Speedlites: High Speed Sync

 

Picture Perfect Lighting

 

Lesson Info

Speedlites: High Speed Sync

The first segment, uh, it's really kind of like a power go through off some of the most important flash features that the speed lights half ok, it takes a long time to explain each feature in detail, but I figured if you're gonna buy this course, you're gonna practice each one. You can practice each of these techniques separately, for example, you can practise techniques, and why would you use the zoom feature off your flash? You can go to your next reception and soon the flash head and shoot a wide angle lens and you can see the spotlight look that I was telling you about, or you can use the zoom feature in order to assume outer zoom in in order to control when a surface, if not straight. When a service goes like this, like a curtain expand, making the zoom feature wide angle allows you to have more probability of angles hitting your kid in the person properly. Those air something these people don't even think about, like if you have a flat surface, then you can keep your flash on ott...

o zoom for the zoom feature, but if the service you're bouncing the light off off that's kind of a weird thing off its re pally. Then you need to think my flash can actually spread light further, which means it can bounce against the current it can hit mohr angles on more angles will hit your subject in better waste if you don't think about that and you flash the fight, you let the flash zoom automatically and you have a rippling surface. You're going to get results that are on satisfactory to you, and then you're going to say, I hate flash, I'm going to be a natural life photographer. It's true, that recent is you hey, flash, maybe we don't know how to use the flash, you know what I mean? But if you know those features that I'm telling you, you practise them, you will see how quickly you can gain control of that flash very quickly. All right, um, we spoke about manual in tl we spoke about how you can rotate the head, you can rotate it up if you wrote it up. We talked about the white card coming out and being ableto bend the white card so you can control the flow of light. If you're on the charms, you're probably thinking, what about those rogue flash bender send those crazy things that you can put over your flash, those were great personally for me. That looks a little funny having this huge like cardboard thing over your flash when I'm shooting high and when it just looks a little funny but it works great so I don't do that I just bend a little white card out um actually this is funny I do have a piece of paper on me on my on my pants all the time because if I don't need more power of my flash, I pulled out the piece of paper and this actually controls the flash out put us well, so for example, if I do this and I pull the white car out, sometimes I just slip you can slip this and tape it here, and that gives you a little bit more but that's, as far as I go, I probably won't do anything more than that or I just bend this little card, okay? We talked about we talked about we finished with a quick overview of what first gordon sink iss and I said that if you're shooting a pretty fast shutter speeds like one hundred one, twenty one, eighty, two hundred any of that, um I use first corn sink because obviously you have enough light and you can make it work if you drop below eighty or sixty and you want to get the ambience toby present in your photo, you don't want to flatten it then you need to slow down your shutter speed to let the ambient light in when you achieve that your flash has to freeze the people otherwise you're going to blur them if they're moving this is a slow shutter so second car in sync we'll freeze them at the very last second and you get both the ambience on frozen subjects which is what you want not frozen like in temperature frozen in not blurry so those are pretty heavy topics but it's up to you to re watch this course and kind of experiment with them one by one now we're going to discuss what high speed sync iss on it's important because we're going to go outside after this segment we're gonna be using high speed saying pretty much the entire time so you need to really know that one we're going to talk about optical and radio transmissions what that means we're going to finish with groups and channels and they were going to show you something applications that I have used in my own work in real life photo shoots and how I apply all of these things in my pictures um so let's begin with high speed sync so do this here okay high speed think it's a feature that I use I would say eighty percent of the time it's I'm on high speed think the reason is I understand high speed think very well and I know how to balance the ambience with my flash by I don't want to limit my shutter speed so I just go to a high speed think and aiken I cannot free range of my shutters all the way from the slowest the fastest let me explain these cameras have a shutter the shutter opens and then the flash fires and any closest in order for the flash in order for the flash to be received by the censor the shorter has to be open all the way then the flash fires and then when the flash fires into a totally open shutter that shorter than closest giving you the full power of the flash that you wanted but when your shutters but he's so fast like in this canon camera is one eighty and if you have some sort of two hundred and if you use can't nikon is two fifty two fifty a second when you're shooting this fast lester you're shooting at two thousand shutter speed the shutter opens and then it closes at one two thousands off a second that is you're simply not enough time for the flash to react and to try to get the light through that tiny little opening it doesn't work so what happens is as the flash if you want to shoot a two thousand shutter speed and still use a flash you gotta push the little high speed sync on your flash in canon it's called high speed sync and he has a little like a lightning bolt on it if you used nightgown is called focal plane it's called f d so you put you put f pee on it and that means focal plane flash, which means you could show that you can should be yawned the shutter speed that that the camera can handle. However, if you are a two thousand shutter speed, what happens is the flash starts to open the exposure start the shorter starts to open the flash says look, I don't have time to wait for the for the shutter to be all the way open because it's happening so fast that if I wait it'll be too late so what he does instead, he says, forget that as soon as the shorter starts to open to make the exposure, the flash starts to fire rapidly as the shutter opens on it just keeps firing as the shutter opens it just a way for the first curtain to go up okay, so what that means is that before you were getting the full opening of the shutter and the full flash goes right through the opening rites that's the full power of this when you go to high speed sync, you're only getting little slits off light as a shutter opens makes sense you're getting as the shutter stores to open and the second currencies too close the flashes going up, little slit. Fire up little slit fire little slit fire so you're getting tiny little fractions of what you were getting before. That means that your flash lucious, loses a lot of light. So if you're in manual flash or your urine, whatever and you think you're a you think one you think full power can reach someone this far away as soon as you put it on high speed thing. It's like psych. Now the flashes, you lose more than fifty percent of its power. Okay, because it's giving you a little slates off light instead of the full blast or whatever. Okay, so that's high speed. Think if you are shooting outdoors outdoors is going to require you to shoot that shutter speeds faster than two hundred, you're gonna be shooting out five hundred seven, eight hundred one thousand. So you gotta put that on high speed sink immediately. Here's a warning. A big warning with high speed think canon doesn't give you a warning if you are in high speed sync. Sorry, if you are. If you're in high speed sync on a bride let's, say you shooting a wedding on the brightest hours to walk out of the aisle sorry if your camera, if your flashes off. And you're shooting the bride getting married or whatever and then she's walking out of the aisle she's like everyone saying congrats and she's walking out on you turn on the flash because she's moving towards you so you want a freezer, right? You turn on the flash if your shutter speed was at two thousand shutter speed when you were shooting the bride if let's say it's an outdoor wedding and then you turn on the flash your flash is going to go to the sink speed that the shutter speed will automatically drop from two thousand two hundred, giving you totally overexposed images. Okay, uh, that's bad. So if you turn on the flash, if you have a a shutter off to three thousand and then you turn on the flash, you gotta turn it on and quickly push the second that quickly pushed the high speed seen button. Otherwise the camera would say, hey, you didn't tell me you want a high speed sync, so I'm going to I'm going to drop the shutter to my maximum so it's just two hundred and I'm going to fire them and then you're gonna go is going to be like alaska all over again, okay, I did that at a wedding, I missed everything you've shot, I didn't look at my screen, I was tryingto jim put whatever's called because that was super cool lt's okay I'm not gonna change and then I lost every single picture thank god I had a second shooter I got got him all right. Okay maybe he should be teaching the class just get nikon crisis singled focal plane ft on there's this feature in aiken flashes called out o f p which means that if you are shooting at eightieth of a second with flash they will fire normally but if you draw if you bring your shutter speed two two thousand all of a sudden the flash will automatically going toa high speed sync mode like you don't have to push a button it would just automatically do it for you kanan you have to push the button, nikon it will do it for you if you select out o f b mode. Okay um when you are shooting in high speed sync it is great outdoors because you can then balance how much of the ambience you want with how much of the flash output that you want so that's why you do it if you're shooting outside and it's sunny two hundred shutter speed it would just be too slow it will just be overexposed the whole time so another thing is if you want to take a photo of your subject and you want to make them you want to make the background out of focus you have to shoot at apertures of two point eight or something like this. Well, two pointed apertura is a really big hole, so you need to compensate with a fast shutter speeds, so it doesn't like overexposure image. Well, they're sure to speed a two point. If you're outdoors on a sunny day, it's gonna be like three thousand. So then your flash it's going, the light's coming from above, giving your raccoon eyes, and then you try to fix it with flash, and you can't, because you're a two hundred shutter, speed is over, exposing, so you just simply say, hold on, high speed, think you lose power, but at least you have flash now. Alicia can fill in the shadows that high shutter speeds.

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"