Picture Perfect Lighting

Lesson 8/41 - 5 Behaviors of Light: Inverse Square Law of Light

 

Picture Perfect Lighting

 

Lesson Info

5 Behaviors of Light: Inverse Square Law of Light

Oh, inverse square love life. Everybody like, uh, members blye square love life get back to normal. Um, I've seen people discuss this in the most complicated way imaginable and it's all good, but I never understood because of that, it was like, what the heck are you talking about? On more importantly, when I understood the principles, I never understood how to apply them like that was just me being not that smart. You know, I think he's left, so to make this super super super simple. First before we do this, I drew some little diagrams for you so you can see the importance of the inverse square law of light. I did it the best way I could to show you visually what's happening. Okay, so we have amanda w here. Why do I say you're in the show like it's, so frustrating, right? If I put this light really close to her face, the inverse square law of light simply states that the closer you are to the light source or your eyes are really hurting. Basically, the stronger the lights going to be o...

n as soon as the light source gets farther away from the subject simply that the inverse core love light says you're increasing the intensity of light on the subject by how much that's the formula but the formula states that by a lot that's the mathematical way. Okay, so if you want to keep things simple, easy to understand. Just remember this the closer your subject is to the light source. They're more intensity of light is going to be on the fall off. Off light is going to be totally fast. You see how that side of her face is totally black? Okay, and then you ask him yourself. Why? Why does that happen? Happens because the rays of light are all illuminating her no light can escape. So look, if I put this here, light radiates, it goes into many different directions. Right? So if I put this light here do you see how much a lot of the light is radiating over her head and towards the floor and tours everything. Look, here is the light. Make a cone make a cone off light that light's kind of going like this, writes and some race go past her head and some rays are illuminating her body on some race are going and illuminating my good friend. Um but when you do this, how many rays of light can escape? None. So that means that this part of the face is receiving no race off light this part of the face is receiving all the race off light no light can escape so it makes as soon as the light stops illuminating the shape of her face is going to go black that nose are you hurting me? Is it hard totally I'll do it to myself just to suffer it's really hard okay um now is that they could look at the little illustration on the screen if you look at the screen it says he shows here all the race are illuminating his face because we have no cece and chains and I'll eye sockets that becomes like the block off light so if a man has a nose right I can see it if you illuminate amanda's knows from this direction their nose blocks the light from the other side of the nose door on if no race of light are escaping towards kenna bouncing against that war and reflecting back to illuminate the others out of her face it's going to go black because it's receiving no light so take a look at this this is receiving the entire like how dark do you think the environment will be here? How lark it's like it's a real question how dark do you think she will be illuminated? Well because you can change your exposure to match the lighting on her face but how dark is going to be the background talk because there's no light spilling into the background because the whole light is right in her face cool. So the room is going to be dark why's that important? Because what if you have an ugly background? What if you have an awful mirror or a plant? That's terrible hasn't been watered in a long time. What have you shooting in an environment? That's. Just not attractive. Use the inverse square law of light to bring your subject closer to the light. If you live in germany or in cr oh, use but lights like this put the light closer to her illuminate exposed for the bright light and the rest goes black. Removing, distracting elements is fantastic. What a beautiful thing! You don't even have to move any furniture. Just dump it with blackness, okay? This is what you get. A crazy amount of light on one side but black background all the way through. Cool. Okay, let's, try let's. Try this example I am now I have now moved away from here to here. Do you see race of light escaping her face now? Very simple. Right? Uh, let me try something here. This may or may not hurt. Okay, okay. Do you see how all the race hit her in the face? How? How many of these rays went to this side, nothing now let's, try this. If you look at the wall behind you you see what his creative life right there you can see that the light actually reaching creative life look at that you see it that's it because of that the light rays come out of the flash they expand like this as they come out some of them here her aa lot of the race don't they go towards the wall? They bounce around and then they come and hit her in the face again cool um you get this picture do you see how the background gets brighter? The backing is brighter here because more light it's reaching the background check take a look at the first picture you see how that's pitch dark now this one has more light now let's go to the next one now I'll stand here on I'll point my flash w do you see how very few rays of light to hit her? But the rest are kind of illuminating the whole scene, so if you lightest far away that lighting on her it's going to be more even because the light some race are hitting her some rays air hitting the walls, some razor hitting the roof they're all kind of having a party on in they're all illuminating amanda all the way through evenly that's why the falloff becomes a lot less and less and less at first the fall of is very strong because all the rays illuminate this side nothing you know a humanist outside as the race off light radiate you can see how the other side of her face starts to get even do you see that look at that until basically there's no difference let me try that again look out when I get closer look how this starts to get darker and darker and darker and darker and darker and darker and darker cool so you don't have to do all the math and complicate your life just know that if no rays of light are escaping nothing's gonna bounce off other walls that side of the face is going to go dark cool okay this is what you get a look at what you could write that background this this is another one do you see how that background is distracting the awful plant I mean I would never buy that plant um on that table has a thing in the middle bad news um that's that's how far do you think that light this basin? The inverse square little of light give me a ballpark far because you can see the exposure's pretty even right now watch this now how close the light is the light it's right on the face so how does this apply to you as a photographer? Well kind of a lot because a man that can just stand here uh let's go closer to the window now phase the window okay hold I'm not that much like this this then right there that's good click closer to the window so he could get more light in your face come this way where there's like this for a second think this here stand here ok go ahead be careful let me help you now face this way and don't fall please if you fall I'll take a picture if you're photographing the way we normally photograph which is close to the window which is wishing that what we always do you photograph somewhere this way if it's a girl you're splitting her face you're getting split like that's awful like that's why it affects you and then if you put her mom or her aunt or something and you uh take it could you come in for a second if you put her here stand right there's good send right there. Um uh what's ahead. Can I get two more people over here, please? Two more maybe just go back down for this example get close together they're close together. Okay, great. You're the photographer you're taking pictures like this right? Boom boom boom who's getting the best light the light source is here she's getting the highest amount of light on in the inverse square law says that you're losing what is the technical term I used aton of light every inch you move on until it starts to taper down right based on the formula right it starts to taper them so if you're not a mathematical person remember this if you have your subsidy if your subjects are close to the window the light fall it will be very fast on the people far away will be dark if you are far away from the window that lighting is pretty is going even out cool so if you're photographing bridesmaids or a group of people for a fashion shoot or whatever you're doing this is pretty much the worst possible situation because you're making all the light on amanda and you're putting nothing on chris santa on her okay, now if you're if you're watching on the internet you're saying roberto I don't get it because she looks just as bright as she does that's because we have a bunch of lights he looked back illuminating backlight that her okay, thank you guys thanks if you are the mathematical kind this is for you if you are like me or the rest of the people you can probably nor this but uh wow those numbers they're not appear the way I said okay, I'll just say real quick at the starting point of one foot away from the light um you're receiving one hundred percent of the lights because all the rates are hitting your face as soon as you go to two, feet, the life starts to spread on. You receive on ly a court, only a quarter of what you used to receive. So three quarters of the light goes away on. Then it goes like that well until they start to taper off. So you go from one hundred per cent of the light when you're really close to it, too. Seventy five, so only twenty five per cent of the light toe on ly eleven to four to four to three to two to two to one to one. So the farther you are from the light source, the more even it becomes the closer you right to the light, or is there more drastic? The fall of will be okay.

Class Description


Don’t rely on Photoshop tricks to make your portraits pop – learn how to use light to capture the moment in a camera. In Picture Perfect Lighting, Roberto Valenzuela will teach you how to make the magic happen with on-camera, off-camera, and natural light.

Roberto is a photographer and educator committed to helping other photographers overcome roadblocks and produce their best work. In this class, he’ll teach you how to achieve perfect lighting in your portraits without always relying on bulky and expensive modifiers. 

You’ll learn:
  • How to handle Speedlites
  • The best way to use natural light
  • Studio lighting techniques
Roberto will demystify lighting and help you become a more confident practitioner of your craft. You’ll learn to embrace lighting as a source of creativity and expression, rather than a source of fear.

In Picture Perfect Lighting, Roberto will help you reduce the time you spend retouching in Photoshop so you can focus on what is really fun about photography: taking pictures. You’ll develop a better understanding of the principles behind photography lighting and learn about the gear that will make your work more beautiful – without weighing you down.

If your unedited images could use a little boost, don’t miss your chance to learn how create Picture Perfect Lighting with Roberto Valenzuela.

Lessons

1Intro and Who This Class is For 23 Groups for All Lighting Scenarios 3My Progress in Lighting 4Analyzing Circumstantial Lighting 5Circumstantial Lighting Q & A 6Using a Reflector the Right Way 75 Behaviors of Light: Overview and Angle 85 Behaviors of Light: Inverse Square Law of Light 95 Behaviors of Light: Relative Size 105 Behaviors of Light: Relative Size Continued 115 Behaviors of Light: Color 125 Behaviors of Light: Reflective Surfaces 135 Behaviors of Light: Q & A 14Location SWOT Analysis and 10 Things to Look For 15Location SWOT Analysis: Examples and Exercises 16Overview Q & A 1Speedlites: The Basics and TTL 2Speedlites: Manual Flash 3Speedlites: Zoom Flash 4Speedlites: Zoom and Rotating Flash Head and Reflectors 5Speedlites: First Curtain vs. Second Curtain Sync 6Speedlites: High Speed Sync 7Speedlites: Optical vs. Radio Systems 8Speedlites: Groups and Channels 9Location Lighting Upgrade Examples 10Indoor Lighting: Building on Ambient Light 11Outdoor Lighting : Speedlights in Direct Sunlight 12Outdoor Lighting: Using Speedlites in Shade 13Outdoor Lighting: Romantic Look and Patterns with Speedlites 14Indoor Lighting: Creating a Window with Strobes and a Curtain 15Indoor Lighting: Moody Light with Speedlites and Gels 16Indoor Lighting: Reflective Surfaces 17Indoor Lighting: Shooting Against a Window 18Indoor Lighting: Adding a Reference Point and Ambience 19Indoor Lighting: Shooting into a Mirror and Creating Separation 1Why You Need to Learn to Get it Right In Camera 2Location Photo Review and Analysis 3Intro to Reception Lighting SWOT Analysis 4Reception Lighting Setup 5Image Critique: Lighting Problems and Solutions 6Don't Limit Yourself As A Photographer

Reviews

EDUARDO LLERANDI
 

I can say enough about this class, the best class ever I've seen about lighting. Roberto Valenzuela, as a professional photographer and artist is the best also as a teacher. If you are beginner, enthusiastic, o professional photographer and want to craft and master lighting for ever and ever, please buy this class. Thanks Creative Live for the opportunity of been part of this. Roberto you are the best. "Eres el Mejor Amigo, Gracias"