Lighting 201

 

Lighting 201

 

Lesson Info

OCF = Anytime/Anyplace

Hello everybody long time no see I'm just kidding I saw you guys like three seconds ago well, if you click next on the video I did all right, so welcome to the lighting one a one speed review now this is the last time I'm gonna be mentioning lighting one on one in depth but in lighting one on one we covered the foundation of lighting it wasn't just about hot shoe flash it was about manipulating light about how to create soft versus hard light about how to diffuse or you speculate light and how to do these things to create certain stylistic effects it was about tons of different things and the overall just foundation of light shaping. So before continuing with this course I want to make sure that you all have a basic understanding of well the's topics and if you don't guess what, we can't cover them here because otherwise well, first of all we already covered them. Why would I want to repeat the material anyway? But we can't cover them here because if we did this course would be like an...

other eight hours in length and it would be lighting one on one. So I'm going to say this those of you that have watched lighting wanna one just make sure that you have a basic understanding of these topics otherwise if there's anything here that we reference that you don't really no if there's anything that sounds unfamiliar go back and re watch that peace on lighting one on one and for those of you that are smarty pants is that think I don't need lighting wanna one well, first of all, shame on you because lighting one was fantastic we taught you how to do amazing things with just a hot shoe flash which believe me will come in handy in your career as a photographer but regardless for those of you that haven't watched lighting one one that just be sure that you are intimately familiar with all these topics here because otherwise we wouldn't be going at a speed and a pace that's going to be really difficult to follow now that's not to say that we're not talking through each of the scenes and talking through all the techniques here but we're not going to be going through and talking deeply on things like temperature, color temperatures and corrective temperature versus stylistic temperatures and that kind of stuff. So without further ado let's, go ahead and just look at some of the key components of lighting one on one and what you should know and number one I haven't actually thrown that slide in there they can throw this light up on the screen is ambient light versus well basically ambient light balancing okay it's creating a natural versus a dramatic image next we have the five common key light patterns understanding the key light patterns for flat of butterfly loop rembrandt split lighting and what each I like counted to five but then I only have four left on my hand that's kind of weird but each of these are meant for specific stylistic reasons and each of them have a certain effect over your subject be sure that you understand that clicking next we have our five common secondary light patterns this is basically where the secondary light is going to fall and what type of effect it's gonna have over the image whether is going to give you a fill light a kicker rim edge a hair a back light or a background light now that we're taking the flash off the camera this is going to play a bigger part of lighting to one three oh one and so forth because we have more control over these things next we have well basically the subject positions in relation to that key light so are you shooting short lit or broadly images or is it flat light on the subject? Every one of these again has a specific purpose again we're not going to go through all the details here because it would make it very long we don't want this video to be five hours long like qualities understanding that you have soft versus hard light and neither one of these things is right or wrong you have diffused versus speculum light again neither one is right or wrong. Each one of these different types of lights or these light qualities have different stylistic purposes in your images. So how to create those kind of stylistic effects and understanding what those do is absolutely important. Okay, next hss versus nd filters. Well, if that topic itself threw you off, you need to go backto one a one. Because this is all about sink speeds. Okay. So high speed sync versus using a neutral density filter, this is basically all about controlling because basic types of radio triggers are limited or basically flashes are limited to a certain sink speed, which is relating to your shutter speed on your camera and that's one, two hundred of a second. So if you need to go above that, you either need to use a neutral density filter to cut down the amount of light, or you need high speed sync on a full featured flash and that again we talk about in death inside of lighting one on one. All right, let's, go on to the next one. We have the inverse square law. This is all about understanding how light falls off in a scene. How basically based on the light position, the fallout is going to be much more dramatic than you possibly think it is, because light's falling off at a rate that's exponential not at simply, well, a rate that you might think twice the distance equals half amount of life. That's not the way it works. Okay, so inverse square law is about understanding that principle and howto light large groups, which we're talking about in depth here. All right, let's go into corrective white balance. This is all about correcting that flash white balance to match the ambient light of a particular scene, but we also have stylistic white balance basically, where we're using white balance to create certain types of effects. So let's go into that slide let's see, there ago, we call it creative white balance. This is basically where we're manipulating the flash white balance, too change the ambient light of the scene to basically get too dramatic results like you would see here with our lovely subject over this deep blue sky, which didn't actually look like that. But those are the basic principles. Okay, so if any of these things sounded at all unfamiliar to you, or if you just need a little bit of review than go back and review lighting one oh one, if you haven't watched lighting one one before starting this course, I'd highly recommend that you guys watch it. Otherwise, just make sure that you know these topics in death, because we're going to be going pretty quick from here. We have a lot of stuff to cover and this course. Well, we want to dive into the nitty gritty and not cover stuff that we've already covered. All right, so welcome tto lighting to one let's. Go ahead and move to the next video now.

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.

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 Vision