Lighting 101


Lighting 101


Lesson Info

Flash vs. Ambient Demo

Finally I want to do a flash versus indian exposure demon because I feel like really this point is one of the most difficult to get across when you're first learning flash it's one of the most complicated let's go back for a second that prior slide and just discuss real quick the flash versus ami exposure now over here on the left side we have our annual exposure right this is our constant light this is just the traditional exploded triangle in this circle on the green circle we have shutter speed after and so these are the components that give us our ambulance exposure over here on the right side we have flash power aperture and so because remember the flash fires so quickly that the shutter speed here does not matter whatever the flash power set to whatever aperture and so on the cameras set to and flash powers dialed in on the unit itself while the afternoon eyes that was on your camera that gives you your flash exposure so those are two separate things let's see how they work out n...

ow in this demonstration now what we have here is on the left side we started with just ambient light and the ambulance that we're using is just the light that's coming off of our video lights for the recording purposes now for the exposure setting we're using only ambient light were at one thirty of the second two point eight and sixteen hundred at one thirty second, remember from photography wanna one? You know that's not going to freeze your subject and you can see that here we have tons and tons of motion that we've captured she's completely blurry in a shot below that what I've done here is we sped up the shutter speed toe one, two hundred seconds. This is starting to get to the speed where it's quick enough to begin freezing at least a bit. It's not completely frozen. We probably need to get to one, five hundred or one one thousandth second completely freezer, but at least we have quite a bit more detail so we can see the jump we conceive detail in her face. There's gonna be a little blurred movement. The problem, though, is that we're f two point eight, which is pretty shallow of a deputy field is pretty wide open oven after we're at s o twelve thousand eight hundred. That means that the image quality here is absolutely horrendous. This woman has so much noise that has so many issues going on under that is completely unusable. If we're just left with ami and light on left side, this is kind of our only option, the situation when we can go down to a one point two lens and get our eyes so up. A little bit of bring it down just a little bit but still we're kind of left with that all right so let's now go over to the flash op now this is that one twenty fifth of a second at two point eight and we brought her eyes so down one stop okay so we're s o eight hundred here we're at sixteen hundred now we're flashing at probably around one eighth toe one sixteenth power coming out of the unit interesting she's completely frozen there but why is that again we talked about the flash the flash duration the speed in which this flashes firing we said for the purpose of our example it's assuming it's one ten thousandth of a second that means we get our full exposure within one ten thousandth of a second and so if we're shooting someone that's in action are flash is actually freezing them because if we're exposing for flash then well what happens here is that the flash goes and one ten thousand second inspired has done and that is what freezes the subject regardless of how long the shutter is open so if you look right below this this shot right here was at five seconds okay now this shot five seconds two point eight eight hundred again same flash settings exact same power one eight two one sixteen power depending again if you're going to wreck flasher if you're bouncing here were bouncing off of the flat she's completely frozen. Why? Because the flash duration is so fast the light is entering and stopping so quickly that that's what's freezing her in place. Now, what do we have to do to get this to five seconds? Well, we actually had to cut away all the ambient light. Okay, so this is where we started at one tenth of a second f to a tow missile one hundred. This is basically where our video light was exposing. Okay, so we turn off the video light. We were able to get it down to five seconds at two point eight hundred. You notice that it's almost pitch black. The light that were actually picking up was off of a little heater. Ok, it's, the red light coming off of a tiny bit of heater and it's enough life that five seconds shutter speed, isolate hundred. We get a little bit of ambient light there. If we were to shoot it with that ammu light, we would have a little bit of red streaking from the ambient light that would be exposed during that shutter speed. We cut that light away, we remove that light, we just unplugged it and then at five seconds of two point eight and so a hundred we have no ambient light, okay, so here there is no annual I whatsoever so when that flash fires, this was the on ly light president a scene and because it fired at one ten thousandth of a second or so, olivia is one hundred percent frozen, its attack sharp image and, well, we had the shutter open for five entire seconds. So what I'm hoping is that you guys understand that your shutter speed is only going to dictate the amount of ambient light, the amount of constant light that's coming into the lens, not the amount of flashlight, and if all you have, if you have no ambient light whatsoever, this is the only life semi present, and if this is the only way that's president, essentially the speed or the shutter speed that the wraith and you're capturing motion is going to be equivalent to the flash duration, which we said it was for example, one ten thousandth of a second we'll discuss last oration in more detail because it's not actually always one two thousand second that actually varies. So what? I want you to come away with that this point is to understand that you have two parts of your exposure. When you're dealing with flash, you're dealing with two parts, you're dealing with your ambient light, what the scene looks like without flash, and for that you're gonna use your shutter speed, your capture and your risotto dial that in and then you're dealing with what you want your flash do in that scene. And for that, you would deal with your flash power, your zoom and whatever modifier you. All you do is combine into at that point to get to basically a balance between ambient light and flash. That works for your particular shot. Now we're going to is going to go through some demonstration in just a moment in the next videos to talk about this balancing effect. And we're going to talk about you for some creative effect that you could do by using and mixing ambient versus flashlight. So let's, go ahead and move those videos 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. 


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