Lighting 201
Lesson 47/64 - Chapter 5 Introduction
Lighting 201
Lesson Info
Chapter 5 Introduction
Welcome to chapter five this would be a good time to give yourselves a little pat on the back there I'm gonna do it again just for good measure now we've gotten through the crux of lighting to one we've covered all the meat and potatoes from here on out. I like that kind of saying covered the meeting tales with gravy maybe, but from here on now it's all about learning toe better visualize your scenes to be able to see what a scene could potentially become by modifying your camera settings as well as the lighting and then in chapter six, we go further to help refine further you're lighting skills to get a better overall image so it's gonna be really fun? We're gonna be showing you a lot of different things. This chapter is all about seeing like an artist, but thinking like a camera it's all about approaching a scene be able to see it for its potential and then being able to understand how to get there or howto work your way into that look by thinking like your camera, so we're going to ...
start us off with fog plus flash plus grid equals dramatic awesomeness we're going to show you how simple things like camera changes to exposure, adding light and introducing fog and was seen could really create amazing overall effects we're gonna talk about b y o l I'll tell you what that means in just a little bit. You have to watch the video to find out the three lights set up the on ly requires one light by then most of us would be at least okay, so we're gonna talk about how essentially we can approach outdoor scenes with one single lady s still be able to achieve a three light look in that scene we wouldn't talk about. What about the film light? What does that mean? Well, we haven't really talked a whole lot about using, you know, fill lights because there's basically already a built in feel like toe every single scene, and we're gonna discuss using that and then we get the lighting three oh one, then, of course, we'll introduce multi light setups where we actually set up our own fill light, but for now, let's use the fill light that already exists. Backlight plus gobo plus fog equals magic. If you don't know what that means, then, well, you just gotta look visualizing light and color ships again, being able to see or be able to predict what is seen is going to look like by kind of visualizing that light shift or the white balance shift if you were too cool or toe warm something in camera. Mixing ambient plus gobo with nash, this is another kind of balancing type set up. We're going to take you back to that fine art boudoir scene and show you another really great image by balancing our ambient with our gobo and using flash as our main light. We're gonna talk about how better light can again change everything, how you can look at a scene and how basically the scene can look really drab and dreary. But how better like and turn that boring scene and something really quite awesome. Now I'm going through this entire chapter, I want you all to be constantly reminding yourself this is all about visualization, meaning I want you all to be able to come out of this thinking what would happen to a scene or be able to predict in your mind what would happen to have seen if I were to adjust my camera exposure darker or lighter. If I were to add more or less flash or change the quality of that light, be ableto visualize and predict to be able to think like your camera, yet being able to interpret a scene like an artist to get to exactly the result that you want, all right, let's, go ahead and get started.
Class Description
In this course, Pye Jirsa of SLR Lounge give you tips on how to:
- Use light manipulation to turn extreme lighting situations like midday sun or the night sky into stunning background imagery for portraiture.
- Develop a sense of placement strategy in shoots with complex lighting and limited, portable gear
- Composite images in post-production to achieve the best possible light
Lessons
1Chapter 1 Introduction 2Welcome to Lighting 201! 3OCF = Anytime/Anyplace 4Chapter 2 Introduction 5Wired, Infrared or Radio? 6“Pocket, Medium, Full Strobe?” 7Our 3 Favorite Flashes “Pocket Strobes” 84 More Flashes “Pocket Strobes” Worth Looking At 9Our 2 Favorite Medium Strobes 10Understanding Radios Part I: Channels & Groups 11Our 2 Favorite Radio Triggers 125 Simple Steps to Trouble Shooting Radios/OCFs 13Fantastic ND Filters at Any Price Range 14Our Favorite “Sticks” 15Our Favorite Ultra-Portable OCF Light Modifiers 1612 Mounting and Must-Have Lighting Accessories 17Gear Setup - Setting Up a Light Stand or “Stick” 18Gear Setup - Setting Up a Monopod Light or “Boom Stick” 19Gear Setup - Setting Up a “Medium Boom Stick” 20Gear Setup - Setting Up a Manual Flash “Big Boom Stick” 21Gear Setup - Setting Up a Full Feature Flash “Big Boom Stick” 22Chapter 3 Introduction 238 Steps to Perfecting Each Scene & Image When Using OCF 24Over Powering the Sun - Part I 25Over Powering the Sun - Part II 26Slow Down! Watch the Details 27More Power Without The Power 28Adding to Existing Light - Part I 29Bare Bulbing with Large Groups 30Back Lighting to Create Interest 31Getting Crazy with the “Whip Pan” 32Chapter 4 Introduction 33The Flash Modifier You Already Own 34The Oh-So Powerful Umbrella 35Large Group Shots with an Umbrella 36Exposure Balancing via Lightroom 37Portable Softboxes - Westcott Apollo 38More Light Control, Just Grid It! 39Dusk + Modified Pocket Strobes 40More Power? Medium Strobes FTW! 41Perfect It In-Camera. Then Photoshop 42Adding to Existing Light - Part II 43Adding or Enhancing Light Direction 44Our Ideal Group Lighting Technique 45Incorporating Flares with Flash 46Cutting Light, Grids and GOBOs 47Chapter 5 Introduction 48Fog + Flash + Grid = Dramatic Change 49BYOL! The 3-Light Setup That Only Requires One Light! 50What About the Fill Light? 51Backlight + GOBO + Fog = Magic 52Drawing Attention via Light Shaping 53Visualizing Lights & Color Shifts 54Mixing Ambient + Gobo w/ Flash 55Better Light Can Change Everything! 56Chapter 6 Introduction 57Subtle Refinement = Massive Difference 58Great Light Changes Everything! Part II 59Manually Triggered RCS + Shutter Drag 60The Right Power for Each Scene 61Dodging and Burning via Light In-Camera 62Subtle Light for Natural Portraits 63Light Modification & Simple Compositing 64Expanding Your Photographic VisionReviews
Colin
Pye is a god. His teaching style is really engaging, breaking down everything you could want to know about each example in a fun yet detailed manner. The course is absolutely jam-packed full of great information and fantastic inspiration. This course, as well as Lighting 101, give not only a perfect foundation for anybody learning about flash from scratch, but also have more than enough tips and advanced techniques in them to help experienced flash users seriously up their game. Cannot recommend it enough.
Lê Tiến Đạt
I'd like to say thank you to SLR Lougne, Creativelive and especially Pye for creating this wonderful Lighting series. Pye has a great sense of humor and he is also a great teacher. He expains everything in tiny details. I love his creativity, all the tips and dedication. Recommended!
Sid
An excellent follow up to Lighting 101. 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. As with Lighting 101, this is a must watch class. Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. I look forward to Lighting 301 and 401 which are apparently in production by SLRLounge.