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Mini Beauty + Direct Flash

Lesson 36 from: Lighting 101

SLR Lounge, Pye Jirsa

Mini Beauty + Direct Flash

Lesson 36 from: Lighting 101

SLR Lounge, Pye Jirsa

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Lesson Info

36. Mini Beauty + Direct Flash

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

Mini Beauty + Direct Flash

All right, we're taking that same direct flash shot with yoko and now we're going to modify in this video with a mini beauty or basically kind of modifiers that we would classify has a mini beauty dish starting with the actual many beauty dish this the inter fits truby all right, this little guy's like twenty five bucks super inexpensive light modifier it's also quite cheaply made I mean, it works totally fine, but one thing remember is that you always want to make sure this silver thing is over the flashing let me show you how to use this we're going to do is take our flash again, we still have the bracket we still want the light coming top to bottom, especially when we're shooting portrait aspect ratio I do is apply this I have a little bit of velcro on the top of my flash head just so that it sticks a little better sometimes when you're shooting, though, this little kind of balance can actually rotate a little bit, so just make sure that it stays in front of the flash because you wa...

nt the flash light toe actually bounce off the back this and then spread around this diffusion this little white diffusion and then ongoing your subject now in talking and studying modifiers can you guys guess what does this modifier going to do when compared to that basic direct flash well, we could see number one that this is larger than the flash head is probably like three or four times larger in the flash head. So it is going to soften up the light in the shadows just a little bit. We can all see that were bouncing off the silver and into white so that white is probably gonna defuse the light just a little bit it's not going to be as speculator. So in comparison to direct flash that's what we can expect to see, we could expect to see a softer edge along the shadows and we could expect to see a little bit more of diffused light. So any modifier that would do this, we would classify in this many beauty. Now, this is a nice little modifier for the money it's a great budget modifier. But it really only has this one use as faras. This goes my favorite in this category is the f super flash disk because this around fifty bucks now is double the price of this guy. Now, first thing let's compare the size of the stopper flashed this to this miniature stroh be dish thinking. Okay, so we have roughly two to three times probably surface area as this guy, which means that it's gonna be a softer light also when talking about kind of the versatility of this guy on the back side of the flashes, we have that great card so we can get, you know, a nice little white balance of whatever seen they were shooting in weaken full this up so it stays quite small in miniature and has little pocket. You can put the gun literally stick this inside of your pocket. But if it's really anywhere in the bag where's this guy's going to be a little bit bigger, it doesn't fold up and so forth. So for the light quality and for the usage and kind of the portability of it, I would go with this guy. But for this shot, we use our little impact. Stroh be actually, I think it's called the strobe rose strabo screw grows. I think you better come up with names, such crazy names for stuff let's talk about basically how we shot and go through a primary. Tips for this section of the larger the modifier, the softer and the more fuse that light is going to be, especially with the white inside. But the soft with light, large the modifier, the more diffuse the light, the more power that we're going to need. So remember, if you are shooting manual, you need to power up in this instance. With this modifier, we did have a little bit of an issue at certain times with the tt l functioning correctly, so if you do have issues with the time a lot of fire again, go to manual, but with tio, we're dialing up the exploder conversation just a little bit or you can shoot in manual. I think you'd probably around like one sixteenth flash power one eight flat power again, depending on what camera settings you're using. So for this as well, we have the flash above the camera that's still applies. We're still doing the same things we want to make sure that we're shooting portrait aspect ratio the camera is still on our brackets of the flashes above the lens. All right now for our settings we have are eighty five mil it's the same thing across the board this time though, went from I think f to r two point eight we drop down to one point two and two hundred. Now what this allows to do is create a very soft kind of fall off again from that shark, especially when we get close. You can see that at one point two we have this great focus on her I great folks are here and that hair just kind of falls out of focus and it looks really kind of cool, especially without direct flash look but look at the difference here. I want you to see this. And probably the best example of the difference is between well, these two shots. But look at this. This is the many beauty on the right and on the bottom this is bearable on the left. So the bearable we have that hard ed shadow, which looks great again, it's. Just a different stylistic look, but look it over here on the right, look at the shadow behind her. How it's soft it is it's, very subtle, innit, almost is getting close to looking like, uh, like a ring flash getting close to that area. But this is a beauty, but compared this now to this, and you can see exactly the shadows still coming from the exact same place that still coming top down. But look at how much softer the shadow transition is along the wall. Look at how much brighter that dark area shadow is. So it has this beautiful effect of basically diffusing the level of mohr and softening opening up the size of light, so that that transition from shadow two bright areas is much more subtle and those shadows themselves are much more subtle as well. We can still tell us direct flash, though, because if you look underneath the chin in all these instances, we still have that kind of strong edge underneath the chin there, but again, it's, not a strong as the first shot, and you can see that on her face, it looks more diffused. The highlights are more spread in this more evenly diffuse across the face. So this is a really cool, direct flash modifier, and just remember that anything that's roughly like this is going to do something very similar. The f stop, our flash disk is going to something very similar. Again. We're going to be using this quite a bit, not only in this workshop, but also when we get to lighting to one and more so he s never flash disk, because it's very versatile, especially with off camera flash. So hopefully all enjoyed this little modification. Let's. Go ahead and move to the next video now.

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

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