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Lighting 301

Lesson 2 of 26

Two-Light Stacks for Portraits with Depth, Pt. 1

Pye Jirsa, SLR Lounge

Lighting 301

Pye Jirsa, SLR Lounge

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Lesson Info

2. Two-Light Stacks for Portraits with Depth, Pt. 1
Pye demonstrates the concept of light stacking, using a two-light setup to add depth to a scene and create dramatic, painterly portraits. After the shoot, Pye takes the images into Lightroom and Photoshop and shares editing techniques to arrive at the final composite.

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Two-Light Stacks for Portraits with Depth, Pt. 1

Welcome to our first video. We're starting with a multi point lighting setup. We're gonna be using two lights going for a dramatic image and achieving a painterly look. So we're gonna be using one of those lights to kind of like the overall scene and a second light to really add dimension and shape to our subject. Let's go ahead and dive in. All right, So Seth is gonna kind of hop into his post so I can get a good little look on the angle. I'm gonna just the camera down and low, and we're gonna frame. I love how so if you guys are down here, we can actually look at the angle of where his head is. So if I shoot from right here and his head is against the background, that's white, right? It's not going to really pop out that much, but if I get a little bit lower and I place his head against the background of that roof of the overhang, that's kind of like tattered and worn. Then the background is very dark, and it will really make the rim light on his head, Pop. So that's what we're gonna...

aim for is making these little subtle refining changes throughout this entire series that's gonna tie something together. Okay, Mhm. I want to raise this up just a bit. Yeah, All right. So I'm shooting at F seven. I'm gonna go ahead and get a shot just at a proper kind of, like, maximize hissed a gram Max exposure. Now, what I actually want to do is really darken up the scene, and I kind of Let's see here. Let's take a look at where the sun is coming in. We're gonna leave it right at F seven, actually, no. What? We might as well you might as well bump the We're gonna bump up to F and change ri so to low. All right. Mhm. The goal here is that we can get a dark enough exposure without having to use any nd filters. So here we're at about two stops underexposed. I'm gonna take a look at the image. It's gonna be a little bit hard to see. So where I've placed it is that 1, 200 F 18 low. I so So It's obviously very bright outside. I'm doing this because I don't want to incorporate any NDS yet. I just want to get this really cool baseline shot. So now with this set up, I'm actually gonna put the remote onto the camera, Remember? For this entire series, I don't want you guys thinking about what kind of gear we're using. I'm going to tell you about the power. So obviously, from a professional standpoint, I love my pro photo gear. It's easy to use, but I'm going to demonstrate with everything so you guys can get an idea of how each piece of gear works and how you can create the exact same images regardless. Then choose the best gear that fits your budget. The best tools that help you in doing your job. For me, that's going to be a pro photo. But here we're not using that. I want to demonstrate how we can create this with anything. So I have to 82 hundreds. These are Botox. Makes them cheated at all These different companies make these 200 watt strobes that we've popped into a mag box. Yeah. Okay, so this gives me somewhere close to watt seconds of power, which is right around kind of between a B 10 and a B one. So this is gonna be my main light, and we have the mag box, which is going to defuse again. We're gonna be talking a lot about power because I want everything that we do here to translate to whatever gear that you're using. So rather than talk about specific settings, I want to give you power and we'll talk about that in just a moment. But we're gonna using a soft box, which really, this could be almost anything any sort of modifier, and we're gonna place it actually, on this side. One of our tendencies is to capture images and thinking like, Oh, I'm gonna put this flash directly over here, And here's what I'm gonna do is I'm actually gonna demonstrate this, so I'm gonna put it right here. This is a very typical kind of set up that we might do when we're first getting into Flash. I'm going to place that there. Let's make sure everything is powered on and firing, and I'm gonna go to full power on this. So full power is 400 watt seconds and I'm gonna take a quick shot. Okay? Now the image that we get is is all right. The problem with this image, though, is that it lacks drama. It lacks connection, because we really haven't put a lot of thought into the position of the light. We just brought it 45 degrees off of camera. We're beyond this phase now of your guys lighting education. And I want you guys to think in different positions. And what I want to do right now is I want to cast a Rembrandt light onto his face by bringing this light around the back side. So I'm actually gonna bring it to this side and from my angle, what I'm looking at is is Seth is going to have his chin kind of angled towards this side. I'm looking to get this light in a place where I can essentially draw a line directly to that opposite cheek right there. The cameras on that side and I'm firing here. So I get that nice highlight on the opposite cheek. Notice how far this is away from the camera. So now what we're gonna do is place the focus diffuser onto this guy. So this guy is going to basically focus. It's It's a very interesting modifier. Actually, magma has designed this. They called a focus diffuser. And what this does, is it not only diffuses are light, so it creates a less speculator light. And again, that's soft versus diffused are two different things. So, yes, this is going to be a softer light because the light source is large. But what this is doing is diffusing the light so that we're not going to get as many direct reflections coming back. So I'm gonna place this directly over the other thing that it does. It actually focuses the light so it almost acts as like a narrowing beam and a grid all kind of in one. So it's kind of a grid. It's kind of a, uh for now, and it's also a diffuser, which is cool. There's not really anything else like this out, and Magma has done a really great job with this product. So you'll notice now that in terms of our height of the light, I want to get it up a little bit higher. This is again one of our mistakes is not bring the light up high enough. Natural light sources come from top to bottom, right? We're gonna be doing a lot of explaining this video because this is our first video. We're really trying to dial in. This lighting effect here I want to do is angle it down. Using the mag grip. I'm gonna pull it into him. And yes, this is going to be in the frame, which is why we're set up on a tripod, not only for ease of comparison between eight and bees, but we can also easily composite the shot to get the light out. So now here's what I'm gonna do. I know that the power settings are gonna be different on this shot, but we're gonna go ahead and shoot this at 400 watt seconds anyway, so it should be all ready to go. Um, Let's see. Bring the chin kind of down to the side and eyes on the camera. The air. You go right there. Perfect. Nice. Okay. Now taking a look at this. We have a dramatically different image already. It's not quite where I want it yet, but it's getting really close. Let's pause right here for just a second. Now I want to do a comparison between those two shots. Because here's the thing. We're gonna go a lot further than just simply what we've done this far. But I want to do a recap. Lighting One was all about learning to see the light, to understand different light patterns, their purpose to capture them and create amazing images. Lighting to was the power of a single flash, whether on camera or off camera and just how far you can go with it now, as you dive into lighting three and subsequently lighting four and so on were getting into refinement. This is not only controlling multiple light sources, but its refining your overall image, seeing more in the shot and to get your mind trained and wrapped around this thought. I want to talk about what we've done thus far. So when you look at this first shot, well, let's do a rundown. So here we have the cafe kind of going across the background and you'll see that little spot jetting out. And here is Seth, basically right here. Seth is very round and a popular a popular. Is that a word? Mikey? I don't think so. I would agree with you. Our camera position is gonna be right here. And that typical mentality that we have is, once we get the flash off camera, we're just gonna put it 40 degrees to camera. Right? So the flashes coming from right here and it's going right towards Seth. But when you look at this shot, it is strikingly close to direct flash. Okay? There's not a lot of shape and dimension in the shop because we lack shadows. When we lack shadows, we're gonna lack depth, and our subjects are gonna look two dimensional on top of that. Look at this right here. If you actually look at the image, you can see how this light is actually spilling onto the background. So we're actually casting a shadow from this poll and going directly to the background, we're casting a shadow offset and going into the background. And you can see that because when I put up the side by side, look at those two shots. So in this second shot, we have our light directly focused towards Seth. And not only if we zoom in and look at the face, you have so much more dimension in the face by retaining those shadows, that's one thing. On top of that, look at how we've controlled the background. We have that natural ambient light in the background. We haven't washed out the scene. We haven't created duplicate shadows. So we've done a lot for our image just by moving the flash further. So the only adjustment that was done between Shot A and shot B was this. We took this flash and we pushed it into the scene and positioned it right about here, firing into Seth from the side. Now our light angle is controlled, and believe me, we're not done yet. We're not anywhere close because we're getting into the two light stacking technique. But I wanted to pause just to show you how big that single changes in terms of our overall shot quality. We've gone from a puppy shot to something that's actually pretty decent. So the first recommendation as you go into your shoots is this. Slow it down, slow it down, take more time and setting up the shot in getting things right. Before you feel the need to get trigger happy and start shooting through the scene. Slow down. Let's keep going to the video. So this is good there's another level that I want you guys to take it do. So here's what we gonna do to get that painterly look, I need to pull this light back a little bit. So the light becomes kind of more of a light for this overall scene. I'm gonna go ahead and take a quick image and what you're gonna see. Okay, so now what we're gonna see is that we have a little bit of, like, kind of filling into this entire area. The trick of this kind of setup that we're about to do is we're gonna add another light. So think of a Rembrandt portrait. Not only are we looking for that lighting effect, but what makes something look painterly is the way that a painter might kind of put a little bit of extra light and create that sort of depth in the face by brightening areas of the face and kind of creating a natural vignette as the image kind of trails off to the outsides. That's exactly what we're doing here. This image right now is kind of We have this shot that's very dark and dramatic, and we're pumping in light into the overall scene. And what we're gonna do is Seth, I want you to bring that hand right back up there and get me that same pose real quick so I can get a quick shot here. That's great. Bring the chin down a little bit right there. And the eyes right to the camera. Perfect. Okay, so with that, now we're gonna add our second light. So this is a light for the scene. Now we're going to pump in a little bit more light. This is a standard flash. So right now we're putting in 400 watt seconds of light there. We're gonna add this at probably full power, which is about 50 to 60 watt seconds. Now, I want to just demonstrate this. We're gonna put it the same lighting direction as this light. Okay? If we bring it in close to this guy, it's not going to cast a shadow because this is going to basically diffuse all around the light source. But the problem is, is that there's no grid or anything set up. So what I'm gonna do is Seth is going to take that same kind of pose. I'm gonna fire a shot we're gonna put this up to full power, okay? And you're gonna see that flash kind of just spills everywhere. So what I need to do is get that light directly onto Seth and Jess. Seth. So here's what gonna do. Why don't we get a grid? I'm gonna use a grid. I'm gonna use a spear. Don't get this confused with being a soft light source. It's not soft. I'm gonna stack these two because the grid is going to keep the light beam kind of tight. The sphere is going to diffuse the light a little bit, basically reducing the speculum city of the light. But it's not going to be a soft light. It's still gonna be very edgy. Yeah. Now, we're gonna bring this in about right here. So it's not going to cast a shadow on the Seth. Same position as the other light. Okay, I want to pull this just a little bit off to this side. And, Seth, if you were to bring your chin right there Good. So I'm adjusting that angle on both. Okay, So we have one at full power. Far closer. I want a full power further away. So 50 60 watt seconds. watt seconds. And let's go ahead and see where this is at south. Go chin down a little bit. Bring the chin back to me. Just a little bit right there. Eyes right into the camera. Let's check it out there. You'll see in this shot that both of these flashes are still actually in the frame. And so this is just where we want to take a plate shot. So, Sonia, I'm gonna have you help me out there. Let me make sure that we're all focused. I'm gonna take this shot one more time, so I kind of look right there. There you go. Bring the chin a little bit over more, Seth right there and look towards the hand, actually, in your hand right there. Fan freaking tastic. I'm gonna do one thing. I'm just gonna pull these in a little bit to get a tiny bit more light on the overall scene. Yeah, that's it. Yeah, I'm adjusting it just so this other flashes a little bit further in. I don't want to create a shadow going over Seth. It's not gonna be too big of a deal if it's in the background because I'm gonna show you guys how to composite that. There it is. All right, now, Sonia, why don't you go ahead and take both stands out now with everything remove. We're gonna take our plate shot. Okay, So what, you got to see what we've done in camera and really chiseling out our subject into the scene. And now let's go ahead and go check out the final image. Now, with everything set up, I'm just gonna go ahead and take a few more images. So this is where I'm going to kind of work around my lights already. Good. And now I'm gonna take some shots for well, for me and said to have All right, let's work a little bit, get a few different angles. Does that go and look in the camera? There you go. Bring the chin a little bit in the light while your eyes into the camera. There you go. Mhm. Yeah, that's red. Get even tighter. Go ahead. Bring the hand back to the arm. Rest and kind of looked down and kind of lean into the bike a little bit. There you go. Yeah. Sick dude. Let me get a natural h on. That seems like an show. What this looks like, do that same thing. There you go. Sick. Okay, so let's summarize everything in this first video. I want you to keep them in your mind as you continue this course. So here we have another A and B example between a natural light photograph versus our flash photograph on the right. I'm hoping you guys can see the difference between these two shots. So what we've done is they actually have the exact same develop settings applied to both of these raw files. What you're seeing on the left side is simply the flash turned off and the exposure Brighton to compensate for well, to brighten it up for a natural light shot. And on the right side, you're seeing the flashed image with the exposure darkened down. The purpose is to understand just how dramatically a background can shift. And I not only want you to understand it, I want you to be able to visualize it in your own mind before you are taking a photograph. So I want to train your memory to be able to walk into a scene and kind of use your mind and your own visualization as the camera, essentially, where you can look at a scene and imagine what it's gonna look like if you pull down the exposure or where you brighten up the exposure. That's the purpose of this side by side to give you a visualization exercise exercise that you can then take into each one of your shoots. Okay, I'll also say, by the way, that there is not one of these images that's necessarily right or wrong. What we've done is matched a very dramatic kind of look with this right side light source using this dramatic kind of paint really look to a subject that's very edgy and dramatic, and that's why it has a very cohesive look and feel to it. I will say that there is not a right or wrong between natural versus dramatic light. It's about choosing the light source that best matches the subject and the intention behind the photograph. And here we have an edgy subject. Riding a bike, he has ink and tats all over. We have a background that's cool and dramatic, so we're matching with a dark and dramatic image to get a very cohesive look and feel. Let's summarize camp because this is critical and it's going to help you so much in every one of your shoots composition, the first step and what you're gonna see me doing and every one of these videos as well as this one is to create, to compose, to think of the shot that I want the angle, the lens, what I want the subject to be doing to do all of the heavy lifting before ever thinking about the light. I'm thinking about the shot that I want to be creating. From there, we go into the ambient light exposure. This is where you're going to set your intention behind the exposure, dark and dramatic or bright and more natural. Either way, you pick next, modify or add an existing light source. We're always gonna start with one. Okay, so once everything is set up, I'm gonna take my test shot. I'm gonna see if I can just modify the existing light. If not, then I'm going to add an additional light to get to where I need to be. Then, with that first light added, I'm going to take another shot and test and see. Do I need to modify it again? Or do I need to add a second light source? Start with one. It doesn't matter if you're going to get to 15 strobes. I want you to work your way. 1234 Don't just go on and turn two or three lights and try and figure out what everything is doing. It's gonna be very difficult. Finally, we have the photograph side of camp, right? So this is where you're going to pose. Direct shoot. This is where you begin. Everything else is dialed in. Now you're gonna have fun and take the shots. When you practice this process, it will take you less than five minutes to set up a shot and to begin shooting. And you're gonna get dramatically better images. And you can see that because we walked through so much demonstration and guidance and still it only takes us through the education about 10 to 15 minutes to get everything set up. Practice it. It's going to work, and it's going to make your life so much easier. So with that cover now, our primary technique here was to add light into the overall scene, then to add a second light over that 12 punch in and paint light in to the scene where we want the viewer to focus. This is a painterly look, in effect, because it's exactly what painters did going back to Rembrandt, who would basically paint in light into a scene and then would add additional light. I mean, he was essentially dodging his subjects by adding more light to the face and other details that he wanted the viewer to focus on. So this effect is what I want you guys to take away from this tutorial as we move forward. Now what I'd like to do is to jump into the post production side and let's actually finalize this image. You can see how we processed it and remove the stance. Here we have our final image. Let's take a look at what we're going to be doing with the shot. We're actually really close with. The raw file we're gonna essentially do is open up the shadows a little bit at a bit of mid tone, contrast with clarity and pull together a bit of the colors through split, toning and a little bit of H SL adjustments. It's actually gonna be really simple. Now, let's go ahead and dive in to the raw file. So what you're gonna see here is, by the way, the goal of refinement right is to get your raw files as close to possible straight out of camera. So when we compare these two images notice they're actually really darn close. So here's the raw file on the right side. Um, let's go ahead and grab that guy. And what we need to do is we're gonna not only start by just resetting the image and making sure that we're 20 so we are completely reset out. I'm gonna mention this, by the way, we also have to remove the license, which we will get to, uh, what we also want to cover is I create a new set of development tools within visual flow. It's an entirely new way of developing, and I'm going to show you just in case, if you do have the system, then you guys understand essentially what we've done with these images. Most of them are processed with the modern pack, and all I do is apply soft light and then I'm just going to basically raise the shadows and raise the black point and then basically add in a little bit of extra clarity to the image. There we go. So this is really all that's going to happen now. All you guys are like, Well, we don't have those presets or I don't want to buy them. That's fine, because I'm gonna walk you through ground up on how to create the look and what that preset is actually doing. So within this new system, we're actually using profiles to dial in those color settings. And I want to show you guys how we're going to do it just over this exact preset or over the develop settings we're going to be creating, So this is completely reset out. Now, what we're gonna do is close up this left panel. We're just gonna work from scratch. So the first thing that I want to be doing here is I do want to lift my shadows a bit. I want to lift my blacks a bit and just get better overall, mid tone contrast. I'm gonna raise clarity. Remember, this is a very hard edge image, and we can afford to add quite a bit of clarity before it becomes too much. So at about plus 60 ish, I'm good and I'm gonna go 50 on the shadows on the blacks were going up to by the way, you can use your keyboard. I'm using the loop deck. Plus because it makes subtle adjustments very nice and easy, especially when recording tutorials. It's a fun little device for sure you guys can check out. So this is actually looking pretty good now. I might be tempted to go straight to temperature and tent, but what I want to do first is a just in a couple other things. Namely, I want to get split toning into the shot a little bit. So let's first do this. I'm gonna just my vibrance down maybe like two negative five, just to pull a little bit the color out. And now we're gonna go down to split toning under split toning. I want a little bit of warmth, so this kind of orange tone maybe at around plus 10 saturation, so one we're choosing the hue to We're going to choose the saturation of that hue, and if it's a bit too orange. Just pull it over more to the yellow side. Okay, so right about here. Looks pretty good. Now I'm gonna add in a little bit of blues in the shadows. Now, again, I don't want it to be supersaturated. I just want a very subtle amount of blues that we're gonna be adding. So some around 2 40 hue and about 14% for the saturation is about right. And then we're going to balance this over to the highlight side. So we see more of the highlights kind of changing and shifting to that kind of warmth than we do in the shadows. You might be asking, Why are we going to do this? The reason is I love adding in this little bit of toning because it adds essentially a layer of color tone into the entire image that pulls the colours together and creates a more cohesive and kind of palatable color tone through the entire image. So it eliminates a lot of those kind of off color that we might see in the highlights, especially over skin tones and that kind of stuff. Now we're getting there. So the other thing you might notice in the final shot is that I've actually shifted my Hughes a little bit, actually pulled the blues. Oftentimes I'll put it a little bit towards the teal side. So I'm just grabbing my hue, eyedropper and pulling over that hue and just pulling it down a little bit. I'm also going to just reduce a tiny bit of the saturation of the blues. Especially like, yeah, so it's a little bit much right about here is good. This is where I would go back now and dial in my temperature and tint to where I would like them. So if I want that little bit of warmth here, I'm gonna add a little bit of magenta is to the image and then warm up my toning, and that's really it. Okay, so the last thing that I might do is throw on a radio filter so you can press shift em or just click the radio filter to bring it up. And I have this little burn exposure. It's just a brush that basically just burns by about 0.5 stops, and we're gonna keep the feather up to 100. You can pull this in as really as much as you would like. Okay, so let's continue to pull that in a little bit. I'm gonna go to about one stop right about there is nice. And let's see if we want to tweak that, that vibrates a little bit. I might leave my vibrant up just a little bit higher. And I may also just tweak my split toning a little bit. So I'm gonna pull split toning down just a bit to let some of those other colors come through a bit more and give a little more to the blues. Just making some subtle tweaks here. A little less of that shift. And we're actually looking pretty solid now, so this looks good. I have that nice warm from that overall. Look to it. Now, what we have to do is remove the stands. It's going to be pretty straight forward and simple. So all I'm gonna do is grab the raw file, which is right here. So this should be the raw file. So what we're gonna do is grab those two, this shot and that one, and I'm gonna go ahead and press control shift s or command shift s because what I want to do is sink everything between these two shots. So that way we have essentially two identical shots. Okay, Make sure, by the way, when you do that, I'm gonna press controls your command, z, To undo that, I need to make sure that the key image the one that's selected to synchronize is actually one that we process. Okay, so do that now hit. Synchronize if you have any other final adjustments that you want to make, you can totally do that here. So if I notice that Hey, this is a little bit too warm or I'm not liking the colors right now, what I can do right now is just go to the develop module, turn on auto sync with those two images selected, and I can just adjust the temperature a little bit. I'm noticing the temperature is a little bit too warm and it's a little bit to magenta. I'm going to pull it down just a little bit and maybe brighten up the overall exposure just a bit. Okay. Now, with auto sync turned on, it just applied those two settings to both images. So if I go back to grid view, I can see, those tumors are still selected, and both developed settings had been applied. Now, I'm simply going to right click, go to edit in open as layers in Photoshop. Okay, so this is gonna be super straightforward and simple. This is why we talk about whenever you're doing, like, a plate image like this to make sure that you're setting the camera on a tripod. Because when you do, it's going to make your life so incredibly easy. All I'm gonna do I have two ways of doing this. I can either mask out the lights just on this layer itself, or I can pull the background in front. The plate shot. Yeah, there we go. I can bring the play shot up and I can simply mask in where I want the light to be for this shot. I might actually just take this image and mask in where I want the light to be because it's less work. So in this shot, if I use this, I might have to fix the ground a little bit more so and do a little bit more to the image. Then I would the other way around. But either way is totally fine. So I'm going to do is bring the background at the top. Now I'm gonna add a layer mask by clicking this little layer mask option right here, and we're gonna paint black. So again, press be on your keyboard. Black is going to conceal, and white is going to reveal. So what we're doing is we're concealing the top layer to reveal the lit layer below it. So I'm going to zoom in just a little bit so we can see closer what's about to happen. You're going to see magic. So with opacity and flow set to 100% and just a standard brush, I'm just gonna brush in the light. Now, keep in mind that he's not moving in this shop, okay? There might be subtle shifts and subtle movements, so I want to zoom in and just make sure that we're not getting any ghosting in between these images. I also didn't align these images because we did shoot them on a tripod. But let me show you how you would do that just in case. So I'm going to delete this mask and just imagine that we just brought these two images into Photoshop. I'm gonna hold, alter, option and zoom out. And let's select both these layers. It's a good idea, even when shooting on a tripod to align the layers. It's an absolute must. If you're trying to do a composite where your hand holding Okay, so, to a line, just go up to edit. You're gonna go down to Ottawa line layers, and you're gonna select auto right here. Okay, When you're on a tripod, there's gonna be a very subtle, probably one pixel adjustment that's being made. It's not gonna be significant, but it's going to be an absolute must if you are not on a tripod. So let's go ahead and add back that mask and now paint in black. Wherever we want to reveal the light source or the light subject the light subject. You know what I'm saying? They get it. Okay, I'm gonna zoom out a little bit, and what I'm gonna do is just paint a little bit larger to kind of feather it off the bike in certain areas that I don't want it. And then I'm going to test this and make sure there was no movement by zooming into the areas where the light is feathering off. And I want to make sure that we're not getting any ghosting between those two images. And we're not. If you're getting ghosting in any one of these areas, where you basically like the edges don't quite a line. I can actually see a little bit right here. Then all we're gonna do is just kind of paint over that area to make sure that only one of the images is showing. Okay, so I'm painting more black over this area just to make sure that we're not seeing any of the other image in this little arena. Okay, now, that might look a little bit odd with his foot just being lit like that on the ground. Yeah, it does definitely look odd. So what I'm gonna do is go ahead and press X, and we're just gonna now feather that off. So his foot is not being lit. We're going to also remove it from the ground. And now all of the duplicate shadows and everything that was in the shot are removed. So that's it. Was that not cool? Okay. The last thing that I did on the final is if I were to just I'm just gonna merge everything to a new layer. So that's all control. Shift the or option command shift E to merge everything to a new layer. The last thing I often like to do is just clean up certain subtle things that don't belong in the image. Like certain dirt marks that don't belong. Um, and also, like, I don't like having these lights up here. So all I did was select these by using the lasso tool press l to bring up the lasso tool, Then shift backspace to bring up the fill and just do content aware it will generally do a pretty good job of knowing what you want and removing them. If you want to fix that line, you totally can. But I'm actually going to be okay with it. So I'm gonna do is select these shift backspace content aware fill and you can see how you can just make quick work of those items right there. If you have a little spotlight here that that didn't work, I'm just gonna use my clone stamp tool by pressing s And then I'm going to just paint over this little spot right here. So what I'm doing is holding down alt to sample that area, and then we're just gonna paint a little bit over this. Now, if these don't quite fully align like that, we have a couple different options. So one I could just select the like, the area again and do this one more time. Don't replace it with white. That doesn't look good. Do the content. Where again. And it often times will get a line kind of better off, too, if you decide to go with that clone stamp method. So I'm gonna press control, dear. Commanded to de select. We have our clone stamp selected. I'm gonna hold down alter option. We're gonna select that and I'm just gonna paint back in. You'll notice that the clouds look a little bit off. So here we can get it kind of aligned, but the clouds look weird. So all I'm gonna do is just select this little piece right here and do the same thing. Shift backspace content aware. And it does a little good job fixing that. Or you can just grab a little more clouds and pay that in Honestly, don't get too caught up with this kind of stuff because you'll notice that, yes, when we're zoomed in. Let me just, uh let me just undo that last little thing. There we go. You'll notice that. Okay, I do see a tiny little piece there, but when I zoom out, those things are generally not very noticeable. So don't like over retouch your images by staying zoomed in the entire time. So that's it. I'm going to do a little bit of clone stamping to kind of remove or a little bit of healing to kind of remove some of the bigger rocks on the ground. And the image is done. Okay, I'll let you guys do that on your own, because it's gonna be pretty straightforward. Simple. You can spend as much as little time as you want on it, but that's how we get to the final image. And let's take a look at that final right here. All right,

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Master multiple off-camera flash setups for dramatic portraits.
  • Control light with flash modifiers such as softboxes, grids, and gels.
  • Master creative techniques like creating silhouettes anywhere, pin lighting. your subjects, backlighting rain, creating starbursts with diffraction, and much more.
  • Use various tools in Adobe Lightroom Classic to enhance the images created using the lighting techniques taught in this course.

ABOUT PYE'S CLASS:

This workshop is all about using multi-point lighting setups to consistently make any location look great and help you capture dramatic, creative portraits that will wow your clients every time.

Building on the skills learned in Flash Photography Crash Course, Lighting 101 and Lighting 201, we’re going to explore a variety of multi-point lighting techniques and look at different ways to further refine the way we light a scene. We’ll start with light stacking to create depth in our portraits before introducing rim lighting, backlighting, and other creative effects and applications. Then, we’ll incorporate motion into our environmental portraits via shutter drag and show you how to create composite images that would otherwise be impossible to capture. 

We’re going to demonstrate these techniques using a variety of highly portable lighting gear and modifiers. You’ll also find “power translations” with each lesson so that you can know the exact power settings used and recreate the same light using any flash or modifier that you already own. Follow along and see how we crafted all of the images featured in this course, from shoot to post, and learn how to fully realize your vision and bring it to life with your camera. 

The next class in this series is Lighting 401, where Pye teaches photographers how to create every natural light effect with flash, including golden hour, soft window light, and direct sun.


WHO THIS CLASS IS FOR:

  • Photographers with a basic understanding of flash photography who want to elevate their lighting skills
  • Those looking to boost their creativity when shooting on-location
  • Any photographer who wants to stand out from the competition

SOFTWARE USED:

Adobe Lightroom Classic 2019

Reviews

Jackie Stewart
 

Lighting 301 is excellent! I learned so many new techniques throughout the class. Pye Jirsa is brilliant at explaining new lighting techniques in such an easy to understand way and his mastery of Lightroom is amazing!!! Loved the class and can't wait til implement the things I learned!!!!

Dani
 

I love the Lighting (101-201-301) courses; I have finally understood the concept of lighting and how it works. I have been referring to my notes and go back to all the courses with ease. One of the best courses I have done for myself and my biz; I am so impressed with my work and the lighting I can create.

Funfotog
 

Pye is a great presenter and is able to make understanding light easy. Now to practice and master the concepts taught. Thank you.