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Welcome to Lighting 201!

Lesson 2 from: Lighting 201

SLR Lounge, Pye Jirsa

Welcome to Lighting 201!

Lesson 2 from: Lighting 201

SLR Lounge, Pye Jirsa

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Lesson Info

2. Welcome to Lighting 201!

Lessons

Class Trailer
1

Chapter 1 Introduction

06:59
2

Welcome to Lighting 201!

03:16
3

OCF = Anytime/Anyplace

06:49
4

Chapter 2 Introduction

05:11
5

Wired, Infrared or Radio?

15:03
6

“Pocket, Medium, Full Strobe?”

13:23
7

Our 3 Favorite Flashes “Pocket Strobes”

09:26
8

4 More Flashes “Pocket Strobes” Worth Looking At

14:33
9

Our 2 Favorite Medium Strobes

12:55
10

Understanding Radios Part I: Channels & Groups

11:04
11

Our 2 Favorite Radio Triggers

07:59
12

5 Simple Steps to Trouble Shooting Radios/OCFs

15:10
13

Fantastic ND Filters at Any Price Range

09:03
14

Our Favorite “Sticks”

11:01
15

Our Favorite Ultra-Portable OCF Light Modifiers

19:38
16

12 Mounting and Must-Have Lighting Accessories

12:28
17

Gear Setup - Setting Up a Light Stand or “Stick”

08:14
18

Gear Setup - Setting Up a Monopod Light or “Boom Stick”

09:30
19

Gear Setup - Setting Up a “Medium Boom Stick”

12:15
20

Gear Setup - Setting Up a Manual Flash “Big Boom Stick”

13:30
21

Gear Setup - Setting Up a Full Feature Flash “Big Boom Stick”

09:40
22

Chapter 3 Introduction

04:12
23

8 Steps to Perfecting Each Scene & Image When Using OCF

12:30
24

Over Powering the Sun - Part I

16:42
25

Over Powering the Sun - Part II

12:42
26

Slow Down! Watch the Details

08:32
27

More Power Without The Power

11:03
28

Adding to Existing Light - Part I

10:52
29

Bare Bulbing with Large Groups

14:36
30

Back Lighting to Create Interest

13:33
31

Getting Crazy with the “Whip Pan”

17:27
32

Chapter 4 Introduction

03:44
33

The Flash Modifier You Already Own

12:05
34

The Oh-So Powerful Umbrella

11:13
35

Large Group Shots with an Umbrella

11:21
36

Exposure Balancing via Lightroom

04:20
37

Portable Softboxes - Westcott Apollo

10:22
38

More Light Control, Just Grid It!

12:53
39

Dusk + Modified Pocket Strobes

13:51
40

More Power? Medium Strobes FTW!

12:37
41

Perfect It In-Camera. Then Photoshop

05:23
42

Adding to Existing Light - Part II

12:00
43

Adding or Enhancing Light Direction

11:17
44

Our Ideal Group Lighting Technique

12:58
45

Incorporating Flares with Flash

10:39
46

Cutting Light, Grids and GOBOs

10:29
47

Chapter 5 Introduction

03:34
48

Fog + Flash + Grid = Dramatic Change

08:56
49

BYOL! The 3-Light Setup That Only Requires One Light!

12:07
50

What About the Fill Light?

12:15
51

Backlight + GOBO + Fog = Magic

08:36
52

Drawing Attention via Light Shaping

08:29
53

Visualizing Lights & Color Shifts

09:17
54

Mixing Ambient + Gobo w/ Flash

11:37
55

Better Light Can Change Everything!

09:47
56

Chapter 6 Introduction

01:57
57

Subtle Refinement = Massive Difference

11:31
58

Great Light Changes Everything! Part II

11:50
59

Manually Triggered RCS + Shutter Drag

11:29
60

The Right Power for Each Scene

14:24
61

Dodging and Burning via Light In-Camera

07:23
62

Subtle Light for Natural Portraits

09:14
63

Light Modification & Simple Compositing

10:16
64

Expanding Your Photographic Vision

11:37

Lesson Info

Welcome to Lighting 201!

Oh, c f equals anytime anyplace oh cf in case you are wondering is aka I'm skating it's not that it is ridiculous. It stands for off camera flash off camera flash simply means that basically we can now shoot in any type of situation any time of day anyplace and get amazing results. Now you might have recognized this slide if you watched lighting wanna one? This is the same slide where basically we were trying to convince you why you should use flash in the first place. And since you are taking this course, I'm assuming that I don't need to convince you on using flash. But I will tell you why use well off camera flash instead of on camera or hot shoe flash because in lighting one on one we taught you how to create incredible images by just simply shaping by bouncing using grids and so forth has shaped that light and to get it onto your subject and create amazing images. So why is it that you need to take the flash off the camera? Well, the basic answer to this is that taking the flash o...

ff the camera gives us mohr of everything so using flash in the first place we had better control of light, we have better control of the amount of light, the direction of light, the quality of light and the color of light well, by taking the flash off the camera we now have mohr of all these things we now have more control over the amount of light because now we can use one two three four off camera lights eventually or we could even stack flashes to control the overall amount of light whereas that's not really an option when you're just using a single hush you flash we now have more control over the direction of light because now we're not limited to basically shooting from the same angle of the camera were not limited to simply bounced techniques we can place this flash anywhere in our entire scene we could place it behind the subjects even to create really cool rim and ej lighting effects we now have more control over the quality of life because now with the flash off the camera we have a whole slew of modifiers that couldn't be used when the flash was on camera because simply they didn't fit or because we couldn't get the right results like you can't really use a beauty dish on camera and then bounced that whereas we could take the flash off the camera, put a beauty dish and haven't fired directly on to the subject and lastly we have more control now over the color of light why? Because again we can use multiple off camera flash setups each one of these can have a different color temperature we can using different jails to control and create stylistic effects and so forth. So basically, what we're talking about is off camera. Flash means any time, anyplace. It means that you have more control over light over every one of these specific things over the amount. The quality of the direction and the color of light and that's gonna enable you to go into any scene and creating a fantastic image, regardless of the time of day. Regards of how bad a scene looks, or how bad the originating light is, you're going to able to create fantastic images, time in and time out. And that's. What being a professional photographer or even an aspiring amateur photographer is all about.

Class Materials

Bonus Materials with Purchase

Lighting 201 Slides

Ratings and 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!

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.

Student Work

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