Picture Perfect Lighting

Lesson 27 of 41

Outdoor Lighting : Speedlights in Direct Sunlight

 

Picture Perfect Lighting

Lesson 27 of 41

Outdoor Lighting : Speedlights in Direct Sunlight

 

Lesson Info

Outdoor Lighting : Speedlights in Direct Sunlight

We're gonna go through quickly quick with you on the stand steps we don't have to remember all of them but I'm just gonna look at this location this is the way I really work on location we're gonna start to fix it where is the brightest spot in here there where is the brightest non direct light in here it's all pretty much it's kind of around here actually right because she has this red dress and it's very vibrant my mind said forget I kind of want the harsh light and then I'm going to fix it now I'm going to defuse it okay because in fashion sometimes that harshness kind of looks good but I don't want it to look cards where her arm is exposed more than her face and what have you um a month and you bring your chin up a little bit you see how her nose is how disaster now and all this I still like the look of how she seems to be sitting there we're going to make it look amazing now ok so can we get that reflector in the diffuser from pro photo and the reflectors from west all right guys ...

I'm gonna be shooting I s so one hundred because there's plenty of light or I s o two hundred one of those two choices uh to be honest um every single time outdoors I always shoot I also one hundred or two hundred the reason is if the light is not good, if the life quality is not that good, I create the like quality. I don't just raise him out, so that makes sense so I outdoors I pretty much stick toe I s a one or two hundred even when it's not even went a little bit cloudy, cloudy, I mean racing a little bit. So let's, try this. Going to remove the pro photo thing turned this thing off okay? And I'm going to put this flash here. This flash is only working as a master flash. I am not going to fire this flash. It will not contribute to the exposure it's only going to communicate to the other flashes and it's going to say, you guys fire that's all it's gonna do obviously gonna put my flashes on manual. I don't want t l get confused with the bright sun and I don't want to deal with all these problems. So manual I control everything by having manual flash. I have four choices to change the light output. I have distance I s o aperture and power of the flash let's go ahead and start let's go ahead on I'm gonna start shooting her with no flash at all and let's see what that looks like? I don't bring your chin up a little bit okay one more time chin up a little bit okay go ahead and take a look that we have a monitor here take a look at that that's a really cool shot um this's what we start with think let's take another shot chin up a little bit look at the camera beautiful okay let's take a look at that calling could you remove this chair out of the way please wait alright so almost there perfect. Okay having all this technology you like so much fun like just things just happen magically okay this is what you would call a photographic disaster okay but if you like the look and your understand lighting and you know how to control and you don't let it intimidate you you can make this into a really beautiful image okay, so let's start the first thing we gotta fix is the harsh light so we're going to put a diffuser over them so let's put a diffuser overhear way have another diffuser we have to wei have another one in the west cut back we need two of them okay are you building okay okay let's put this one over her and then I need tighter could you help me out with this man let's put this one over her actually maybe he can do it too if you once count maybe you should do it at that okay let's just defuse the light first and then tyler I don't need you for this picture at all right now wait now fixed the issue with with shoulder highlights on the face if you want to make your lighting better bring the diffuser closer to the subject because that way the light source is bigger relative to her face so let's bring that if user closer now bring your chin up towards that filled your head to one side hold it right there is perfect see here relax your eyes amanda close them now open and look at me okay let's take a look at this example now look a difference getting better right now that background it's all good I'm going to make the background a little bit darker so I'm going to make my my shutter speed gonna make my shutter speed one eighty as soon as I go over the one eighty I'm gonna be in high speed sync category someone I stick to the one eighty four now we're gonna I'm gonna see how the ambient light looks if the ambient lighting stoop right I'm gonna change my shutter speed to faster than the sink speed and then I'm going teo, I'm going to change the background like toe a dimmer dimmer lights. Okay, so one eighty. Okay, look at the background. Okay? Do you guys still thinks a little too bright? All right, now we jump into high speed thing category, right? So, let's, turn this sucker on. We're gonna go to we're gonna I'm using a cannon. I'm gonna goto high speed sync as soon as I do that, I know that my flashes will lose three quarters of their power. So now I'm working with twenty five percent of what I used to be working with. Okay, so now I'm gonna put this flash in group a boom group a on. I'm going to start on my usual starting point of one sixteenth power on this flash I'm going to make I'm going to need two flashes because why do any two flashes for this? Because I just lost all the power, right? So I'm gonna put this also on group a channel one they both speak english. They both have the same name. So when I raise the power of one, I'm raising the power of both alright think I get the triple threat thing? I left it on the table, okay, sorry, right now I'm going to start working I'm gonna turn to stop for a second I'm gonna go ahead and go over the sink speed I'm gonna goto shutter speed five hundred I feel like the background is way crazy bright someone a tony way down okay I feel like that's adequate so now look at the background it's a lot more manageable, right? Clearly I wouldn't shoot here I mean in a real shoot it's just examples. Okay. All right, where do we have that thing once that step it's over when you're happy with the ambient light and you're like ok, this is good now we need to work on the exposure on amanda so that's a different exposure altogether because we lost we lost the power in these flashes were going to hang them up. Okay, so okay there's one two on if you have a third one you can put it there. This is still not strong enough to do what the one flash used to do below the sink speed or at the same speed but it's better than just having one. Okay, can you put this right here now we're going to pretend we don't know how to use the flash. How are you going to just do straight flash right on her when I look terrible okay, well, not terrible, but it will look like flash you okay? So starting with this one high speed sync k one teo three it's here that fire flashes fired let me see let me see it turning towards me okay guys, take a look at this this is this is why I did this because it's hilarious how weak the lightest now go ahead and show the picture before this please look, you couldn't even see the flash output this because the high speed think basically killed all your power so now I'm going to go to my power settings here I'm gonna go group a and I'm gonna put a group a uh full on power okay, that is groot are those in group a they are yes hey and a hey and a twenty four mil right um this is funny even though I'm a full power I know from experience it's still not strong enough to reach because of the high speed sing situation so I'll take it in this way and they will fix it okay so go ahead and stay there stay that way that's beautiful right there keep your chin up there's a diffuser on one two three okay it's actually no bad it actually shows up okay I put in a full power good strong now let's put the diffuser over the flash and now you make a decision in fashion like and be more harsh in beauty light should be really soft this is like a fashion shot so we're actually going to go the opposite we're going harder light, but not so hard where it looks like this. So now what I'm gonna do is I'm actually going to zoom the flash head of those two flashes to be at the high at the full power there, so I'm gonna go toe zoom on. I want this to be at a hunt a two hundred millimeter zoom that's going to give you more fashiony, uh, appeal flair to the photo booth. Something interesting just happened. Uh, they added another flash to the to the hole, whatever you call this contraption, but look, one of them is on t t l that would throw your entire thing off. And that happens before I thought people put this together once on manual, once in t t l one is out getting a pina colada like, I don't know what's going on, so we're going to change this flash to tl to manual. I'm sorry. Just forget it and take it out. Okay, let me see the flashlight on those. Okay, I'm going to zoom. I'm going to assume this to two hundred millimeters. I'm going to zoom this one to two hundred millimeters okay, now here is the trick, the light's going to be really strong. On her because I assumed the flash I want to kind of make a little fashion so I don't mind a little strong but I don't want it to be flashy looking to crazy either so now I'm going to choose my aperture and I'm going to start changing the aperture to control how much of the light hits her okay because we have four choices remember apertures one of them all right man then you have to decide how far do you want that flash toby from that diffuser the closer it is said that the future that more harsh the light will be the farther away that softer it will look let's start with harsh on they will move out okay gorgeous gore just okay I let's say I want a little more power on the light I want a little more punch let's get that closer to her that's not what I meant let's bring that bag where iwas on let's put that flash closer to the diffuser let me ask you what is the difference between putting the diffuser close to the subject or putting the flash closer to the diffuser diffuser is gonna get softer as it's closer right slash very big if you put the diffuser closer the subject you're suffering the light I don't want to soft I want it I want it spicy right uh when they did that it would give me a soft lights so that if you surround, has to go further away and keep the flash is about six inches from the diffuser. Now, let's, try it. Beautiful that's gonna look very nice. Now watch this. Um, let's say you're in a rush. You're like, I need to increase the power quickly, right? You're like what we do. You can change the eyes so you cannot move her right. So I'm just gonna grab my so from one hundred two, two hundred and that's gonna give me double the lights. Okay, let's, try that again. Now look at that. Look at the way that looks with s o two hundred instead of one hundred. Cool. Now you say it's a little too too harsh. Grab that flashman and bring it out a little bit. That's it protest if you sir a little closer to her. Put that flashman about six inches up so you can hit her in the eye. Okay, I'm pretty happy with that. This last one here because the light is more in the eye. Things that the last one. That is the last one. Okay, cool.

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

  1. Intro and Who This Class is For
  2. 3 Groups for All Lighting Scenarios
  3. My Progress in Lighting

    It is boring when everyone shoots the same photos over and over. Roberto talks about developing a unique look.

  4. Analyzing Circumstantial Lighting
  5. Circumstantial Lighting Q & A
  6. Using a Reflector the Right Way
  7. 5 Behaviors of Light: Overview and Angle
  8. 5 Behaviors of Light: Inverse Square Law of Light
  9. 5 Behaviors of Light: Relative Size
  10. 5 Behaviors of Light: Relative Size Continued
  11. 5 Behaviors of Light: Color
  12. 5 Behaviors of Light: Reflective Surfaces
  13. 5 Behaviors of Light: Q & A
  14. Location SWOT Analysis and 10 Things to Look For
  15. Location SWOT Analysis: Examples and Exercises
  16. Overview Q & A
  1. Speedlites: The Basics and TTL
  2. Speedlites: Manual Flash
  3. Speedlites: Zoom Flash
  4. Speedlites: Zoom and Rotating Flash Head and Reflectors
  5. Speedlites: First Curtain vs. Second Curtain Sync
  6. Speedlites: High Speed Sync
  7. Speedlites: Optical vs. Radio Systems
  8. Speedlites: Groups and Channels
  9. Location Lighting Upgrade Examples
  10. Indoor Lighting: Building on Ambient Light
  11. Outdoor Lighting : Speedlights in Direct Sunlight
  12. Outdoor Lighting: Using Speedlites in Shade
  13. Outdoor Lighting: Romantic Look and Patterns with Speedlites
  14. Indoor Lighting: Creating a Window with Strobes and a Curtain
  15. Indoor Lighting: Moody Light with Speedlites and Gels
  16. Indoor Lighting: Reflective Surfaces
  17. Indoor Lighting: Shooting Against a Window
  18. Indoor Lighting: Adding a Reference Point and Ambience
  19. Indoor Lighting: Shooting into a Mirror and Creating Separation
  1. Why You Need to Learn to Get it Right In Camera
  2. Location Photo Review and Analysis
  3. Intro to Reception Lighting SWOT Analysis
  4. Reception Lighting Setup
  5. Image Critique: Lighting Problems and Solutions
  6. Don'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"