Picture Perfect Lighting

 

Picture Perfect Lighting

 

Lesson Info

Indoor Lighting: Moody Light with Speedlites and Gels

Guys, the next picture is quite interesting and I want you to spend some time looking at the bar and seeing why the photo would be what what are the possibilities if we were able to create a photo like that without with ugly curtains here you have a bar ah, bar has glass look at the swat analysis of the location you have chairs and you have a raw chairs at the repetitive element you have three lights that are kind of a tungsten in nature so that they're not white. They have like, a little bit off our orange field to them purple um light's on the left side on dh you have let's see that's on the left glass is on the right repetitive chairs, repetitive flights this is where I think a second to think even though it's life that's the way it goes excuse me for one second people love people love to hear what your and see you thinking so that's awesome. Okay, I'll explain as soon as I see it's yeah, you're way too pretty you're distracting me can you please go over there? Wait have a purple ja...

il purple jail that's fantastic purple jail is going to go on the right side toe basically balance the purple lights that is my reference point the purple lights are going to tell the viewer the photo that there could be more purple lights on the right side of the bar okay, so when we turn this on is going to be purple on now we have to turn it down so it's not too crazy purple. We just want to give it a hint of purple. Okay, how how stronger those lights? They're not that strong, so don't go bananas and be like purple party like it's, not purple party it's like listening to his tone it down. All right, this is in channel ones on this is group a so we need a little what you call this the plates on we're gonna go to my camera. I'm gonna take this out. I'm gonna use this as a commander. This is not flashing or doing anything. This is only communicating with the flash that I'm gonna put by the bar. I'm gonna make mike's my shutters, my eyes. So it's gonna be four hundred? The reason why it's? Because I'm going to make that light very dim. I just I just wanted to pop if my ay esos one hundred I'm gonna need a lot of power in that flash and it doesn't look too purple by putting it in s o four hundred it can give more flexibility because if it's too purple, I can tone it down and if it's tune operable, I can turn it up, okay now remember when you put in jail on a flash you lose about one stop off power okay, all right let's put this put the light this put out on the floor sort of pointed here let's put it here and it's pointed at the glass let's put it in the middle ofthe all of that in the middle of all of that yeah that's good. Let me see the flashlight quick so, guys, this is gonna be a forty five degree angle, so that way the flash is directed at the at the glass okay, okay. The second reference point is these things so now I'm going to put it to a man that I can I'll use you know, thank calvin you're here to, um come on over man, you just want the price is right. See here I need someone to block my flash right? So I'm gonna use him to block the flash. So how can you sit here and just just chill? Make sure you put your left leg on the heel of your shoe on that bar foothold there off that next tour? Yeah, now separate this this way. Ok, david yurman nice. Come forward over here to do two to put your foreheads together with the clothes, get really tight in there, don't even worry about it he wont bite you good um put your hands around her here purple jail okay the uh the other flash where is that one okay, what I wanted to do in this one you're going to stay like that but she just saw you walk she walks into the bar she sees you you're her like her partner on she hasn't seen you in like ten minutes so she misses you so she's like hey hey as she walks towards you your right leg is going to be the one curved okay, so go ahead and put your put your leg inside like put ernie inside her niece inside her legs so her leg ish featured so you want to be here so there's like is over here yeah bend this leg we need to see that six year right? Why would you want to hide legs like that it's like a sin you just don't do these things that's a photographer, right? So you wanna walk up to him as you walk up to him you put your knee out and then you squeeze him with your knee and then you're gonna put your hand right over here like this and you're actually going to bring them close onto your foreheads touch and you're both going to look down on each other's bottom lip not the upper lip the bottom lip okay, when you do that you both smile because it's really ridiculous okay, okay someone working this step by step the first picture is going to look like this let me turn this to color okay that's the first picture real first picture cool now two reference points are going on here the first reference point iss the bar on the left side has purple lights clearly we need to close those shears because it's crazy but the next one is this this lights that are over their head our kind ofthe orangey in flavor right so we're gonna have to reference points I'm going to match the first reference point with a flash with a purple jail the second one will have um on orange cto have cto toe cannot match the orange off the lights see here alright uh we're gonna have to put this one do you have another plate? Thanks all right let's put this behind in the same place so one flash is pointing at the light the other flash is next to the empress pointing at them okay all right colin can you zoom out the flash head off the orange flash all the way to third um twenty no you go as low as possible goto go as low as he goes okay, great. Okay, so two flashes one pointed at the purple one pointed at the lights okay, they turned this on um can you put the flash point at a time in group b? Okay? The recently is obviously one has to expose for something the other one has to exploit or something else. So they're both going to speak english there both in channel one. But I'm gonna tell hey, tommy, you go, you go crazy heart on. Hey, jimmy, you gonna chill? Okay, so one is a one. Is b all right? Which one is the orange one. Great. Then I want to go to my camera flash function settings and I'm going to go to groups he's gonna be manual flash and I'm gonna go to one eight power. I'm just guessing it could be the worst decision ever. But if it's bad, I'll just fix my exposure later, okay? Group b is going to be on manual on. I'm going to put that one sixty fourth power because it's so close to them. Okay. Okay. Um, remind that the only challenges you see that flash in front of you when you walk up to him, your body has to block it. So get real close. It's his knee on the way a man can you rotate your chair a little bit? Now get in there. Forget it. Just going to just go in there like that so you block the flash, keep that like like that now do the forehead thing. Grab your hair and totally pull it out of the right side so I can see it ok too much hair there bring your face and pointed pointed at joshua so you're so you're looking at josh was me and then you're looking at her chest sorry you're looking here like at her neck area try a little creepy but we'll we'll go with it for now all right let's just test it right call in going and move out of the way for a second a little more common or a little more sorry but can you move a little bit too okay if winning a lot more power on the flashes but look at the reference points you have the purple starts to show up okay so calling can you point a flash higher up it's a little bit too direct at their chest it is to illuminate their face so we're going to go toe there must be like control flies from some settings all right, try this one more time I just basically erased the power of both flashes okay uh can you get further in because you're not covering the flash yet more more more okay good calling moved to flash a little bit to the left so she blocks it on the amanda lower your right shoulder is too high here you go and that's flash be right flesh is orange ok, you try it go ahead and good cover the flash get real tight and caught early amanda just pretend it's me ok kid okay sorry go okay cool take a look at the picture now not that one not that one this next one coming up down let's see so that orange is a little bit too crazy right what do we do just lower it down just lower someone lower that I also feel like the bar needs to be brighter so I'm goingto make the ambient light writer and I'm going to tone down the orange flash until I find a balance their return so my shoulder speed is going to go down from ninety teo say sixty and then I'm gonna go do that orange flash which is b I'm gonna turn it down from one toe when one half to one eighth okay all right I'm calling could you grab that flashman and pointed higher at their face is kind of pointing at their chest right now you just like the purple light on the glasses it's pretty right yeah and it's jumped out right away all right go ahead guys so I pretend he's mean you're hugging okay there you go oh sorry that was trigger happy okay hold on okay I'm going to get a little tighter little tighter okay shit, this is really important what I'm gonna do now take a look at the exposure now just stay like that guy stay like that he'll beautiful that looks now here's the key to this when people ask me online, how do you manage all this ambience with with flash? And how do you combine it? And what have you? This is the crucial part of this. My my exposure on them matches the ambient off the bar at this point before the bar was too dark and they were too bright. Now I fixed the exposure of the off the bar. I made it brighter. And I also lower the power of flash bee so he can look like it's balanced. Now that I have stroking the perfect balance don't mess it up, grab your s o and raise it and that will bring both up. Okay, so you bring shutter speed brings the ambient opened down I put your brings the flash power opened down, but once you strike the balance and it's like pretty close then grab both on bring them higher and that's I s so we'll do that for you. Okay? Yes, in our eyes right now we see the five purple strips right there. How come we're not seeing in the photos? Because the reflection of the window right now, I'm just not exposing for them, okay, but that was my reference point. If you see this, it still looks quite moody the way you would see it here yeah it kind of matches this is like an enhanced version ofthe this if I if I said I really want to keep those purple things I would just simply exposed for them there isn't why wouldn't make sense right now because those windows air just costing too strong of a reflection on you but I would have to you know they would kill me if I would like can we close the curtains okay all right so I'm going to keep the balance this way and then I'm going to increase my eyes saw from four hundred to eight hundred is gonna double the light in both ready all right I'm I'm really tight tighter tighter good bring your chin up on the chin up chin up chin up stop good look how beautiful that looks now take a look at that now look at that okay let's see you guys when I look at it just come up it's okay beautiful right that's a very nice feel to it this matches this kind of looks good look at the orange light off this it looks like it's part of this light is dominating them but it's not so if you're watching online and you cannot see the photo can they see the four okay okay I'm done explaining the middle light there's three lights one two three the middle like looks like it's responsible for creating the rain lighting behind them ok the other two lights our repetitive and I'm using these two lights to frame them so those two lives friend them the purple light is nothing more than a separating lights so it separates them from the background on because it's like a moody colorful bar purple was the right choice because there was a purple accent already on the bar so I wasn't trying to recreate the wheel I was just going going what with what inspired me that's why I took a minute to look around without talking to anybody and I got to tell you I did that on purpose because a lot of times photographers are so afraid to take a minute to think that they don't think and they just start shooting and it doesn't look good when my clients are in a hurry and they weren't making pictures I tell them with all due respect, I need thirty seconds to myself without you telling me what you do for thirty seconds because I got to think and they were just like back off, okay? You know, at the end of the day they know my work, they know what I'm able to do on if they want what I'm able to do, so they need to stop like, you know, getting in my head every ten seconds I mean, I'm creative life doing this life and I still got quiet and I still thought about it and I thought about what I'm going to do, and I don't know. Maybe it was awkward. Maybe westen talk. It doesn't matter. The picture pays for itself, okay, uh, this is what I was talking about, with the reference points. So so that's shot number two. So pretty cool shots in this room, right?

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