Skip to main content

Expanding Your Photographic Vision

Lesson 64 from: Lighting 201

SLR Lounge, Pye Jirsa

Expanding Your Photographic Vision

Lesson 64 from: Lighting 201

SLR Lounge, Pye Jirsa

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

64. Expanding Your Photographic Vision


Class Trailer

Chapter 1 Introduction


Welcome to Lighting 201!


OCF = Anytime/Anyplace


Chapter 2 Introduction


Wired, Infrared or Radio?


“Pocket, Medium, Full Strobe?”


Our 3 Favorite Flashes “Pocket Strobes”


4 More Flashes “Pocket Strobes” Worth Looking At


Our 2 Favorite Medium Strobes


Understanding Radios Part I: Channels & Groups


Our 2 Favorite Radio Triggers


5 Simple Steps to Trouble Shooting Radios/OCFs


Fantastic ND Filters at Any Price Range


Our Favorite “Sticks”


Our Favorite Ultra-Portable OCF Light Modifiers


12 Mounting and Must-Have Lighting Accessories


Gear Setup - Setting Up a Light Stand or “Stick”


Gear Setup - Setting Up a Monopod Light or “Boom Stick”


Gear Setup - Setting Up a “Medium Boom Stick”


Gear Setup - Setting Up a Manual Flash “Big Boom Stick”


Gear Setup - Setting Up a Full Feature Flash “Big Boom Stick”


Chapter 3 Introduction


8 Steps to Perfecting Each Scene & Image When Using OCF


Over Powering the Sun - Part I


Over Powering the Sun - Part II


Slow Down! Watch the Details


More Power Without The Power


Adding to Existing Light - Part I


Bare Bulbing with Large Groups


Back Lighting to Create Interest


Getting Crazy with the “Whip Pan”


Chapter 4 Introduction


The Flash Modifier You Already Own


The Oh-So Powerful Umbrella


Large Group Shots with an Umbrella


Exposure Balancing via Lightroom


Portable Softboxes - Westcott Apollo


More Light Control, Just Grid It!


Dusk + Modified Pocket Strobes


More Power? Medium Strobes FTW!


Perfect It In-Camera. Then Photoshop


Adding to Existing Light - Part II


Adding or Enhancing Light Direction


Our Ideal Group Lighting Technique


Incorporating Flares with Flash


Cutting Light, Grids and GOBOs


Chapter 5 Introduction


Fog + Flash + Grid = Dramatic Change


BYOL! The 3-Light Setup That Only Requires One Light!


What About the Fill Light?


Backlight + GOBO + Fog = Magic


Drawing Attention via Light Shaping


Visualizing Lights & Color Shifts


Mixing Ambient + Gobo w/ Flash


Better Light Can Change Everything!


Chapter 6 Introduction


Subtle Refinement = Massive Difference


Great Light Changes Everything! Part II


Manually Triggered RCS + Shutter Drag


The Right Power for Each Scene


Dodging and Burning via Light In-Camera


Subtle Light for Natural Portraits


Light Modification & Simple Compositing


Expanding Your Photographic Vision


Lesson Info

Expanding Your Photographic Vision

What's up peeps this is the last tutorial for this course so if you're watching this video pat yourselves on the back but on ly if you actually watched videos one all the way through this video if you skipped you take that pat back right now but in this tutorial I'm gonna show you guys how to expand your photographic vision what do I mean by this? Because this has been based on the entire concept the entire purpose of lighting one a one to one three one four one it's been to expand your vision so in this tutorial I want to do a little bit of a throwback toe wanna one as well as a little bit of a throw forward two three oh one because we're doing some awesome stuff in lighting three oh one so let's talk about a typical scene and well, this is actually one of my clients weddings and yes folks we are a client serving studio we shoot nearly a thousand paid commissions each year. This is where we make most of our money and guess what? We get our clients to actually allow us to go out in fil...

m and to shoot on sight on the actual shoot so we could bring you riel education not just styled shoots and stuff that really isn't applicable these are things that are actually applicable that we do on weddings so here's a little throwback to lighting wanna one lighting one won if your number was all about on camera flash right we had her on camera flash we taught you how to balance had a light shape how to create different looks we taught you all these great techniques to create amazing images with just your on camera flash and in the process we taught you the entire foundation of lighting from temperatures to flash duration to ambient to flash balance all the great stuff all the things that you need to know about flash we taught you in lighting one one while creating cool images well guess what, folks? These are techniques that I use constantly even lighting one of one techniques I mean when it comes to a wedding I have my off camera lights I have you know, my big light it's on my medium strobes I have my pocket strobes I have my constant life like the geo one in the ice light I have all these tools with me but I use the tools that best fit the scene and best fit my timeline when I'm in situations when I don't have time to pull off these crazy shots by getting my my big life, my medium strokes out doing all these crazy things well I'm going to use my on camera flash I'm going to do certain things they're going to get me to the results I want by simply light shaping that's the entire purpose behind lighting one a one to one three one four one to help youto understand light to master it to the point where in any scene in any circumstance you know exactly how to get to what you envision and what you see in your mind so let's talk about this first scene right here I've got the bridesmaids in this tiny little room it's a really small room I think it's about twenty by ten feet so it's longer than it is wide and this is after the ceremony where basically the coordinator takes him to this room this is like the bridal suite so the bridal party waits there after the ceremony we'll shoot she clears out everybody to go to the cocktail hour and so forth and get ready for the reception so in the meanwhile the bridesmaids and the bride is in there and they can't really do anything and I walk into there and hey you know what I'd like to take advantage of the scene I mean I have them all there I want to take some shots because why waste that time or why you know I already have my assistant out covering details and covering everything else that need to be covered I want to get more photos but this is a shot with the ambient light in that room so with this on the cannon twenty four seventy mark two at f two eight uh, let's see, this is after you ate one hundred second isis sixteen hundred and you can see is that twenty hundred kelvin and we have a very poopy and being like quality there's. No flash fired there. So that's not a very nice shot, but once again, we envision right? All I needed to changes into something that would be great is better like quality when we talk about better like quality contained everything. But the thing is that I don't have my medium strobes and I'll have my assistant, everybody their present to be able to help out. My system was on the way, based with all my gear. So in the meanwhile what I do, I've got my gary fong fong dong on my camera again. I have no idea at what point we started calling these things fun dawns, but this is the gary fong lights fear it's fantastic it's amazing. It collapses, it's fallen great I had on my pocket. Strobe just said on the camera I was using a five eighty x to at the time and I still like the five, eight, six two as well the six hundred ex artie but the foe takes great replacement for that. The on ly difference when using it on camera is just the photos has a slightly slower a f focus so I still prefer the five eighty x two on camera for, say, weddings in low light conditions but the foe texas fantastic too so what do I do? I go okay, well this light this room looks very dreary but it's a white room the walls were white we have mirrors everywhere in the room. If I shoot it to be super white then it should look really nice. So I turn my little on camera flash off to the side like this I find in a corner of the room kind of around the ceiling where I got nice white and I've got no mirrors to basically reflects don't reflect the wreck light off of them. I use the phone down in situations like this I using on events because it pushes a little bit of light out forward so it's pushing a little layout forward and all directions which gives me a bit of a fill in the shadowy areas and I like that but it still allows most like to spill through because I don't have a cap on there so most of life still goes towards the intendant bounce while it pushes some of the light out and around so we get a nice phil around the room we go to one hundred second f to a f sixteen hundred twenty hundred degrees kelvin we have a cto gel on the camera our aunts are on the land no do not put your cto gel on your lands on the flash we have a cto gel and then we bounce at around one quarter to one power off the side of ah that ceiling ish area so now our light comes top down it fills the entire room we get a ultra white look and now comparing these two images hey that actually looks really nice we have kind of like this super white look it cleans up the ambience of the room it looks fantastic ok, now we get down to here I want to get a couple bridal portrait ce so I do the exact same thing this time bounce off the left side of the room because I know that she favours the left side of her face and some lighting that side to make that the brighter point in the shot we also have the hair kind of you know down on that side so I want to kind of favor that we get the exact same thing this time I'm shooting with thea what we have the hundred millimeter on their we're going for a close up shot I want this to be a nice bridal portrait we get the shot at one hundred second f to a iso eight hundred and twenty hundred degrees kelvin bouncing again on the left side at roughly the same one quarter twenty to power then a few minutes later, I come back to the room. I got a bunch of shots with them, so I got shot with the like each of the bridesmaids. I got her solo, I got, you know, a couple different shots. We can't go anywhere and for not being able to go anywhere, I think we pulled off some pretty cool shots that she's going to love. The groom comes back in the room and she goes, can you get a couple shots of us, too? Oh, absolutely love to take you guys out later on we'll get some beautiful natural light shots. We'll we'll do all those things that we want to do because that's great. We can't move right now, so let's, just do a few here, I say, fantastic. I have a couple ideas already, so we take a couple shots just like the ones that we did earlier because she actually requested she said, I'd like a couple of those nice brighton area shots. Okay, we do a couple of those nice portrait, you know, in that room same exact ly set up after I get those I show them to him and I say, okay, this is fantastic, I have an idea here, let's get a beautiful dramatic shot of you guys. She was okay. That's fantastic. At this point, we've already been on an engagement shoot, so they trust me, they know me, they've seen the images that I'm creating, so they know that if I'm going to do something wacky, it's going to be for a good reason and I'm about to do something wacky. So this go around, I get my seventy two hundred, and what I want to do is I saw that there's the chandeliers up at the top of the room so you can see one right there that's, one of the other side of the room, it's again, kind of twenty by ten a length ways. So I get up on a table on the other side of the room, standing right behind the chandelier. But guess what? If I had to use the same light that I did earlier, it wouldn't look good, right? I knew it wouldn't look it. I knew it's going to look like this white kind of mess and it's just going it's not gonna be moody. It's not dramatic. It's not mean anything, but I know that if I can put an ambient light on them to brighten them up, just just a light on them a main light on them that matches the color of the ambient light. Then I can utilize the amulet is kind of this mood and dramatic look and have them be the brightest point the image and have a look. Great. So what? Why do we bust out the local jail one now this I mean set this on the table right now in a position that is extremely precarious and ready to fall off. This is the low jill won this along with the ice light are two of the constant light they were going to be introducing to you in lighting three oh one lighting three one we're talking about more now than just flash. Now we're talking about multi point flash setups, multiple off camera pocket and medium strip set ups as well as introducing constant lights and on top of that, using constant light in conjunction with flash to get great and amazing effects. So this guy is cool because, well, it has a little zoom here and I feel like blinding logan right now, so uh yeah, how you like that? But I'm not blind. You got now. Okay, so the zoom control on this is really fantastic because I can make this zoom in to be a spot or I can wind it out, widen out, not wine it out that weird, so what I do is I have my assistant holding this off, too they're right side so it's off to camera right I have um zoomed in and what we're doing is we're brightening them up just barely passed the brighter areas of the ambient light so I want them just to stand off the back in a little bit with that idol into one one hundred sek to eight and I sew sixteen hundred because that gives him I am getting my background exposure we brighten them up and I have this life being held on them and I stand up and I shoot through the chandeliers the first shot is this image right here the second shot is this image right here where we shoot the reflection off the mirror that's actually directly behind them so again exact same room from ambient light too a complete white out with just on camera flash and if the directional white out bind you to a dramatic image with constant light with a jail one which is tungsten matched to the ambulance completely different images in the exact same room and this is all about expanding your photographic vision we talked about in this chapter in an understanding and interpreting predicting what's going to happen when you change your camera settings when you change the scene when you change ambient light settings and flap settings and now we're going to take it a step further as we get in the lighting three oh one we're going to introduce more flashes mohr lights constant and flash all combined and using conjunction to expand your photographic vision. So I hope to see you all with lighting. Three o one. And I hope you guys have enjoyed it lighting to win as much as I have enjoyed creating it for you all. I'll see you guys in the next video.

Class Materials

Bonus Materials with Purchase

Lighting 201 Slides

Ratings and Reviews


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!

Karen Ruet

I'm watching this live and am seriously considering buying this course. I really like the examples and all the information. Pye is super generous and easy to listen to. I also appreciate the talk about gear and am happy that Pye is giving us options for different price ranges. Thank you, Creative Live.

Student Work