Real World Lighting: Advanced Techniques

Lesson 33 of 36

General Q & A - Quick Critique

 

Real World Lighting: Advanced Techniques

Lesson 33 of 36

General Q & A - Quick Critique

 

Lesson Info

General Q & A - Quick Critique

A couple things that kind of came up throughout this segment and people had questions about, uh good who says and one of the person wanted to know can you explain why using one twenty fifth of a second is ok when shooting handheld? Doesn't that leave not a lot of room for error instead of like using a tripod or something or his shooting hand held different when you're using a flash? Yeah, when you're using a flash? Okay, let's let's talk about the rules of shutter speed, okay in general to keep things steady, you keep the shutter speed at whatever millimeter lens air shooting we're shooting at fifty millimeters, okay for experience photographers they probably like for me, I know I could go half of whatever my millimeter is now if I have image stabilization on my camera, I could even go lower if I had to push it. So for me, just because I'm kind of see what I can do and how steady my hands as I get over probably less but you need to know that what you kind of keep steady, but the standa...

rd is millimeter and shutter, so at fiftieth of the second we for most people you should be ok and if you double that, then you're really okay, so at one twenty fifth I had no worries that we were going to be sharp on that no worries because that was twice the millimeter that we were shooting it well we'll know we were eighty five I'm sorry so we were still almost twice there so you could probably feel comfortable down to fiftieth of a second for most photographers when you're shooting in eighty five er friends and then maybe one more here from andrews argos talking about shutter speed again at what shutter speed does the main subject you're photographing start to fade away due to the long exposure how slow is too slow and how slow is slow enough to still keep the image sharp okay so you have to take pic so it's all about the ambient light so the only thing that makes anything blurry right is a lot of times is your ambient light and that's going in there as long as you're shutter speed is according to that lands um understanding the question right how what was the question so basically when you're you know when you're shooting with longer shuttered you know you get light pollution you get all these different things so at what point does uh you know you get shakiness because your subject might be moving a little bit like ok so at what speed how slow is tio tito image so if you're using flash you don't have to worry about that if you're extreme italy dark environment or if you create a black box you don't have to worry about shutter speed because you're the flashes going actus your shutter now when you're starting to allow andean light in there if a person is still I'm not too worried about it, but if they're moving I want to be at about eighty eighth or a hundredth of a second if they're walking or something like this, so since I'm not moving then I feel pretty secure, you know, even down to a tenth of a second but you know, sometimes that's why you prepare your subject if you go one, two, three, then they know they're going to stand still, but if you don't say it, they could be in transition of just finding a more rest area or something like that and they might shake, so I find that the more you prepare your subject, the better shot you're going to get because they're going to be ready for it one more and then I've got something else that I want you to do really quick but pixels is saying, do you ever run into an issue where you need to use rear curtain sink or his front curtain? Okay for everything he's talking about your front or really say risk curtain sink on a long shutter exposure will give you a trail okay? Because the flash it's at the end, right? And so it opens up the trail comes and then it wait is that right? Look right he's running the ambient light is going and then click right so uh eso es rear curtain will always give you that trail in motion if somebody's running right whereas it's kind of like opposite if you do the front current so that's why most people do were corn so if like people are dancing and doing long exposures right you're going to get that trail after their motion with that ambient light coming in and that's why most people use the rear curtain okay, so I think one final thing that we want to do before we go to our final break here if we could have the guys in the bag bring up all six images um I would love for you to give them a quick critique quick pretty okay, well, um you know, the first is very good um I would I like lighting of that like the light coming back through it probably I mean from opposing point of view she just kind of standing there, but if I can't have her kind of leaning forward a bit looking off to the side um I try to kind of get rid of that vertical field ah, and I've gotta because just standing straight up like this and turning it has that stiffness but if they kind of just lean forward a little bit, turn their head it has a better kind of dynamic feel to it right it's creating some sort of motion into the picture but other the lighting of that and everything is perfect right? I like it ok I really like this shot here uh just because it's right in the second one there with the jumping because hit with two people it has actually a nice interplay with it so I'm just thinking my mind right now if you do this and you have the bride and groom job they're going to have different expressions they're gonna have them hold hands you know you can have him do different stuff on it's quite fun I mean other than the fact that we couldn't lower the lights wait didn't lower the lights all the way down and didn't get that true black background but it can easily look like that if you put yourself in a dark area it will definitely look like that so that's not a problem and another thing was is we wanted to use a sixth of a second to show people that the flash access your shutter and that also entered created a lot of ambient light too so I mean if we would have put the center up way back up that you know, one sixtieth there one twenty fifth or whatever then we would have eliminated that ambient light also so I'm not concerned about that because I know that would have been there but yeah, I like uh I like that star feel in the back and everything in it. And I think it's great. And I love the idea of putting two people in there, which was perfect. Um, who's your daddy, the next shot that's. Amazing. I mean, that's. Probably best portrait ever. Come on now. Yeah, look at that. See what? Drinking less soda does, man look so much better now. But that's created sea. This is the type of thing, right you do to your bridal party. They do what you do, and then they start getting creative and they start with sprang. Right? And then they just start having fun with it because this is a pure creative process. It's giving it's like giving a kid a piece of paper and some crayons, right? Just go for it. And that's what? It is it's like a light crayon and, you know, eliminated the ambient light there. It was still a little bit light in here, but if when I do this shot, I try to go on to complete darkness. That's what I try to do but phil easily in photo shop. You could make it darker, easily. It's. Not a big problem in a lot of times when I'm in a wedding or doing a shoot I know I can't get a perfect do I want to spend an extra five minutes or whatever just to find tune it to get it exactly perfect when I know I could just quickly do it in a photo shop sometimes I just you know hey, that's pretty close let's go got it next shot because I tried to get into many porch it's in is possible. Um but so anyways, I thought that was great. I liked it too. Um sidelights there and I've got that light defining my face on the edge, but then I've got that back like through there, but it's not too strong um and I think it looks pretty good next here, this one here, I would like to probably get that, um the lighting looks nice and soft and cool and everything. I love the idea of blending the jails together, but if you know if we get a move the it was just taking a little bit longer, but if we would have moved this subject further away from the background, then we would have got kind of less ambient light coming in there. Plus, we had light leaking in here a little bit too, but if we kind of created more contrast and let's say we upped because I'm looking at that image and we have more room teo put your f stop up to create more contrast in the background so I think what we could have done was upped our f stop a bit mohr lord our s o whatever we wanted to do just eliminate sermonette mohr of that ambient light it would have that richer slightly richard tone in the background and maybe if we kind of you know feather delight ah little bit mohr because I see this even brightness of her head and then her body but if I would have like, position to the light so you feather it off maybe so it's just brighter in this area and it just naturally you get that radiant of darkness going down then that way that face would have popped off a little bit more you know and I could have probably made her sell the pose a little bit more house than to do it what's this thing it's like ok, yeah so sell just a little bit more selling it or whatever but I love the idea of the two different colors back there that was great next photo this one was really good. I really I I learned something on this land of using the the white changing the white balance so you get this slate of blue across the whole thing so that's you're under based paint kind of life and then you add the different colors onto it so you've got this solid tone of color going across the entire image but it's different colors which is a really cool idea um and so you know, I really like this a lot and I kind of like the idea that where does she actually kind of shot up giving them kind of that hero feel oh, andrew here my hero on bright I mean, he couldn't stop looking at it that's what he said so I really like that yeah, but maybe for post um I maybe take that out or if I were to do it again maybe it would have pulled this flash right on the edge of the frame and then it would it came then that would have probably looked a little bit better that way too, but all in all a great image all right, next this this is great. Um maybe a little bit more contrast back there now that I think about it uh, what power did we have that gather at sixty four? Yeah, we kind of probably maybe pull back the flash and actually made a darker what color was that? Jill on their well, we're kind of used the lighter blue jail too, so maybe a darker blue jail just a bit and um if we if we could have got him or defined shadow back there that would have been better but I like this right here. This is great, that's told everything is totally workable in photos show this type of shot is so finicky. It's really hard to nail the exact way that you want it. But you get close to what you want. And then in photo shot you just really enhance it and you create the contrast that whatever you want to do. Because even in photo shop it's easy to kind of create that darker background to if you wanted to. But I think all the, you know, leading forward that way there's great and it's got that kind of mystery. Who was this mystery man here? Right. And that's? What shadows create shadows create drama. We create mystery just a tlhe east. Something to the imagination and that's. What I like about this particular photo. I like the fact that it's a lot easier than using a reflector and we just used the video light, but we created a little slip on it. We also could have used I think this also works to is we take a small little video light on and you just tape it up or or maybe even using that the iphone might have worked also, uh, there, all right, and one more round of applause.

Class Description


Impress your clients with gorgeously lit photos using lighting methods taught by Scott Robert Lim in Real World Lighting: Advanced Techniques.

In this fast-moving class, Scott will teach you how to create dramatic new lighting looks, on a budget and on-location.

You’ll learn about the physics behind light and exposure so you know exactly what it takes to get the lighting you are looking for. Scott will get you up-to-speed on the gear you need to get fantastic shots and he’ll show you high-end lighting effects you can create on a limited budget. You'll also get some solid marketing & business tips for attracting the clients you want. Scott will cover:

  • On-location composition
  • Long exposure magic
  • Colored lighting effects
  • Clamshell portrait glow and more.

You’ll develop a deeper understanding of light and how to use gear and composition to maximum effect. Scott will also cover the business skills you need to thrive and create lasting success in a competitive industry.

Scott builds on his popular Crazy, Stupid Light class with this advanced lighting training – Real World Lighting: Advanced Techniques is guaranteed to inspire and take your location lighting skills to a whole new level.

Reviews

Dan Frumkin
 

I read several reviews on this site which gave me hesitation to buy this course. Nonetheless, I pressed on. Now I have a suggestion for those considering parting with their cash. Before you buy, go to any of Scott’s galleries online. If you can shoot at Scott’s level move on. If you cannot see the artistry in Scott’s work, move on. If you cannot conceive of the technical proficiency Scott has with flash, move on. But if you are mortal photographer that desires to improve your work, compare your personal portfolio to Scott’s. He wins awards for good reasons. Invest the time and money. You will be amply rewarded. Real World Lighting: Advanced Techniques is worth every penny. So is Crazy, Stupid, Light. I purchased both and now use Scott’s advice and techniques daily. Plus, he provides a good dose of inspiration and humor. Scott is an awesome professional, fantastic photographer and a wonderful teacher.

user-f9ff5e
 

I already own Lim's class, "Crazy, Stupid Light" as well as two of his Strobie 230 flashes with transmitter (in addition to my Canon speedlight). I appreciate being able to get into lighting with flashes and equipment that costs much less than Profoto lights etc. that I couldn't afford yet. Lim has a very organized and energetic teaching style. He is a great speaker in that he is excited about what he is doing and seems to love to help others learn how to be successful with their lighting. He is very animated and funny and has the right blend of being confident yet self-effacing and admits his mess-ups during class. I find him very engaging and interesting. If you have less than $500 or $600 to spend on lights, but want to start adding lighting to your photo shoots, he is a great place to start.