5 Behaviors of Light: Q & A
So this question have come in earlier and it's a little bit theoretical for this whole segment, I presume from your demonstrations that you can on lisa see if the lighting arrangements are proper by taking the photo that I can't see the lighting effects correctly, is that true? You can see it, but when you flash that, you know, if you had a constant light, you will see it, but when you flash the flight, the burst of light is so fast that it becomes prominent in the picture, I think if we were to put that red thing back, we're not we don't have to do that, and I put a video light on her face on the I put a very light on the on the red paper, you would see the effects to, you know, obviously the flashes and really powerful light source, so it makes this really, really red, so yeah, so you can see it, you just need a stronger light that your eye can see right? And but you're basically what you're teaching us is that you need to learn to see all the effects of these different things so tha...
t when you walk in the room, you know what's gonna happen, I'm trying to teach people that mastering circumstantial light is not a cc, just walking and looking into the park there is a lot of elements that go into it for example, you gotta pay attention to how reflective the surfaces are around you if you don't pay attention to that youre not maximizing the location location could give you amazing opportunities. Have you seen great photographers do a photo shoot? They find this crazy spots they think a picture looks sick and you're like, what the heck is going on? They're looking at this location's the way I'm teaching you how to look at locations they're saying where's, the light coming from how big is that wall? How big is that light source? If that if that light source is big, then I know that the shadows are going to be soft, right? Then you say it's a brown wall? So how brown what want to make her skin it's already brown sort of I don't want to maybe make it more brown, so maybe I'm not gonna put her so close to this, and if I do put it close to this, maybe I'm not going to put a light on this because he's going to cast that color even more so if I wanted to take a beautiful photo of her in front of that wall, I can use the I can use the world to hit the flash can hit that war that's a white wall smooth and it's a huge light source with those three things that that wall is giving me I could do whatever I want I could make her look like twenty different people and I never left that five by five square foot area because you understand how the five behavior's off light how they're interacting with her um that's really? The key to this is it's about awareness of not only the lights, the lights, the lights size how close the life is the angle that the lightest coming from the color off the services but also how reflective the services are. Five things okay, cool. All right. Any questions in our studio audience? All right, let me do another one. When we were talking about color, the question came in how would you compensate for green when you have the person sitting in the grass? Or how do you think about compensating ifyou're not wanting that color cast you just put the diffuser on the grass so like what we did when I had all three sit down in the red in the red light, I just put the diffuser on the floor when the sunlight or whatever hits that green grass is going to hit the diffuser, the reflector bouncing clean light back in their face very important if you want to do a family photo shoot and you want people to look green or very important, if you want to keep the integrity of your file clean so it can be beautiful when you, when you print correcting color, is quite damaging. Oenophile if you're really off, it destroys the file. People don't pay enough attention. Two color I think you all over the world and people never even think about the color of things. They also don't think about the surface reflective quality off wherever they're at. They just say that's, a pretty fountain lets you go there. How many coming? Gosh there's so many variables to what you just decided. Like you just decided the fountain is round doesn't reflect anything. It's it's over green grass, green grass coming towards you if you listen to this course and you watch it again and again and you force yourself to go outside and think this way, you're going to be a, you're going to really become a great much greater photographer that you could imagine and with practice you're going to, you're going to take pictures in the same location of blow other people out of the water so people could shoot in the same venue in the same place you will come in and destroy every week because you I understand how to maximize that place with light, ok, yea.