Lighting 201

Lesson 3 of 64

OCF = Anytime/Anyplace

 

Lighting 201

Lesson 3 of 64

OCF = Anytime/Anyplace

 

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

  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

Reviews

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.