Lighting 201

Lesson 41 of 64

Perfect It In-Camera. Then Photoshop

 

Lighting 201

Lesson 41 of 64

Perfect It In-Camera. Then Photoshop

 

Lesson Info

Perfect It In-Camera. Then Photoshop

In this video, we're going to take a short break just to talk about perfecting it in camera and then looking to photo shop. Now, I don't want to get too deep into, like the philosophy of this and the morality of photoshopping so let's just leave that out of the equation. Here is my father photo shop is an amazing tool, it's absolutely fantastic what you could do with compositing and artistry and so forth and combining images is absolutely incredible. But for photographers that air delivering thousands of images, you know, on a weekly or monthly basis photoshopping every single one is simply not really in the equation. If you're doing shoots like, say, commercial shoot and you're only delivering a few images, you might spend a lot more your time finishing those images inside a photo shop. But for the rest of us that are doing portrait's and weddings and so forth and editorial shoots and that kind of stuff where you're delivering a group of images that's more than just a small handful, I...

would say photoshopping each and everyone is going to get cumbersome and it's going to take too much time away from the actual process of shooting, which is where you make your money, so what I want to say is that I want you all to get in the habit of perfecting things in camera and to do that I have just a little bit of a process that I want to show you from where we got from our straight out of camera image to where we got the leg room and then photoshopped, and what you're going to see is that we're not doing all that much inside of photo shop, we're just doing a little bit refinement with each step, and our final image compared to our first image is very, very similar, so let's talk about this, so our first images are straight to camera image and there's a couple things that I know I'm going to have to fix in post when it gets to this type of image one we're adding a lot of light to the shot, right? We're adding a lot of light and she has a red dress on that means that we're going to get light refracting off that red dress and causing red highlights in a lot of places on her body. It's going to come from the sun is going to come from everything, so anything, any light that hits or dress or hit the jewelry, it can bounce and create unflattering light, another places, so I know I need to fix that. Number two we're shooting in the middle of the desert so obviously it's warm and she's kind of have a little bit of oily skin so I might need to clean up a little bit of that but otherwise there's certain things in the background that I might need to retouch like, say maybe a little fly weighs in her hair that's not really background but background well, we have some in the foreground we would have this debate where she basically picked up sand we have some tracks from all these like for real devices that are being used in the background, which seems like an absolute blast next time I'm out there, I want to get a sandwich I'll just go crazy would be so much fun, but those kind of things they're just not you know, how would we ever fix that? Like what we're gonna do here? We're going to say, oh, let me get a lighting assistant can you blow the sand back into police or wait for the track to disappear? That's just impractical, right? So those air things where we just need to rely on photo shop to help us clean up because it's impractical to try and fix those things in camera, but for the exposure for, you know, the initial dodging and burning and we're gonna talk about that later on to dodging and burning by just adding light, but for those things, we could do it in camera, we can get everything else set in camera and try and get to, you know, try and get the dress and everything as good as possible, and then use photos have to help us fix the rest, so going to step two, we take it in the light room that this is just with the basic, like graham color grading, so all we've really done, you can even see that my white balance, I set that in camera so that I'm as close as I really can be in camera, just looking at the back of my screen to where I want to be in the final image. So why balance? We may be adjusted a tiny bit we've adjusted just overall settings added a bit of contrast to curve, sharpness and so forth. It's really just a one or two click process with a light on preset system to get it to this point, and then we're looking to photo shop and in photo shop, what are we doing? I'm doing retouch over the skin to kind of clean up the well, of course, any blemishes and so forth, but what I'm really looking at is a cleanup areas that have oily skin or areas that are, say over saturated from the red tones and so forth, some kind of cleaning up that I'm adding a little bit of dodging and burning to the skin, just to kind of lift out certain areas and kind of burned certain areas. I'm fixing like the foreground areas in the background stuff, but when you compare these two images, there's, not a whole lot that's been done. Even when we look side by side, you can see that the image for the most part has was shot correctly in camera, and we spent maybe fifteen, twenty minutes, just kind of cleaning up things like flyways and background elements, and cleaning up skin and so forth to get it to the final image. I want you all to get into the habit of this, even if you are creating amazing composites, even if you're just blowing it out of the water. With these crazy, amazing composite, I still want you to get it right on camera, get us far as it can, possibly in camera, and then push it as far as you need to go inside a photo shop. When you do that, when you get things perfected in camera, your results after photo shop are going to be that much better, because the more you manipulate in post production, the more you end up reducing image quality and the mohr it's going to appear unnatural? The more you can do in camera, the better the end result is going to be, regardless of how far you're taking it in photos. That's it for this tutorial. Let's. Go ahead and move 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.

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.