Skip to main content

Flash and Ambient Balancing for Dramatic Effect

Lesson 11 from: Lighting 101

SLR Lounge, Pye Jirsa

Flash and Ambient Balancing for Dramatic Effect

Lesson 11 from: Lighting 101

SLR Lounge, Pye Jirsa

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

11. Flash and Ambient Balancing for Dramatic Effect

Lessons

Class Trailer
1

Chapter 1 Introduction

01:26
2

Why Just One On-Camera Flash

04:22
3

5 Reasons to Use Flash

10:37
4

Common Flash Myths

06:51
5

What Makes Flash Challenging?

04:56
6

Chapter 2 Introduction

01:36
7

Flash-Strobe vs. Ambient-Constant Light

08:19
8

Flash vs. Ambient Light Exposure

03:07
9

Flash vs. Ambient Demo

06:42
10

Flash and Ambient Balancing for Natural Effect

07:11
11

Flash and Ambient Balancing for Dramatic Effect

04:19
12

Flash and Ambient Balancing for Creative Effect

07:10
13

Understanding Flash Duration

08:37
14

Chapter 3 Introduction

01:34
15

5 Common Key Light Patterns

08:38
16

5 Common Key Light Patterns w/ Diffusion & Fill

07:42
17

5 Common Secondary Light Patterns

08:28
18

3 Primary Subject Patterns

05:27
19

Light Qualities

09:56
20

The Inverse Square Law

07:50
21

Inverse Square Law in Practice

08:21
22

Corrective White Balance

10:02
23

Creative White Balance

05:47
24

Chapter 4 Introduction

01:58
25

On Board vs. Hot Shoe Flash

05:57
26

Full Feature vs. Manual Flashes

08:59
27

TTL vs. Manual Control

08:12
28

TTL vs. Manual Recycle Times

04:43
29

Flash Power & Zoom

09:18
30

HHS vs. ND Filters

12:29
31

FCS vs. RCS

07:11
32

Chapter 5 Introduction

01:38
33

4 Tips When You Must Use Direct Flash

06:00
34

Bare Bulbing Done Right

11:42
35

Grid Snoot + Direct Flash

06:43
36

Mini Beauty + Direct Flash

06:08
37

Ring + Direct Flash

07:52
38

Understanding Modifiers

09:24
39

Direct Flash + Shutter Flash

09:07
40

Chapter 6 Introduction

01:55
41

Ambient vs. Direct Flash vs. Bounce Flash

14:27
42

Silver Bounce

14:27
43

More Light Silver

11:02
44

Soft White Bounce

15:41
45

Overhead Bounce

11:39
46

Overhead Bounce + Fill

09:42
47

Event Bounce

12:42
48

Chapter 7 Introduction

01:38
49

Natural vs. Dramatic Light

17:43
50

Filling and Refining Existing Light

08:44
51

Coloring Light for Corrective Effect

13:33
52

Coloring Light for Creative Effect

10:27
53

Chapter 8 Introduction

00:43
54

Case Study 1 - Dramatic Sunset

09:45
55

Case Study 2 - Desert Sunset

10:04
56

Case Study 3 - Sinister Headshot

09:40
57

Case Study 4 - Family Portrait

08:21
58

Case Study 5 - Athlete Portraits

11:19
59

Case Study 6 - Working Angles

07:22
60

Case Study 7 - Drag + Composite

08:09
61

Case Study 8 - Less is More

07:16
62

The Good Karma Jar

01:41
63

Favorite Feature Flashes

05:52
64

Favorite Manual Flashes

21:35
65

Favorite On Camera Flash Modifiers

21:21

Lesson Info

Flash and Ambient Balancing for Dramatic Effect

In that last video, we talked about flash and ambient light balancing for a natural effect, and for that we're exposing and being like to be brighter, and we're using less flash power, so we're being more subtle with the flash let's move on now, let's, talk about flash and ami unbalancing for a dramatic effect on our images. Well, basically, it's the exact opposite. So on this little scale, what we're doing is we're darkening down our ambient light and we're brightening up the flash power, okay? So we're using more flash and we're basically under exposing the ambient light, so we get kind of a darker and more dramatic look in the background. That's exactly what we see in these images. So take a look. Let's, talk to these images over here on the left side, we have our this is like our sinister headshot portrait where we wanted to get this kind of mme or just dark look to this image because our lovely model here, matt he's, actually an actor, and he recently played the part of scar from ...

lion king. We'll talk about this more later on, but he mentioned that he wanted to have kind of a dark cinematic portrait headshot. So what we did was they put him in this area where we could actually darkened down environment we're under a bridge we shot at one thirtieth of a second at f one point six and so two hundred that gives us our ambient light exposure we look at that we say ok that the background looks great that little kiss of life on the left side looks great now all we need to do is at our flash well because they want a more dramatic look I shot rembrandt and split lead but we shot that way so it has a very dramatic and kind of dark biba has a lot of shadow which gives a lot of dimension to that kind of duality that that kind of split personality that evil versus good typing now you can see that this image looks far more dramatic and it looks kind of like there's definitely light modification there's definitely flash added whereas when we look at some of the previous images like for example if we look over here you really don't know that this is flash you don't really know that this is flashed or that this is flash it looks like we might have had a reflector or looks like just natural light and that's the difference is that over here he's going to feel dramatic they're going to feel more punchy because they're pulling down that background exposure let's look at the next one here we're at one, two hundred of a second at five point six and is a one hundred the sun had just set behind her head again, we'll talk more about the details later on. We're balancing for, uh, cto jail, so we're balancing at thirty, six hundred kelvin so the background looks completely blue. We've darkened it down so it's nice and dark, and we add a lot of flash punch to get her to pop out notice on each one of these scenes before we add flash, the subject is almost pitch black, whereas in the previous line before we added flash, the subject just looks slightly underexposed just a little bit. Okay, so that's, how you know we're going for dramatic effect versace for very soft natural effect because the base exposure leaves the subject basically completely in the dark so with ami and flash, this is again that jailed flashes bouncing off a reflector, a silver side at five point six one eye, so one hundred probably bouncing around one half to one quarter power on this shot to get enough light onto her over here. Same thing we're bouncing. This is one, two hundred a second half to point one hundred. Same thing here. So we get that nice background shot with everyone these situations, we approach it the exact same way we would with the natural set up, we approach the scene, we decide what we want that seem to look like, so I want to look bright and natural in area with the exposure of the background or do I want to look dark? I'll take a test shot and kind of decide what I want then at our decide what I want, the background look like, I'd add my life so again, right here were bouncing off of silver, and we're sending light right in your face, which gives us this beautiful kind of dark and down sunset shots of the sunset over the desert. All right, so flash and amy and balancing for dramatic effect simply means that we're taking the ambient light down were generally going under expose ambient light, so we have lots of color and background detail, and they were taking the flash power, and we're bringing it up that's like up, I think, some of them two thumbs up for dramatic effect. All right, let's, head on in the next video.

Class Materials

Bonus Materials with Purchase

Lighting 101 Slides

Ratings and 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.

Simon Metselaar
 

This is the best thing that happened to me since I've been into photography. What a lifesaver. Unfortunately I already payed for some courses that are not Pye, but Pye just nails it. Amazing, and kind of a life hack. Thanks again :)

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 ...

Student Work

RELATED ARTICLES

Recent

Articles

Recent

Articles

Recent

Articles

Recent

Articles

Recent

Articles

RELATED ARTICLES

Recent

Articles