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Picture Perfect Lighting

Lesson 13 of 41

5 Behaviors of Light: Q & A

Roberto Valenzuela

Picture Perfect Lighting

Roberto Valenzuela

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Lesson Info

13. 5 Behaviors of Light: Q & A


Class Trailer



Intro and Who This Class is For


3 Groups for All Lighting Scenarios


My Progress in Lighting


Analyzing Circumstantial Lighting


Circumstantial Lighting Q & A


Using a Reflector the Right Way


5 Behaviors of Light: Overview and Angle


5 Behaviors of Light: Inverse Square Law of Light


5 Behaviors of Light: Relative Size


5 Behaviors of Light: Relative Size Continued


5 Behaviors of Light: Color


5 Behaviors of Light: Reflective Surfaces


5 Behaviors of Light: Q & A


Location SWOT Analysis and 10 Things to Look For


Location SWOT Analysis: Examples and Exercises


Overview Q & A




Speedlites: The Basics and TTL


Speedlites: Manual Flash


Speedlites: Zoom Flash


Speedlites: Zoom and Rotating Flash Head and Reflectors


Speedlites: First Curtain vs. Second Curtain Sync


Speedlites: High Speed Sync


Speedlites: Optical vs. Radio Systems


Speedlites: Groups and Channels


Location Lighting Upgrade Examples


Indoor Lighting: Building on Ambient Light


Outdoor Lighting : Speedlights in Direct Sunlight


Outdoor Lighting: Using Speedlites in Shade


Outdoor Lighting: Romantic Look and Patterns with Speedlites


Indoor Lighting: Creating a Window with Strobes and a Curtain


Indoor Lighting: Moody Light with Speedlites and Gels


Indoor Lighting: Reflective Surfaces


Indoor Lighting: Shooting Against a Window


Indoor Lighting: Adding a Reference Point and Ambience


Indoor Lighting: Shooting into a Mirror and Creating Separation




Why You Need to Learn to Get it Right In Camera


Location Photo Review and Analysis


Intro to Reception Lighting SWOT Analysis


Reception Lighting Setup


Image Critique: Lighting Problems and Solutions


Don't Limit Yourself As A Photographer


Lesson Info

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.

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.

Class Materials

Bonus Materials with Purchase

10 Elements to Look For at a Location


Ratings and Reviews

Student Work

Related Classes



Im sitting in my office listening to Roberto with my earplugs on and I know I have already left 2 reviews but he's so funny…. my family comes into the office asking me "whats so funny" Roberto makes me laugh out loud with his jokes but at the same time, he is SO great at teaching. Im watching for second time to make sure all his good info is ingrained. HIGHLY recommend you take his workshop on Picture Perfect Lighting if you truly want to take your photography to the next level! WOW thats 3 reviews now…can you tell I am impressed

Maureen T.

I'm taking a portrait photography course at NYIP online. one of the mentors there recommended the posing book by Roberto. I ended up ordering at the library the posing and the perfect practice book. I fell in love with both books...ended up buying them and signing up here for the year membership just so I can take all of his photos courses. I spent most of my weekend doing perfect lighting course here I am in love with the way that he teaches! He makes something so difficult and challenging for me make sense. I also like that he challenges us photographers to be true professionals. I am thrilled to have discovered Roberto and already noticed my photography is better in the short time that I've been studying him.


Roberto has the personaliyy and gift to relate to others.He is honest and shared some of rhe disaters that occurred, even with high paying and important clients when he failed to follow his proven and tested approaches. He has shared from his extensive knowledge developed by hard work and effort to master his craft. His dedication in attacking his weaknesses and making them a strength is inspiring. I have purchased many CL classes and all have worth the investment so I hesitated to purchase this course because I didn't think there was much new information. However the clear teaching and extensive knowledge shared by Roberto in his unique style caused me to purchase it gladly and believe it is an exceptional value. Roberto has shared his extensive tools, but you will never be the master of the craft without putting in the hard work and testing that roberto testified to. Thanks again CL for bringing the best to us and Thank you Roberto for taking the time and preparation to achive excellance in in this class.