Chapter 1 Introduction
Welcome everyone to the lighting to one. This is single source off camera light shaping my name is pie. I'm one of the co founders and the editor in chief for s our lounge and also one of the founding partners of lynn and jersey photography. Now leading to one is all about single source off camera light shaping. And what does that mean exactly? Well, basically, what that means is that we're going to be using just a single off camera light source to create all of the images within this tutorial. Siri's and why are we doing that? Why don't we? Mixing in multiple off camera flashes and different types of lights constant versus flash and so forth? Well, just like in lighting one of one we want approach the entire lighting siri's with a very methodical and kind of a simple approach in breaking apart each one of these very complex type subjects. Lighting becomes difficult in other courses because they try to teach you everything all at once and that's. Why in lighting one a one. We taught yo...
u how to light shape. We taught you how to create incredible images with just your on camera flash we manipulated that light we showed you how to create soft versions of that light harder versions how to use those types of qualities of light to amplify and to create the kind of stylistic looks you want. We also taught you the entire foundation of lighting how to balance ambient versus flash how to get natural versus dramatic looks and so forth. And by doing this by taking the gear out of the equation, we were able to focus strictly unjust understanding the foundation of lighting leading to one is the same thing. Except this time we want to start introducing mohr of the gear and we need to do that because guess what now this is all about getting the flash off of the camera. I kind of like that little demonstration. I feel like it was like face face off, face off more that's from face off. So he does like this well, my favorite movies of all time back in high school anyway lighting to one is all about getting the flash of the camera and that means that we need mohr gear. And so gear is going to play a bigger part of this video siri's of this tutorial siri's because that's what's necessary in creating these types of effects that being the case we want to focus in on just how much you could do with a single off camera light source and then in lighting three oh one we're going to do multi point off camera lighting we're going to mix into that constant lighting as well as how to balance constant light plus flash effects and then in for when we're going to take everything from the lighting one of one siri's or well lighting one one two and three in siri's and we're going to combine it and we're gonna be using studio strokes so high power strobes will be getting even larger modifiers and so forth so that's kind of the progression that siri's and that's why we chose to approach it this way because you're going to be absolutely amazed by what we can do with just a single off camera light source so let's go in and talk a little bit about what's in lighting to one so let me just click here is takes us to our lovely table of contents can you'll read this no not really don't have like twenty ten vision I don't know we're not shooting in four case would be hard to read this so this is a good time for me to remind you that you should download the pdf file we have a pdf book that comes with this course so if you purchase the course you've got the pdf that came with it that pdf is a reference of every single slide and topic that we're talking about throughout this entire course, so use it while we're actually teaching so you guys can kind of follow along use it as a reference point also feel free to use it out on your shoot taking on your ipad or on your iphone around whatever mobile device you might have and use it as kind of inspiration get ideas from it, use those lighting techniques, put them into practice and then share your results on s r lounge dot com remember sharing with the community and showing what you're doing and going out in creating these images is the best way to practice and then coming back and sharing them is the best way to get constructive critique which is going to give you well just a quicker overall experience in learning and mastering these techniques so let's, go ahead and just talk through quickly what we're going to be covering in this course now chapter one is of course our introduction chapter two is all about gear, set ups and reference okay, so I'm going to say this once here I'm going to say it again later on chapter to is not meant toe watch marathon style like you would lord of the rings that sounds awesome right now I would love to go watch lord of the rings marathons down just one through three solid twelve hours that be awesome chapter two is large don't go and shock on this in one single sitting on your sofa you're gonna drive yourself absolutely crazy instead of what you should do is start watching chapter to get an idea for what's in there and then go ahead and move on to the actual shoots in chapter three four and five and so forth when you have questions on how to use certain bits of gear when you have questions on technology reference back to chapter two all right chapter three is all about off camera bearable but pakistan techniques so we're going to differentiate and we're going to talk about all the different terms that were using like pocket strobe vs medium stroke versus full strobe and all those kind of things but chapter three is all about how much you can do with just a single pocket flash this is a pocket strobe off camera bare bulb okay so that's all chapter three chapter four we're gonna start modifying this pocket strobe and start creating different kind of techniques and showing you when you can modify pocket strobes and get great results versus when you need to step up to a medium strobe and so forth we're gonna give you a bunch different ideas taking on a lot of different shoots and show you the modification of this strobe when if used off camera chapter five is all about seeing liken artist and thinking like your camera, which means that when you approach a shoot, I want you to be able to think how the camera is going to visualize that scene based on certain changes based on camera setting changes based on off camera flash changes and so forth, and then be able to see that scene like an artist and decide what do you want that seem to look like? And then figuring out how to think like your camera and work your way into it? Because you could turn out to create these incredible scenes from something that looks just straight up ordinary when you go and look at it with your to bare eyes. All right, chapter six is finally about subtlety and refining. This is our case study chapter. We're going diving deeper into each of the scenes, and we talk more about just analyzing and refining your lighting techniques. We want to bill to go into any shoot and ableto analyze refined, create professional results going well, regardless of the shoot, regardless of the time of day, that place that you're in and so forth, they want amazing results any time, any place and that's what chapter six is about howto analyze each of your scenes, so without further ado, we are done with our little basic introduction let's, go ahead and step into our next video