Lighting 201

 

Lighting 201

 

Lesson Info

Slow Down! Watch the Details

Let's, take a short little break that right? Begin. Uh, slow down. Watch the details. L s see, what does alice see? Stand for stands for light subject and camera. Okay, the three things that were going to use basically to refine when we analyze our image, those are the three general areas that were going to modify to refine and get to the right look into the right light quality for our subjects. Now, what is the whole purpose of this cause? I mean, we've we've talked about it, but I want to give you the whole thought process in the philosophy behind this and granted, I know I talk a lot about philosophy. I'll try to make this somewhat brief, but here's the thing in lighting one o one we taught you all these amazing techniques of how to take your on camera flash to modify and create tons of great different images. This is lighting to one. We're going to get even amore advanced techniques, getting the flash off the cameron, creating even better images. Three one we're going to add multip...

le lights and constant lights and balancing the two for one we're going in the studio strobes and combining everything together with all of these techniques, it kind of comes to this point where it's just like technique overload and what ends up happening, especially with newer photographers when you're new and you're jumping into this stuff, you get all this gear and you take it all in your chutes and you kind of have this I don't know how to say other than almost like this technique vomit right where you get onto a shoe and you just start splurging these techniques out and throwing them out on the set and what ends up happening is you're moving from shot to shot image the image you're creating these cool things like, oh my gosh, the lights so amazing it's so fantastic and you're just excited about all these techniques that you now know how to do that you forget toe look think look at all these images closely and to refine and to slow down the process remember that each one of these shoots it difficult because on every shoot shoots her fast pace when you're at a wedding it's fat, but when you're doing a portrait session is fast paced, you're dealing with time restraints you're dealing with the sun setting, you have to coach yourself and train yourself toe learn to slow down the tempo so that you could do this and it'll take time but is one those things that we hammer into the heads of all of our shooters to slow down, slow the tempo of your shoot take the time to watch the details because otherwise this is what happens you get on the set and you start vomiting all these amazing techniques out you start going through and just shooting and billion images you get in front of a computer and then you go home in the pose is off they're oh man the lighting's kind of off right there I can see a big shatter their own man this has a problem too and you end up going through an entire shoot day and you're not happy with any of the shots that you got okay? Because we didn't slow things down so that's the tip that I want to give you right now is it merits saying enough that I actually created a slide for it so you know that if I created a slide to slow down, that is probably something that you might run into in the course of your photographic career or your journey so slow things down and when we look to correct things I generally look in this order well, the most obvious thing is of course the light and what we do we look at the lights position as faras the light direction that we're creating on the subject we also look at the light quality is the light speculum is it defused? We wanted to be speculate do wonder more diffused do you want it to be softer or do you want to have a harder transition edge you look to those things first, obviously because that's the first have to look, but what I actually like to do is I typically will look at the subject first and in particular when we're shooting a couple or when we're shooting a group. More often than not, you're lighting issues can be fixed by the couple's pose or by the groups pose you could actually fix everything in relation to you know, where they are in relation to the light. The third thing to look at is the camera's position in relation to both the subject and to the light source is, well, so let's go through a few of these examples. So an example. Number one, this is a shot that we're going to demonstrating in lighting three oh one were basically using multiple off camera lights toe like this entire scene to create a really nice, soft kind of lifestyle portrait of nicky who's, a nutritionist and she's sitting in from our computer holding an apple in the very first shot at the top. Well, I have two dramatic of a light, okay, the light is just simply there's just too much shadow on the face. The correction is literally just a simple saying, nikki, turn your chin into a life just a little bit more, turn your chin to the left just a little bit she does that and now we have a beautiful rembrandt light on our face and we get just the right amount of shadow that was a simple that was basically a subject change, right? We change the subject position in relation to light and it's the simplest change possible that's why it's the first one that I always look to? Can I just adjust the facial position to get to the life that I want? Now keep in mind one thing when you're shooting portraiture, you generally want to shoot flattering angles and if someone doesn't like a certain side of their face, you need to keep that in mind when you're adjusting the chin position, you also need to keep in mind whether you're short lighting or whether you're broad lighting so by moving her chin into that light now we're short lighting but we're lighting up maur the face and we're leaving the broadside the face in the shadows just a bit more on dh but it's not too much shadow where's over here it's just too dramatic oven image okay, so let's go to this image now this image was the one that we talked about when we're overpowering the sun with our bare bulb lights and now you can see close up if you zoom in on her face right there you can see ever so slightly that his face is casting a shadow right onto her nose and eyeball area now look at this image even at this size on my screen that is barely noticeable and if I'm shooting quickly and I'm just looking at the back of my cameron I go that looks fantastic! I love that okay, great let's go on and I didn't take the time to actually say let me zoom in hold on one second and zoom in to the image and so you know what there's a shadow right there only adjust that if I wasn't slowing things down and taking the time to do that I would completely miss that because even on a larger screen it's very difficult to notice what do we do here? We made a minor change once again in the subject position on this one I think we actually brought the light over a tiny bit, but we brought the light over a little bit. We also opened up his shoulder just a little bit, just pulling a shoulder back a little bit and turning her a little bit more so it's a very subtle change. We only need about one inch of total movement and we can get that light off her nose but again, without that slowing things down we would end up with getting this back and being like, oh man, this is a portfolio image zooming in being like either we messed up the shot to the point where we can't fix it or we're going to spend thirty minutes and photoshopped trying to brighten that area to even it out. Ok, let's, go on to this one. This is one where we kind of made several different adjustments, so number one the light is in a bad position, so when we look at this top shot, you can see how there's a highlight spilling onto her eye onto the side, that cheek it's all over her face and kind of its highlight your face in a very unflattering kind of a way. I don't want that, so what I did was I moved the flash further behind the subject and I also move the camera angle, so we put the flash further behind and then we move the camera angle so we are not shooting mohr of like into her face, but we're rather shooting morva profile into both of their faces, so here removed both a camera and the light position, and now we've eliminated basically whatever that rim light here was and now just became an edge on the side of her face and we've also eliminated the highlights on the eyebrows or on the eyelids and on the on the other side, the cheek as well, so we get a much better angle get a much better shot overall it's these small changes in the light in the subject and in the camera angle that are going to make all the difference in the world between an image that could have been great. Verse in an image. That's, actually, great. Okay, so sloth things down. Take the time, remember that it's, your shoot, you control the tempo, just like chris paul controls the temple when he's bringing the ball up the court. And I'm sure probably only ten percent of u got that analogy. That's okay, it's going on 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