Lighting 101

Lesson 38 of 65

Understanding Modifiers

 

Lighting 101

Lesson 38 of 65

Understanding Modifiers

 

Lesson Info

Understanding Modifiers

So we're going to take a moment. We'll do a little study break now normally, with a study break, you actually take a break this time. We're taking a break from going over images to study hence study break. I want to get some more of this understanding modifiers thing into your systems don't know what this feels like really nice actually kind of awesome. Ok, on my left hand or in my left hand, I have the this is the inter fit. Str one one zero strobe ese, twelve dollars little reflector thing, but it kind of looks like a bib, actually, like I'd put my head through this, and then my head's not big or small enough to go through there and then on the right side, I have the stopper flash disk. Now, both these, as you saw in my awesome intro, they fold up to be quite small, okay, so they both pulled out to be pretty small, and they both look like they're roughly do the same thing, so maybe I should have both of these? No, not really. You really don't need both of these. Now. What I want to d...

o is help you guys to analyze these two light modifiers kind of off the store shelf before we take them home before we use them. Let me show you how each one of them would be applied to the lens so let's go ahead and uh well let's let's put this guy on I was going to remove my hood so it's a little bit easier to get around this gigantic linz I have the eighty five on right now so I'm gonna do is put this right around that little linz and then if I want to I can put my head back on and this is it now this is how this guy works okay, so if I go ahead and just pop off a little shot right here take a look way power this up so that the flash duration is longer okay yes seeing that awesome now we're going to now is switch slip switch these two things out so let's go ahead and swap them. I wanted to say swap or switch and then I said sweep that's all right, I have all sorts of slips across the course this oh no well, I dropped it ok, I am back hello. Welcome back to pie time. Okay, we're gonna do is put the f supper flash disk on make sure it's not backwards to pull in a little tongue apply over the head and there we go. So with this guy applied now let's go ahead and take a look at what this guy does, okay cool. So just in looking at the way that these two different light modifiers are applied over the flash, we can get an idea of what they're going to do let's study it. First, we have that kind of very similar white diffusion fabric on both of these. Right? We have it on this. We have it on this. But here's one thing with this inter fit strobe ease whatever guy this goes directly over lens and in this covered the flash head. But did you notice how close it was the flash head that distance from the flash head means that really it's not gonna make the light source that much larger. It will provide a little bit of diffusion because it's now going through fabric, but it doesn't increase the size of the light source, which means that I would think before even using this when I got this, I thought, you know, because the way that his position in the flash head it's not really increasing the size of light source, that means that my flash is probably still going to be rather hard. The edge transition, the shadow from the transition from shadows toe highlights is still going to be hard, but it might have a little bit of diffusion, so might be a little bit less speculum. I'm not sure if I really like that. Then when I got this guy, I thought, okay, this is fantastic because now the light is bouncing up and around this silver all around these edges right here and then it's refracting off the center of this and then coming out of this large white modifying a cent. So the difference is, is that we've actually opened up the size of the light source quite a bit. So in studying that, I thought, okay, this will probably give me a much more diffused or soft light, then something like this guy would and when we put into practice that's exactly what we've got. Okay, so what we taking this break for? Because, again, I wantto hammer these points home that you guys can look at a modifier look at the color of it. Is that white? Is that matt? Is it silver? Is it reflective? Is it larger or is it going to enlarge the light source? Or is it placed too close to the flash where it really doesn't make the light source any bigger? And you can guess what it's going to do before you actually have to purchase it, so let's show you guys these two modifiers in practice and by the way, the strobe ease this little guy's, like twelve bucks. This guys fifty bucks. So obviously there's a big difference in price. But, you know, to be honest, I wouldn't really use this unless they were in a pinch or list. I need to bounce, to be honest, it's. Probably a better bounce than anything. We're gonna hold it through this little loop right here and bounced my flash off of it and get a really nice light. So for that, and be really nice. Okay, so let's now talk about the camera settings for this shot. Now, for both of these, what we want to do was basically take a shot with the flash power at full power. Okay, we want to retain all of our detail, the shot, which meant that we had to basically find camera settings and a flash setting that would give us all the detail. We're not going to blow out or clip anything. And that way in postproduction. What we could do is basically get the skin tones to the exact same exposure and see how much light loss there was between each of these modifiers. Now, once again, if we just think about this, this went directly over the flash, the flash is right in behind it. So when we fire it's, not really increasing the size of light that much, which means that this would probably have a little bit less light loss then this guy, because this guy opens up the flashing, it increases the light source, which means with a larger light source, we're losing a little bit of power and that's exactly what we got in the shot. So for both, these were firing at full power. The flash okay with both, and we also have the singer a five stop neutral density filter. Because again, we want to cut down the amount of light that's available so we can get our sink speed slow enough to be able to synchronize with the flashes without using high speeds. Think we're at an exposure level. Well, basically, we're not blowing anything out were not clipping any detail, and we fire the shot both with eighty five millimeter lens on both these, the finding mark three one one twenty fifth of a second at one point six and so two hundred. Now what was the result? When we got this in the post she was a little bit brighter in this bottom image then she wasn't the top image okay the top images featuring the f supper flash disk the bottom one is featuring this little inter fit stroh bees so when we even these two things out we can see that basically the strobes puts out enough power well they're dark in the background by a little bit how much exactly it was around one third to one half of a stop so we're losing about a third to a half a stop more light with the flash disk then with this little stroh bees but what about the light quality? Take a look at this you look at these two shoot shots and you're like those are pretty similar actually but they're actually really not when you look closely at the top shot at work shooting fairly close to our subject here this top image if you look right underneath the jaw line you could see the shadow from the f stop a flash disk is much less pronounced it's much softer the transition is much easier with his bottom shot look at how strong that shadow is on the bottom it's a much harder life because again we're not opening up the light we're not creating a bigger life source it's almost direct flash it just is a little bit less speculator than direct flash would be so we have more highlights here too, because this is a more speculator light than this would be because this is opening it up and it's firing through a large white as opposed to this which is keeping it small and just going through white. So here we have a softer light is more even all around. We have a beautiful light on the hair we have overall just a higher quality light with the f stopper flash disk. But we do have a little bit of life los we were able to tell all those things we were able to predict every one of those things before we even put these onto our flash. So again, the point is, look at these like modifiers and study them. The primary tips silver or reflective is going to mean a straw in a more speculum light white and matt is going to be basically, well, let's see, we have white matt is going to be more light as faras intensity of the light it's going more diffused. Larger light is going to mean a softer transition between shadow versus highlight and a smaller light is going to mean a harder transition between shadow on highlight between these four things and analyzing the way that it's set up against the flash. We can really guess what it's going to do before we even go out and buy anything in addition to trying to save you time and money from buying useless things were also trying to show you that when we get a lighting to one and lighting three oh, one thes principles of lighting and modification. They never change. It stays the same across the board. The modifiers might look different. The size of them might be different. But you could always guess what something's going to do. And you'll get to that point by the end of this workshop.

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.

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 ...

user-cf400f
 

AMAZING course. Great information for people just starting out with using a flash and manipulating light. Pye has a great sense of humor so he keeps you interested but still explains everything really well.