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Lighting 201

Lesson 36 of 64

Exposure Balancing via Lightroom


Lighting 201

Lesson 36 of 64

Exposure Balancing via Lightroom


Lesson Info

Exposure Balancing via Lightroom

In this video, I want to quickly run through how we would do our exposure balancing inside of lager and it's very quick, very simple and the whole process should take well under a minute when you do it on your own, at least once you get used to it. Now I'll be the first person to admit that this type of kind of lighting large groups via multiple flashes and kind of feathering those flashes in the light source and so forth isn't necessarily an ideal group lighting technique. If I were hired to do, say, an editorial shot of the group and that was the only shot I was needed to create, I would do it via different techniques. I would use larger light sources, larger modifiers and even compositing if necessary, but when you're shooting weddings or events or when you're shooting on the go and you don't have that kind of well, you don't have the time afforded to you to do those types of more advanced lighting setups, then these techniques are absolutely fantastic because it gets you to a very ...

professional result with very minimal gear and time and that's, we're going to show you here, ok? So basically what we're gonna do is all we're going to do is open up the image inside of light and you can see that the top image here this is the fully raw image ok, so we haven't done a single thing to this image you can see how nice it looks coming out a camera and the whole goal of this was again remember to get the left and the right side the group's basically everyone in the group within a half stop and exposure range so we can see that maybe a little bit on the outside over here they're a little bit on the dark side maybe a tiny bit over here we could also do a few things like maybe darken up the ground a little bit and the top part of the image a little bit too but all in all it's very close to being finished. So what do we do? Well for this image we complete the post production in two simple clicks using the lion preset system now of course, if you don't have the process system, then just adjust in your basic rob processing settings at that point now from there we're just using basic graduated filters and brushes to dodge and burn various areas of the image and again, if you don't have the presets, you can always pause and just dial in manually. All we're doing is doing point five up to a point five burn or dodge on every side, the image and then you'll just kind of tweak and adjust manually from there to get them all balanced but from left to right, where polian graduated, filters across the frame again with the point stop difference in each one to just basically burn or dodge as necessary going across the group. Okay, so we're going from left to right from the whole downshift when you're doing that just to constrain that horizontal angle, so little basic constraint, so it only follows that little line. Okay, now what we want to make sure is that, again, we're not doing more than half stop a justice because anything more than that is going to become noticeable, particulary in the background where the background will just notice that he also get brighter in a certain area. So just kind of watch that I pull down graduate filters from the top to burn down the light that spills a little bit out of the ceiling just to get him or kind of nice ambient light on kind of that more moody looked to the image and also burned down just a little bit on the floor at the bottom again to kind of bring in the attention from outside of the image down to the center of the image we have are bright subjects right in the middle, and we kind of reduce that a spill on the ground a little bit. Okay, if necessary, you can use an adjusted brush to target any other areas to any dodging and burning if needed. But that's, really, at the entire process, literally should take thirty seconds to a minute tops to balance out a shot that has been shot correctly. Okay, if you haven't shot it correctly, if there's a major difference in the exposure, it's not gonna be that simple, and you might even need photo shop because you end up having to basically layering and masking and fixing numerous things in the image to get it to look right. But with a properly shot image and about thirty seconds inside a liar, and we get to a fantastic image using the most simple of lights and light modifiers on a very large group. So hopeful you can see how robust this technique and be in getting you to an amazing image with just very minimalistic gear and approach that is extremely quick. That'll actually fit the pace of a wedding day or an event. That's it for this tutorial, let's. Move on to the next one.

Class Description

Lighting 201 builds on 101’s foundational tips on simple, effective exposure techniques. Lighting 201 comprises 10 hours of education on advanced, off-camera flash lighting over nearly 20 different shoots. You will learn just how much can be achieved with just one inexpensive off-camera light source.

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
Lighting 201 will also help you develop fluency in using the right light modifiers for the job, whether they be speed-lights, strobes or main-lights. 201 also features an in-depth exploration of the mechanics of professional lighting gear and step-by-step walkthroughs of the gear setup for each shoot. Graduate to the next level of exposure mastery with Lighting 201 with Pye Jirsa.


  1. Chapter 1 Introduction
  2. Welcome to Lighting 201!
  3. OCF = Anytime/Anyplace
  4. Chapter 2 Introduction
  5. Wired, Infrared or Radio?
  6. “Pocket, Medium, Full Strobe?”
  7. Our 3 Favorite Flashes “Pocket Strobes”
  8. 4 More Flashes “Pocket Strobes” Worth Looking At
  9. Our 2 Favorite Medium Strobes
  10. Understanding Radios Part I: Channels & Groups
  11. Our 2 Favorite Radio Triggers
  12. 5 Simple Steps to Trouble Shooting Radios/OCFs
  13. Fantastic ND Filters at Any Price Range
  14. Our Favorite “Sticks”
  15. Our Favorite Ultra-Portable OCF Light Modifiers
  16. 12 Mounting and Must-Have Lighting Accessories
  17. Gear Setup - Setting Up a Light Stand or “Stick”
  18. Gear Setup - Setting Up a Monopod Light or “Boom Stick”
  19. Gear Setup - Setting Up a “Medium Boom Stick”
  20. Gear Setup - Setting Up a Manual Flash “Big Boom Stick”
  21. Gear Setup - Setting Up a Full Feature Flash “Big Boom Stick”
  22. Chapter 3 Introduction
  23. 8 Steps to Perfecting Each Scene & Image When Using OCF
  24. Over Powering the Sun - Part I
  25. Over Powering the Sun - Part II
  26. Slow Down! Watch the Details
  27. More Power Without The Power
  28. Adding to Existing Light - Part I
  29. Bare Bulbing with Large Groups
  30. Back Lighting to Create Interest
  31. Getting Crazy with the “Whip Pan”
  32. Chapter 4 Introduction
  33. The Flash Modifier You Already Own
  34. The Oh-So Powerful Umbrella
  35. Large Group Shots with an Umbrella
  36. Exposure Balancing via Lightroom
  37. Portable Softboxes - Westcott Apollo
  38. More Light Control, Just Grid It!
  39. Dusk + Modified Pocket Strobes
  40. More Power? Medium Strobes FTW!
  41. Perfect It In-Camera. Then Photoshop
  42. Adding to Existing Light - Part II
  43. Adding or Enhancing Light Direction
  44. Our Ideal Group Lighting Technique
  45. Incorporating Flares with Flash
  46. Cutting Light, Grids and GOBOs
  47. Chapter 5 Introduction
  48. Fog + Flash + Grid = Dramatic Change
  49. BYOL! The 3-Light Setup That Only Requires One Light!
  50. What About the Fill Light?
  51. Backlight + GOBO + Fog = Magic
  52. Drawing Attention via Light Shaping
  53. Visualizing Lights & Color Shifts
  54. Mixing Ambient + Gobo w/ Flash
  55. Better Light Can Change Everything!
  56. Chapter 6 Introduction
  57. Subtle Refinement = Massive Difference
  58. Great Light Changes Everything! Part II
  59. Manually Triggered RCS + Shutter Drag
  60. The Right Power for Each Scene
  61. Dodging and Burning via Light In-Camera
  62. Subtle Light for Natural Portraits
  63. Light Modification & Simple Compositing
  64. Expanding Your Photographic Vision



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.

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