65

Filling and Refining Existing Light

 

Lesson Info

Filling and Refining Existing Light

In this video, we're getting into phil and refining bounce now what's interesting is that these types of lighting setups that what we're doing in these videos is far less dramatic than the other shots, but I actually feel like the difficulty level of phil and refining bounce is much more difficult than dramatic light. Why? Because dramatic light it's simple you simply going to a scene you just overpower you go to a scene, you just go full power in your flash and you start firing away and balance and overpower like great dramatic awesome refining or adding phil or these small changes to modify color, to modify direction to modify the amount and quality. These are the things that in my book are more difficult because they take a little more experience to understand and to see and it takes a little more of a softer hand to know that hay for the look I'm going for, I don't need full power, I don't need, you know even close to that I just need a small kiss of light anything that requires a ...

small kiss well, that's a more difficult technique. All right, let's talk to these so the primary tips that a soft fill it could be used to refine the quality or the direction of existing light, so we're kind of going to do all of these in these three examples number two also lighting from the same direction is existing light if you want to amplify is a fantastic tool it's actually what we're doing in this shot right here we're actually just simply adding to the existing direction of light and ramping it up with our flash number three justice before exposed first for the background analyze your subject and then add the light afterwards okay let's start over here now with the gear list again of course on lee, some of these things are going apply to each one, so just feel free to take a look at the gear listen, you consign what you need in each one of these scenes were you certain things I'll talk through each of the gear that we used for each one? Yeah, there we go okay, so start with the top left. This was an actual engagement session that we did with this couple and they want to do kind of like a saturday mid afternoon lifestyle session where it's something that they might do on a saturday might get together they're going to cook, they're gonna enjoy like a nice little brunch together before going out with the puppies and so forth, so we're literally shooting to mimic there a typical day and I love these types of session because the end of being very natural and very just light and candid and they're really fun to shoot so as you can imagine as faras the lighting goes, I want to have a light that matches back kind of emotion, fun, natural, candid if I shoot this and overpower this entire scene and I just have this little spot light right on them and super dramatic it's gonna look really strange it's not gonna look like it fits what they're doing. Instead, I walked in the scene, I took this first shot, okay? So I just took this first shot, I looked at it and, uh and basically we'll show a couple other images too, but basically we have here is the top left images that on a fifty millimeter, one point two l lens again, any familiar will work, but we're one two hundred second f two and four hundred. What I end of noticing is that the ambulance good is coming through the window and everything but it's kind of a little bit lacking in color and justin quality the color of it is a little bit more on the green side because it's kind of bouncing off their walls and all the other stuff that they have in their house, which has a slight green tint to it, and so it doesn't have the cleanest look to the overall color and also as faras the brightness and just contrast everything is just a little bit lacking so what do we do? I think okay, I just need a soft amount of light just a soft amount of phil flash just to kick up the color a little bit kind of clean it up a little bit and get a writer overall. Look, I want to shoot this scene to essentially be what I refer to as pure white or hai ke wantto look bright and look, harry not blown out just bright so on camera, right? I set up a stand with a wide over silver okay, set up relatively high. All I do is just aim my flash right over to that side I dialed a zoom in tow one o five and I just bounce off and we're bouncing in an extremely soft amount, okay, keeping the cameras the same, we're bouncing it around one eighth toe, one sixteenth power or even less we're just adding a subtle kiss of light what that light does immediately it just clean up the overall look in the shot it cleans up the color, cleans it like is more pop to the image and it looks fantastic and I love it, okay? And then we just go through and shoot that exact same way throughout this entire scene, slightly moving the reflector based on my position based on what we were doing at that point amy's number two now this top image is just natural light. So how is the shot was on the eighty five millimeter? What one want to mark too? And this is at one hundred second f two and fifty once again, there is nothing wrong with this first shot. Stylistically, it looks great it's a nice natural light shot it's has a great feel to it, and I dig it. The only thing is that it lacks direction of lighting, so sometimes I like to add a bit of a kiss of direction, like right now, it's just kind of flatly lit, but it still looks good and it's still totally acceptable, but I knew I wanted to add just a little bit of flashed a little kiss a flash again just to kick it up a little bit haddon amplify a little more, catch light and so forth. So what I do again? White over silla reflector displaced off to camera left we're shooting fairly tight honor and with the same settings one hundred seconds, one, two hundred a second f two and fifty bouncing around one quarter toe wanted power and based on the power of the flash right there, I'm pretty sure that we did have the five stop andy filter on because that would've been way too much if we didn't have the five stop idea from this we get this nice we basically just modified we've refined the direction of light we've added a direction of light to the shot and we get this beautiful catch lights were very soft light that white diffused light looks fantastic no additional work done this is the shot over here the top event once again in the desert here we're in the eighty five one went to l a mark two again we're one one sixth of a second at one point two is a one hundred we're with the five stop nd filter what we've done here we've added a silver reflector that's catching the sunlight and it's getting close to around sunset right now so we're catching sunlight it's still fairly bright but it's kind of orange too we're also cutting off the life in the background is by screaming her from the back so I have a reflector behind screaming the light from the back so we have no light coming in from the back are not no light but it's basically just blocked or essentially just dim down we have no direct light from the back from the front we have that silver adding light into her face at one point two is a one hundred and one one sixth of a second this is the shot that I get now is a little bit dark and also the light doesn't quite wrap the way I wanted to so but everything else about it I love it looks really fantastic, but the thing is that I don't want to raise my eyes so I saw one hundred would have the best image quality possible for this image also don't want to change my appetite because I mean I'm at one point too I can't allow any more light in I don't want to change my shutter speaks not one one sixth of a second on the eighty five and make sure his tax sharps I have as much detail as possible so what do I do? Power the flash sun is setting okay so it's not completely set but that leased the light that we're getting from the sun is no longer that fifty five hundred degree kelvin light so I put a gel into the flash we put a gel right on the flash head and with that cpo jail I balance in the reflector so it's matching the same light that's coming from the sun and then going into her now we get a beautiful soft wrap around her, we brightened up everything we amplify I kind of like going into eyes essentially all we've done is we've added a refining light that amplifies existing light the existing like being that silver reflector that were adding in sunlight now we're just boosting that up more with more power with the flash so another great use of it. If you're kind of locked in terms of settings and you can't get additional light, add light with the same direction, the same everything, just by matching the direction of existing light and then pumping more light into it, and it works fantastically in virtually any situation. All right, so that's it here. So for each of these shots, you know, for here, we're actually using a stand in the other places. We actually had things held, just decide most of time, we're going wide over silver for all these. I think, actually, except for this one might have been just silver. I think this one is just over this one, just silver. Everything else was white over silver. That's it for this video. Let's. Go ahead and move to the next one now.

Class Description


Lighting 101 follows in Photography 101's footsteps. Photography 101 takes students up through Manual Mode mastery and provides a foundation in natural light techniques and modifications. Lighting 101 picks up by teaching all about flash and light modification. But, just like Photography 101, we want Lighting 101 to be the most accessible lighting course available. So we teach you everything about flash lighting, light modification, ambient to flash balance, lighting patterns, off-camera lighting and even multi-point off-camera light setups. But, what makes Lighting 101 truly special is that we do all of this with nothing but your on-camera hot shoe flash. Every image shown and created in this course was created with a DSLR and just a single on-camera hot shoe speed light. 

Lessons

  1. Chapter 1 Introduction
  2. Why Just One On-Camera Flash
  3. 5 Reasons to Use Flash
  4. Common Flash Myths
  5. What Makes Flash Challenging?
  6. Chapter 2 Introduction
  7. Flash-Strobe vs. Ambient-Constant Light
  8. Flash vs. Ambient Light Exposure
  9. Flash vs. Ambient Demo
  10. Flash and Ambient Balancing for Natural Effect
  11. Flash and Ambient Balancing for Dramatic Effect
  12. Flash and Ambient Balancing for Creative Effect
  13. Understanding Flash Duration
  14. Chapter 3 Introduction
  15. 5 Common Key Light Patterns
  16. 5 Common Key Light Patterns w/ Diffusion & Fill
  17. 5 Common Secondary Light Patterns
  18. 3 Primary Subject Patterns
  19. Light Qualities
  20. The Inverse Square Law
  21. Inverse Square Law in Practice
  22. Corrective White Balance
  23. Creative White Balance
  24. Chapter 4 Introduction
  25. On Board vs. Hot Shoe Flash
  26. Full Feature vs. Manual Flashes
  27. TTL vs. Manual Control
  28. TTL vs. Manual Recycle Times
  29. Flash Power & Zoom
  30. HHS vs. ND Filters
  31. FCS vs. RCS
  32. Chapter 5 Introduction
  33. 4 Tips When You Must Use Direct Flash
  34. Bare Bulbing Done Right
  35. Grid Snoot + Direct Flash
  36. Mini Beauty + Direct Flash
  37. Ring + Direct Flash
  38. Understanding Modifiers
  39. Direct Flash + Shutter Flash
  40. Chapter 6 Introduction
  41. Ambient vs. Direct Flash vs. Bounce Flash
  42. Silver Bounce
  43. More Light Silver
  44. Soft White Bounce
  45. Overhead Bounce
  46. Overhead Bounce + Fill
  47. Event Bounce
  48. Chapter 7 Introduction
  49. Natural vs. Dramatic Light
  50. Filling and Refining Existing Light
  51. Coloring Light for Corrective Effect
  52. Coloring Light for Creative Effect
  53. Chapter 8 Introduction
  54. Case Study 1 - Dramatic Sunset
  55. Case Study 2 - Desert Sunset
  56. Case Study 3 - Sinister Headshot
  57. Case Study 4 - Family Portrait
  58. Case Study 5 - Athlete Portraits
  59. Case Study 6 - Working Angles
  60. Case Study 7 - Drag + Composite
  61. Case Study 8 - Less is More
  62. The Good Karma Jar
  63. Favorite Feature Flashes
  64. Favorite Manual Flashes
  65. Favorite On Camera Flash Modifiers

Reviews

Sid
 

The best class for understanding light and lighting there is bar none. Pye is an excellent teacher and the quality of the material provides for a rich and very informative experience. Pye breaks down the fundamentals in easy to digest packets and then elaborates as needed. If there is one class that you watch this is it! Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. Again, and can't say it enough, this is THE BEST video to lighting on Creative Live. A must watch for the novice and the expert.

George Gan
 

Pye...it was well worth your b.tt...Great training. I have learned some key lighting techniques from this training. His voice and training is clear except for his attempt at making jokes and singing...you should hire a new script writer for your Jokes...ha ha ha ha. With that said, if you are not a professional in lighting, you do gain a lot going through this training from front to end. Remember this is lighting 101 so don't expect too much...you want more technical and complexity, wait for Lighting 201, 301 or 401 ...

user-cf400f
 

AMAZING course. Great information for people just starting out with using a flash and manipulating light. Pye has a great sense of humor so he keeps you interested but still explains everything really well.