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Inverse Square Law in Practice

 

Lighting 101

 

Lesson Info

Inverse Square Law in Practice

It isn't my favorite slide inverse square pie man kind of like pac man but I'm pie. You get it? Okay, you will get in just a second. This lovely rhea world demonstration or kind of early my world demonstration gives you an example of inverse square law in breakfast. This isn't really good practice, but it does show you an example. We have the light placed over here on the left side. Okay, these are all different frames. And basically here, where one foot two feet, three feet, four feet five feet six feet away from the life let's say that at one foot we're getting one hundred percent of the desired light that we want when we set away to two feet, you're gonna notice that I'm far darker then this shot right here this shot I mean is virtually on the edge of being blown out. This shot is like one quarter, not like one quarter that is one quarter of the intensity of this shot. As we step away, you can see me getting darker and darker and darker. Now the interesting to note is that the diffe...

rence mean one foot and let's say three feet is extremely dramatic in brightness, okay that's a huge difference there, but there's protein, five feet and even seven feet is a very small difference it's much smaller then that initial different. So what we're essentially learning is that the further that we get from the light source, the light is now falling off at a much slower pace than up close to that light source. Okay, so we've seen it in pies world let's see another ria world demonstration featuring creepy joseph. Okay, so what are we doing here? Well, inverse square line practice and granted, he wouldn't take a crappy photo like this in practice. This is just because I want to show you all a creepy, crappy photo, but in this shot right here, what we've done is we basically placed the flash right to the left side of olivia's face. Joe's distance is roughly one foot from olivia olivia's distances roughly one foot from the flash and this makes joe's distance for the last double what olivia's is. So if you look at olivia she's nice, bright and properly exposed, if you'll get joe he's about three four stops underexposed ok, especially when you start getting to the other side of his face, he gets even darker. Now. Joe happened to kind of creep into her a little bit too close on this one, but this is where the flash is basically four feet from the model. Now what we've done here is, all we're doing is we're adjusting up the flash power every time we take a step away, we have to adjust the flash power up to compensate, because now the distance of the flash to the subjects is much further. But look in this one, joe was basically double the distance of olivia from that flash. Where is on this side? Jos now on ly one foot further than olivia so olivia's four feet from the flash and joe is five feet, so you'll notice that the fall off is much less dramatic. Joe is actually much more similar and exposure to olivia. Here we move the flash eight feet away, we powered the flash up higher a little bit more and again. Joe is a creepy six inches away from olivia's face and she's enjoying it, she's loving this whole thing, by the way. But here joe's, roughly nine feet from the flash and olivia's roughly eight feet so you can see the exposure's equal out. We're having to go more flash power, but the further we get from the light source, basically the further the group is in, the more similar their relative distances so now olivia's only eight feet joe's nine feet and we get roughly the same light. So when we're lighting a large group let's say the group is ten feet wide, I might need the flash maybe twenty, thirty feet away, depending again on the angle of that light from the group to be able to get everybody roughly the same brightness and there's other techniques too this too that will cover in lighting to one and three when we take the camera won't take the flash off the camera now before we conclude this crazy crap tastic lot has been made way too complex the inverse square law let me give you four simple takeaways number one the inverse square law still applies to individuals, meaning if I'm shooting a lovely model, whether it be a guy or a girl let's assume that it's olivia in this instance in this shot, I've placed that light so close to olivia's head that if I'm shooting olivia full length, her head is gonna be so much brighter from the rest of your body and you can actually see that the flash is right here and you can even see by the time it reaches her chest. I'm only getting twenty thirty percent of the amount of light as I was on her face, so if I place a light modifier super close to somebody it's going to still have the same effect, even if I'm just shooting them individually versus as a group remember, if I want equal light across an entire part of the body, then that light needs to be roughly equal distance from the entire body, from head to toe. Okay, number two, the more people you have in a shot? Well, in general, it means the more distance you want tohave, so the larger the group simply move the light away a bit further to get even lie on everybody, and that means you're going to need to power up the light remember that you're losing more light than you think you are every time you double the distance, you quarter the flash power that you have remaining okay, so doubling the distance means twenty five percent the power number three the basic rule of thumb when you're trying to light a group of individuals, let's say, a group of ten people is is each ten person is each person is each ten person kind of english that is, each person in this ten person group are they each roughly the same distance from my light source, not my life sources fifteen feet, twenty feet away, then a difference of likes a one a two feet between, you know that relative distance isn't really going to make too big of a difference, but if we're talking about twenty feet from the light on one side versus ten feet from the light on the other side yes, you're gonna get twenty five per cent of light on that side and you get one hundred percent of your life on the other side. Okay, so just remember is everybody roughly the same distance from the life source number four is the more dramatic the angle of the flash, the mohr distance that you need to have the same relative distance and everyone in the group and here's what that means all this means is it my flash is directly on top of my camera, which, again, this really depends on what tools you have with you and what kind of you know what you have blisters sam using direct flash on a group of fifteen people from standing ten feet away than my distance to all fifteen people is roughly the same. It might differ by legs say six inches to a foot or so as that direct flashes on my camera and it goes out to each person in the group very little difference. I'll get roughly the same out of brightness on every person from that angle, but as soon as I take that flash off the camera and I'm let's say I don't even need to remove the flash on the camera could be bouncing from a reflector or whatever it is assumed I moved the primary light source away from the camera it's becoming more dramatic, right? We're getting more shadows now that light is going to be favoring one side of the group far more dramatically than the other side. So assuming that lights at an angle, the group that's on this side is now going to be probably, well, far closer, maybe ten feet from the flash. Where's, the group on this side is going to be twenty feet from the flash, so the more dramatic, the angle of the flash to the group, the more distance you need, the greater the distance. You gotta pull back even further to get an equal light from right to left. So that's why, when doing a group shot a lot of times, they'll place lights on both side. They'll cross lighter so everybody has even light, or they simply shoot group shot with an individual light in each portion, the group and that's, something that we might do in lighting to one and lighting three also advanced techniques for shooting large groups with off camera flash. All right, so at this point, I know all of you have absolutely mastered the inverse square law, and you understand, you can explain it to anybody who asks, and you'll be like, look, did this was totally so much more simple than everybody else explains it out to be here, this that's, what I want you to do. I want to stay with that. Same, like exact tone and accident. Everything like that. Let's, go the next video.

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

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