Lighting 201


Lighting 201


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 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.


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