Skip to main content

Lighting 101

Lesson 37 of 65

Ring + Direct Flash

 

Lighting 101

Lesson 37 of 65

Ring + Direct Flash

 

Lesson Info

Ring + Direct Flash

another fantastic direct flash modifier, which is one of my favorites, especially for studio use, is the ring flash. Now this is the Expo imaging ray flash, too, and it's a fantastic light modifier for on camera flash to turn that on camera flash essentially into a ring flash. This is fairly inexpensive compared to most ring flashes. Now this is about 140 bucks. There's also a budget version of this. If you go to D. I. Y photography dot net, I think for 25 bucks or so, they have a D I Y cardboard ring flash, which will get you a ring flash type. Look, I wouldn't ever take it in. Show it in front of client or anything. This is actually something you can use professionally, even using from clients, and it looks nice, and it's far less expensive than a traditional ring flash. If you already have a hot shoe flash, that is because you do require hot shoe flash before you can actually use this guy. Traditional ring flashes, I think, in range 5 to $600. But this ring flash look is it's a very...

distinctive look for two reasons. Number one The catch like that it creates in your eyes. It creates this ring type catch light. And because it comes directly from the lens itself, I'm gonna show you had a mountain. I'll show you exactly where it comes from and how it looks because it comes from that angle. It creates a very unique, even shadow across the body. Basically. So you get this nice shadow halo. So here we look at the bearable effect on this side and in the ring flash it back. You can see especially like on this more close up shot. You can see this little shadow halo that's gonna go around her entire body. Okay, so especially here as well, you can see right there see it along the shadow side. So this is a very distinctive look that's created by Onley A ring flash. Let's we had to put this guy on. So I have just my standard camera and ah, hot shoe flash mounted right now, we don't need the bracket in this case because you actually need this right next to the lens. We're going to just aim the flash head down and I'm gonna go ahead and take the hood off. And you know what? Before I put the flash it down, one very important thing that I oftentimes forget This little guy comes with a rubber band. It's kind of like rubber bands like this little rubber circular. Do not throw it away. It's not for good looks, it's not because it's just an extra part They thought you might need a rubber band to, I don't know, tie your hair together something this is actually to go underneath the flash itself. Because when you're putting this ring flash on, it's actually gonna way down the flash head a little bit. So what you do is you put this down right into this little slot, and now when you bring it down and kind of hits that little thing, and doesn't it prevents it from gave basically drooping. Okay, so once this is on, all you're gonna do is just grab your ring flash. You're gonna open up this side of it. I took the hood off just so it doesn't like constantly being against the bottom of this thing. You place this over and then you make sure that this is the right length you can pull it out just a little bit where it goes directly over the lens and from here, if you want, you can reattach your hood. If you're worried about light spill from other sources, then you can put the hood on. If you're working indoors and it's dark, you don't really need necessarily the hood on because the lights all coming from behind the lens anyway. But you can see that the light now comes directly from where the lenses that so you get this beautiful ring shadow effect around the entire body. You have this great catch light. Look at the caps like that. You get especial on your shooting closer. The catch light opens up, it becomes even larger as you get closer to your subject. So this is that ring flash. Look, now let's go over some primary tips here. Number one, make sure that the ring flash is placed correctly. If you don't have the band on, this is gonna droop down, okay? And it's gonna flash kind of down, and you have to constantly hold it up. So make sure you have the band on. Otherwise your basic gonna be losing light, it's going spilling to the wrong area. You're not gonna get the right effect. Okay, so likelihood of red eye is also increased. Why? Because now our flashes coming from directly behind the lens, which means that it's gonna enter the pupil of the eye and it's going to refract around all those blood vessels and come out red, Which means more likely than not, you are gonna get some red eye with a modifier like this because coming from the same angle of the lens, but red eyes pretty easy fix. It's just one of those things that you will have to fix. Ring flashes that modified direct flash like the ray flash tend to have a heavier shadow on one side. Let me show you exactly why. So, with the ray flashes basically channeling the light down from the flash head and into this little ring area and goes around now what ends up happening and this is kind of more pronounced when you're shooting portrait aspect ratio is that the light that's entering from here is gonna be a little bit brighter than the light that's entering, or the light that's coming out from this side. Why? Because of same thing. Inverse square law. Rumor like coming from this side will be a bit brighter on this side because this is closer to the flash head. It's closer. The light source. What ends up happening is that on one side of the model, you can kind of tend to get a little bit heavier of a shadow. So if you look on this side, we still have a little bit of shadow around this left edge, but that shadows more pronounced on the right side with any modifier that modifies your hot shoe flash like this, you're gonna get that just because part of it is going to close to the flash head than the other side. So if you want, If you use this effect a ton and you wanna have a fantastic ring flash, you can get a dedicated ring flash now dedicated standalone ring flash. They provide a better and more consistent look because basically, the light is placed all around this center area. So everywhere from one side to the other is all even. But they're going to set you back quite a bit of money. They're going to set you back probably 500 bucks for a basic unit, and they get even more expensive. But if you do shoot a lot with it might be worth investing in. Okay, Number five for this particular set of images, what we did actually for this shot and for this shot, you can see that her hair's kind of blowing back a bit. So we added a fan for a limited production. It's actually not a fan. It is a gigantic leaf blower that were using because we have it around the office, so why not use it? But if you don't have a leaf blower or you don't want to buy a leaf blower, you don't need to just get a reflector and you can actually do the same thing. Just hold a reflector like a five and one and just kind of laughed it back and forth, and you get that cool looking the hair. So we got a hair to kind of tip back and kind of be flowing like that with that fan. But you could do the same with reflector from there. All we're doing is moving in and out. You'll notice that in this shot, because we're shooting landscape aspect ratio we get a really nice light, and we get that even shadow across both sides because we're not tipping toe one side or the other. So I would say that if you are using the ray flash and you want to make sure that you have that perfect edge of light all the way around the body, then make sure that you're shooting landscape asset ratio. Otherwise, stand back a little bit further and then go with the portrait and you'll get a little bit better effect than if you get too close. Okay, so you can see the overall look once again. What is the light doing in comparison to bare bulb? Well, we talked about the shadow that it's creating. We talked about because of basically where the lights coming from. You're gonna have a little bit different effects there. But also just think about this. The light it looks like. Basically, it's the same type of light source as a flash right. We have silver background, and it's basically silver direct light that's coming out of it, so it's gonna be non diffused. It's gonna be a very speculative light that's coming off of it, but it's larger. So the surface area of this, compared to your flash head, is much, much bigger. That means it's gonna be a software type of lights going team, or even is gonna be kind of it will be speculative, but it will be a little bit softer all around. And that's what we see with a softer shadow transition everywhere. So the shadow transition from areas of light to dark is much softer than with a direct flash again, just trying to help you all toe understand what these light modifies gonna do just by looking at it just by kind of thinking through logically, based on the size based on the material used inside, whether it's silver reflective, whether it's Matt, and so far we guess exactly what is gonna dio

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.

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 ...