Speedlight Photography Basics

Lesson 9 of 21

Going Wireless: Communication and Manual Ratios

 

Speedlight Photography Basics

Lesson 9 of 21

Going Wireless: Communication and Manual Ratios

 

Lesson Info

Going Wireless: Communication and Manual Ratios

So we're going to talk about t tl, and I'm going to hit us just kind of talk about the science of it because when it comes to teo again, it doesn't matter if you're nikon so nick cannon, it doesn't change if you hear me speak today, it's going to be the same if you hear me speak tomorrow if you purchase my creative live on detail because I did a two day just on t ell, creative live last summer, you're going to hear the same stuff, but I want you to understand this because he doesn't change and it's the heart of how tt l communicates, and we talked a little bit about it early on when we do the tt on the flash, but now we're actually spanning upon that definition, and we're getting the flashes off the camera and how they communicate when they're off the camera. So basically innocence it's not a triangle method, but it actually the light bounces back and forth is what that red triangle represents, and we talked a little bit about it, but I want to kind of go over every little step of what...

happens when you push that button, let me get a camera a flash, and we'll kind of go over it real quick, so again, so we're in t t l on a camera every time I pushed the button and my flash goes off we talked about it before how when tt lt's on my camera this sends out a pre flash now my master flash or the my flash here will actually be in man a master mode so when I pushed it down through the same thing now the camera's going to go wait a minute your flashes in master mode so hopefully you is a photographer our smart enough that if you have your flash of master mode there's got to be a remote slave mod flash out there somewhere if not, you're just wasting battery power so it's going to command the camera's going to command the master flash to send out a command and again, this is all done by that flash too again, if we could film that flash going off, you'd see a bunch of small little flashes and there's it's basically buying aaron numbers without trying to get to nerdy ones and zeros ones and zeros ones and zeroes and they're in a pattern kanan has its own pattern nikon has his own pattern so the flashes know that if they pick up this certain pattern in a certain amount of time it's basically talking, communicating so this master flash is going to send out I command to any slave flash it could be one it could be a thousand it doesn't care if you see this light that command and light you need to fire pre flash of that one thirty second power. So now instead of the flash on my camera doing the one thirty second pre flash now the flash camera master mode is commanding my wireless units to expose my flashes. It commands the slave flashes, the wires flashes toe fire the one thirty second pre flash that pre flash will now bounce off my subject and come back through the lands and that's. What the camera now uses that formula to recognize, does his calculations and then commands through like another command to the flashes that this is what you're going to fire it and depending. And we're getting a little ahead of it. But opinion on what group are flashes in because you have multiple groups, a, b and c it commands group a to fire at this power ruby to fire at this pirate group c to fire this power every time we push the button. So all that mathematics is going on every single time. So now we're gonna break it down that I kind of talked about it. We're gonna break it down in a step by step process so quickly review everything that happens in a split second during the press of that shutter release, the photographer presses the button halfway down. The ambient light of the seen is evaluated through the lens meeting so again, when you push the button halfway down not only do auto focus unless you use the back focus button, but it also starts the innocence that through the lens meter, it picks up all the ambient light and it gives you that first reading of f stop shutter speed that's on your camera is it? Thanks appropriate opinion unless you're in manual it's not going to have it, but I'm a navy mode I'm outside, we're in a ravine mode, so I set my shutter speed may have stopped at two point eight it's going to read is going to give me the proper exposure for my shutter speed it. Whatever the light iss the photographer presses the shutter release all the way, which begins the communication, the pre flash and the main flash process of capturing the image so when I push it all the way, it all starts to us it's happens fast but to the camera it's literally the speed of light so it's a lot goes on in that split second, the master flash unit sends a wireless signal toe all slave units using a very fast coated light that morse code signal, which commands each slave flashed issue that low power pre flash that pre flash at one thirty second is crucial to this equation again, try not to get all math nerdy honest because I know we ate lunch and it's the end of the day and you're either gonna start glossing over, but if you're going to solve an equation, you gotta usually have two of the three parts so one of the known parts is the one thirty second power so now way have that the answer is proper exposure and we're going to talk about what proper exposure is for here in a second as well. So then the on ly unknown we have is how much light we need to put out to get that proper exposure any slave units that see this command from the master flash will fire a pre flash at one thirty second power. That pre flashlight is measured through the camera lens by the evaluated to meet a ring system inside the camera so again that free flash the basically light meter in your camera the camera reads that light coming back through the camera calculates the correct amount of light that should be emitted from each slave flash during the actual exposure the main flash based on the satellite observed during that pre flash so again how much light comes back through the linds it's going to be the calculations the camera may have just the calculated value the photographer set for any exposure, compensations or ratios settings in the master flash is I messed up earlier when I left it at plus three it gave me proper exposure but then I wanted to do it plus three because that's what's supposed to happen so if I want plus three I'd do it. If I want negative for real, I'd do it so it's going to say this is what's right now let me look what you have done as the actual control of the photographer and that's what I will just the power to before send out that final signal. The final calculated value is sent to each slave flash using the second coded light signal the camera mere flips up, the shutter opens. This is the clunk you here when the images taken I know it sounds stupid, but a lot of people have asked me that the master flash sins of final short command which causes all slave flash unit's the fire at the same time. This is the main flash that illuminates the scene so it happened so fast. So when the shutters open it since another command at that second to fire because the light is so much faster than the shutter, even though the shutter seems very, very quick it's nothing compared to the speed of light, all that happens when we fire on all slave units fire whatever level the master unit is commanded them to the command can camera flips down the mirror, close the shutter, completing the process so that is a step by step process of how t t l communicates and meters every time you push the button which is a gang goes back which have already talked about, but it goes back to why battery power is so important because this is a lot of mathematics and a lot of crunching numbers that this guy's trying to do every time. So the gold detail meeting is to make a great card. Your proper exposure to ti tl is eighteen percent gray again it's reflective. So we're talking a reflective amount which is not really that important but just know that eighteen percent gray is the key to what details trying to do so now that's the other part of that equation now we have the unknown amount of light source is the solution of this equation we have proper exposure is eighteen percent gray and we have we know how much light comes in so we take that light we raise it up or down to get me to eighteen percent gray whatever that is that's the number that sent over to the water flash the fire for proper exposure now eighteen percent gray can be a little tricky because we talked about earlier it's a reflective amount so really depends on what you're photographing or what your media ring on to determine is I talked about earlier so if I'm photographing something extremely dark black tux and I'm zooming in on hizb okay it's going to meet her all that darkness and go whoa whoa this is way over here this is not enough light coming back through the lens so I have to raise that power of that external flash that wireless flash to give me eighteen percent gray if another hand your photograph in the back of a wedding gown pure white white sharing whatever it's gonna go holy moly were way over here way too much light I gotta crunch that number down I gotta lower that flash power all the way down to here to get me eighteen percent gray so that white gown might come back gray in your image so what you have to do is adjust for that when you're photographing something predominate dark predominately white with tio so in the dark it's gonna want to make it grey so you're gonna lower your flash compensation and the white it's gonna want to make it grey so you're going to raise your flash compensation to overcome that does that make sense because it's kind of backwards kind of that f stop thing so just as the fake thing this is my real image but titi is gonna want to make the gray here and and I photoshopped this because really his face have been blown out to its going to raze everything but this is what I want to do, but this is what t t l wants to do it wants to blow that out and make everything that's that dark black color grey lighter so you have to be aware of it now. Theoretically, as we talked about, if I have a black tux in a white wedding gown, it should kind of even out unless someone spot meter or something and that's where it changes because if I focused on this gentleman's face or the simmons bow tie, it completely changed my t o meter again, this is where a lot of mess ups are expose on the back of her dress or maybe overshoot and shoot you know a flower that's on the countertop or the tabletop behind her going completely messed up my exposure and you can use whatever mita re mode you want, as long as you understand how those metarie modes work for me. I'm a spot metering guy because back in my day when film that was all that I had, I mean spot meter and was like you had to buy the top film cameras to get spot meeting, so I had spot made and he was like a role I spot metering and now it's in all the cameras so it's no big deal but I'm still in old fart so I never changed away to other things but other people can use matrix meter, which is evaluative all the time. I do suggest you either use everything matrix are relative or just spot get away from the ones in between because I found that that confuses people kind of goes back to when I said make big changes to everything or do nothing in this sense and you find it it's easier if I have this shot was probably better in invited matrix, but if I had the sun back here that would really throw off my exposure, I'd probably use spot and just hit his face me personally I use spot and I meet her on the face every time because that's what I want to capture and so I kind of locked the exposure at that point and then take the image it's a lot of extra steps using my button but the muscle memory has been there for so long it doesn't really affect me, but for value tive you could literally just compose the image meter, get it, take the shot and it pretty much works makes sense all right, all quiet ok, we talked about it a little bit before, but I wanted to go over it again. This is the part that receives the signal that receives it, so when you're in wired a slave mode, this is the part of the three main flashes candidate night gone and I have the five eighty one of the five to have something a little bit different six hundred falls in line but the part that circled for the cannon on the outside night in the middle that's what receives the signal so what you have to do can I have one of those flashes police and I'm not gonna photograph so you don't need to move over I just wanted yeah right now and I'll set one up in just a second perfect thank you actually you know what give me the other one I'm sorry give me the other one my fault you're fine it's good okay so theo part that you wanted way get this set up real quick I'm gonna take the little black plastic piece off for you sweetie she's like I don't like mike fulton he is a smart ass okay so if this is my slave flash all wireless all make sure I mounted properly like I told you very simple and so there was tension so locked on to get to slay flash it's very tough to kind of show but I just hold down the button I hear that in a popular to slave mode we're going to talk about in a second but I just want to go over this so now my slave flash is blinking I know it's charged and ready to go so I'm way over here I can look and I know that's charged and ready to go the part that receives the signal this is the five, eighty two so that's this one right here this is what receives a signal in this flash so I'm going to point that to the main flash my master flash and point this to my subject but I'm going to raise it up because I don't want to flash you with cameras and so when I'm photographing and I'm not gonna I'm gonna take a shot but you don't need to put it on the screen. I can do this and it's probably gonna pick up because we're inside it picked up that's talking like this hey good to see you, buddy glad you're here bless this is saying what do you do? And I'm screaming at you come on flat this is hard core communication this is direct you could get fifty feet in broad sun all day long doing it like this all the time now but it is going to bounce off these walls so I'll get it but if I turn it back here still work because we have the white walls but if I was outside you'd never do that it would never work clouds great whatever so that's why it works now here's the other thing I like doing which we're going to get into I usually use my master flash we had a conversation with one of you guys in break I use a master flash over a wireless transmitter as my master flash for multiple reasons one it's a backup flash which I think is always important especially for using weddings backups to backups tobacco is part of being a professional too I can turn this off to be a wireless transmitter there's a setting for where this flash and we're going to go over it so I'll tell you in detail so don't freak out just yet right now this flash is turned off it will not show up in the image but it's still gonna flash why with this flash fire wooden's in remote mode control that is on ly the communication flash and when you get good at this because I'm such a nerd at it you can tell just by the power of this flash that that is only a pre flashing the communication flag not the main flash because here's the deal that this is the old days this is considered the infrared light it's called doing infrared well it comes from and I know my poor little si tu esti tu is all beat up this is on ly infrared in fact I'll show you that it works uh you know five eighty two of the six hundred you can actually it's a great question your five fifty for cannon your five fifty you're five eighty one you're five eighty two and you're six hundreds can all be master or slaves and talk like that with this with a lot of side absolutely the six hundreds where people get confused have a built in wireless radio when you have it on the wireless radio mode, which will go in a minute it can on ly b six hundred six hundred, but when you're doing the infrared version, what we're doing here any those five fifty up could be a master or slave your four twenties and four thirties can only be slave units for nikon your sb six hundred seven hundred eight hundred nine hundred siri's could be mass I mean khun b slave slave units your seven hundred eight hundred nine hundred or either master and slaves I highly suggest if you're gonna buy a flash to buy the biggest, the latest and the greatest I know it's more money if you're going to decide to jump into this if you're going to get away for the manual mode by the latest and greatest because the odds are you're not gonna buy many flashes I mean it's it's a prized possession and you might as well buy the latest and greatest and you'll be able to build upon it the problem with buying thiss s b six hundred and seven hundred not so much a seven hundred does, it could be a master but really is six hundred and the four twenty four thirty two things one has less power one you could only uses a slave unit but also including the seven hundreds you cannot plug in a external battery pack to him and we already talked about how invaluable that battery power is and so really will start and I'm gonna talk about it we'll start having problems with your with three meter system so with that said if I fire this this is firing and there's no flash coming out here now why would I do this is on lee this is the true infrared system this is about you know all the science aspects infrared light is one of the wave links of light is one that human I cannot pick up this on lee puts out the infrared light this guy puts out the infrared light and all the other wave li expect of the light spectrum this is stronger this is mohr secure in bright bright suns when I'm outside your big enemy outside is fighting sunlight with this system so if the sunlight coming down is stronger than this flash your slave flash will never be able to see this fire so that's one another reason why I like my external over the inference two I can do this this's huge so if I'm shooting details on a table right here and I have my flash because I want off camera lighting I don't want on camera lighting and it's down here lo I can actually be in front of the light and turn the flash behind it and it will fire with an infrared it's just going to shoot forward another one. And then finally, one of the other ones I talked about is my custom functions that we talked about earlier. This is custom functions, the std to does not now the s t three is the new version for canada and it is amazing piece of equipment and it has custom functions in it, but it works much, much better with the six hundred siri's that it does going backwards. You have a hard time getting high speed sync with it with the older flashes, and I think kanan is forcing you to move up into the next generation and hey, I don't blame him that's business I don't like it is consumer but if I was cannon, I think it's a beautiful, you know, it's a beautiful business decision. It's the same thing would happen when the five fifties came out. All the five forties and beyond were obsolete. So it is the time for the next generation and it's a great time because of six hundred a great flash, but I found this we do all the time, this is a very simplistic way. All you have to do it, we're going talk about is a few simple steps on how to set this up. So let me get this off. We're gonna bring it back in in a minute. So remember to turn this towards your master flash if I'm nikon this has to be towards my flash to my main master flash and that's what I was talking about all night can I get a little confused on which way I gotta turn it? Which is why I like it in front but that's just because I'm stupid ok, so how do you get your flash into master mode? Knock on the nine hundred serious came leaps and bounds over the eight hundred and it's a very simple little switch just right there you turn it you can see it goes from off to on to remote which is slave and master very simple. Just a simple switch the five, eighty two and I don't have the five eighty one but let's talk about in case someone has a five eighty one actually, I have one over here will shock about later there's. Just a little switch right down here that goes off master slave our slave matt so it's, very simple goes back and forth I love that aspect because I can pop stuff on and off this is the five, eighty two you have to hold down the zoom button for the three seconds to get in the master of the slave mode, and they did this because they tried to waterproof it a little bit, and to me it was almost backwards technology there. It was a bad design. I think the concept was great, but the overall functionality of a photographer going fast on the go it just it just not as effective. And then your snooze. Six hundreds are pretty easy again. You have this little lightning bolt, and this little lightning bolt is an icon saying, I'm either sending the signal or receiving the signal because it's, a little lightning bolt, has an air on both ends that's, their master slave icons like I talked about earlier with the stop sign this any time you see this it's going to be associating with wireless technology within the flashes. So if the arrows pointing away from the flash it's sending a signal to master mode at the arrow's pointing into the flash it's receiving the signal and its enslavement. So you just push this and it's going to go through a cycle because, again, there's four actual, with six hundred for actual settings for wireless, you have five actually off, and you have wireless radio transmission, master wireless radio transmission, slave wireless optical, which is what we're talking about, slave and and optical master. So you have the settings, and you would just little push that button and just rotate through. How do I turn the flash onto a wireless transmitter? Nikon is actually pretty easy. I think I have it, actually. Nikon maybe not for cannon. The zoom button here on the five eighties and on the six hundred we'll talk about it just a second. You actually hit it once and they'll go to the zoom feature this first little button here and I'll back up there's. Actually, you hit this button one time. It's gonna go the zoom feature we're gonna talk about zoom in here in a second. You hit it again and it's going to go to the ratio setting, which you talked about earlier about how how you can actually control multiple lights in different ratios. We're gonna talk about that in a setting for us. For me, I leave ratio settings off. I don't like racial settings in the camera and I'll tell you why in a few minutes again, it's less mathematics my way and I think it's better. You hit it a third time and you go to the channels. There's four channels in these flashes and each flash needs to be on the same channel so my master's on four the slave needs to be on for my masters on one the slave needs to be on one for them to communicate six hundreds have more channels when in wait radio transmission device but an optical you have the forest well so it's the same and then you hit it a fourth time and you're actually going to see a little icon pop up right here you can kind of see it well you can't you're going to see it right here is a little flash icon and there's going to be three light beams to stick out from it and when you see those three light beams it basically says that that flash is actually active it's exposing the image so you'd hit your center button your set button and those three light means we're gonna flash and then you turn it says off on the screen is going to stay on and off you turn it to where it says off and you hit the center button and those three little light means go away so now that flashes on ly transmitting it so what's the same is that little std too it's just transmitting the flash power and it will never show up in your image so that's extreme important most the time I'd probably ninety five percent of time that's how I photograph tomorrow we're going to show you an example where it's different in the first dance and fun stuff, showing how you can actually go on camera off camera, same time using this technology for nikon it's. Basically, when you're in master slave mode, your film is master on your back, your flash specially for the eight hundred, and you would actually set that toward justus dash dash dash, where there's no number one, two, three you just said it to dash, dash, dash and now it's, just a wireless transmitter, so it makes it very, very easy and very, very effective. Here's your channels again, you would hit the zoom button three times and you would change the channel. The beauty of cannon nikon doesn't to the beauty of this is when I change, because this that button controls four things, and so when I changed my channel to two, the last thing I changed in those four things in this case was channel when I hit my button again will be the first thing that pops up, so you don't have to go back through everything all the time. As long as you don't turn the flash off, you turned the flesh off, you got to start back over from from step one and that's a valuable, because we're going to show you how to use that in your vantage in a fast paced situation a little bit later in the program but it's a very, very effective very, very I needed things so I want to kind of show you um mason, can you come over here real quick, please? I'm gonna show you how this wireless transmission device works. When it's turned on when it's turned off just stand right in front of great paper. You stand right here. Yeah, that's fine. So I'm gonna photograph me. I'm gonna put this flash towards me because I'm gonna be back here I'm gonna turn this flash head towards macy and not drop my camera cause I have a neck strap over there that I'm seeming to refuse to use. Okay, I'm gonna come over here and again, it's just a simple shot this is with with this flash exposing so I have two flashes going on now. Now, if I move closer, we're gonna talk about this in a second, but I want now you have almost more flat light even though that's coming from the side now and we're going to talk about that leading up into ratio. So now I'm gonna turn this off toward this flash is not exposing and you're gonna have a lot stronger ratio in the side of her face because that's the only light exposing even though this flashes firing it's not exposing in the image and we talked about it yes that is the communication aspect so this flash when you're using tl and the optical aspect of canada and icon sony mine old to any of it it still has to do all the communication it's still has to tell this flash with the fire when to give that pre flash to bounce off your subject come back through the lins do the calculations and send out that flash the only thing it doesn't do is it joins in the fine with the final flash exposure so don't think just because this is flashing that your flashes broke because I get that all the time when we teach our workshops that I don't know what's wrong how this turned off it's not exposed I mean it's not exposing but it's firing I'm freaking out it's normal nikon does have and it's very rare but I've seen it in the workshops you'll actually see from this flash little pin lights in their eyes sometime that this flash will pick it will fire the very last and just barely exposed the timing's off on a little of them I've only seen it in icon and only sitting in a few but that is something to be aware of it might not happen with you but if it happens it is functionality of not got thank you I just want to show that so don't freak out if that's not working because it it is working it's just not the way it supposed to be when we get this offset any questions a wireless when you're tired this is complicated stuff but it's not complicated stuff you can see that was too much in that light you need to go back well you see member ahead the shadow went down to her mouth that's that's rembrandt you really don't want to do that yes sir if I want to have the if I wanted to use three lights and I wanted one to shoot at um you know quarter powers of fill light and another one as uh you know even less than that is a suhair light do I have to use that to have to use the camera in manual and all the notes you can use? T l that is what the ratio motives and let me if you go back to the slot and I'll show you that um working together because that was the next line. So racial mode nikon and the older flashes picking and nikon has can beat hundredfold over and ratio understanding nikon is so simplistic you literally have a to b you can literally raise it up or you can literally see how this master's dash dash dash by the way that's when not con is on ly exposing I mean not exposing only send the signal but you literally could go eight of being and just as simple raising or lowering the power it's very easy to understand cannon in the older units has this one, two, two, one, two for one day two to one four to one eight one and he gets a little confusing if you're you're out on the go. So the older school way of doing things is exactly what you said I would actually take a meter and I'd have to know all my life ratios and I have to figure out all right, so if I want a three to one four to one ratio, this light needs to be this power. This okay, I'm gonna go to my master flash, and then I'm gonna go say, group b group b is going to be this power and now I'm gonna go okay sees my hair lights I'm gonna put my c and hair light needs to be this power and then I'm gonna take a shot sees too bright, so I've got to go back in to see and I got to adjust and it gets really confusing. Not only that if you can understand the mathematics. So what the heck a ratio is remembering which one is groupe which one is group being which one is group? See if your flashes even gets more confusing in my earlier days I used to spray paint my flashes certain colors for certain groups and then I put duct tape of color green was one group blue was another group red was another group because I got so confused because I'd be moving around the lights would get confused and I couldn't remember which one was what and that's when I went this is so much easier so if I want to flashes mason can you come here for again? I'm sorry sweetie just stand right there and I'm going to use the flash I'm just gonna use this is come right out here I'm just going to use this is a visual you're fine that you can do it that way it's great so this would be my hair light we'll raise it up a little bit this will be my fill I actually turned this way it'll be easier because I could get back so this will be my feel like or main light will make that the main light and this it will be my feeling when I take this button push his button and they all go off they're all going to go off of the same power I like him all in group a they're all in the same group they're all the same power so when I just this up here my master flash all three lights are going to adjust to the same time upper down whatever I do and then I look at my image and let's say my my mane is not bright enough now toby brighter my hair lights not bright enough now will be brought enough this is not strong enough I'm doing all the rations I'm doing that too to one four to three whatever the heck you want to call it this is the subject and that's why I like these little easy stands because I can shoot by myself just by putting them down and doing this and my light on my camera here by me being the farthest away will be my feel like because my subject is farther with my flash I like the guys are going because you understand how simple this concept is it's not difficult and you take away all the math and the neat thing about it is I don't need to remember this is group a or b or c spray paint I don't have to go back in there figure out the mathematics out this is a digital technology method because I take the photo and I look and I go you know what just got beautiful black hair but I'm on a dark background I would like a little more hair under the hairline done taken ill shot hey that looks great let's go to the next location that's how the ratios kind of going to term manual ratios it's extremely easy thank you extremely easy. Very simple takes away all this mathematics takes away the one two three to one to one. You don't have to worry about any of that and you just do distance to subject, so I literally have move out of the way. This is three light and this is one of the will talk about tomorrow. This is one of my soft boxes that I use from denny's track o soft box. And I actually took it off after this. But this is literally what I shoot with. This is a real life scenario. This is a high school football player. This is in our high school football fields. You know, texas and football, high school football, five thousand people on each side of the field and it's packed every friday. So I know about going to this field and I only have a very short time. Great coach, coach. Been rude off down there. I love the guy to death he's a great guy he gives me, he opens up the field form and it gets me, you know, fifteen, twenty minutes. I'm not goingto take advantage of it, but I know I got to get in and get out fast, and I know there's a least three good angles that I can photograph in this field. So I do what I call this triangle I put three lights it's just the flash I have radio populace which we'll talk about in a minute I have the battery pack that we talk about the cp three and four and I put him right in the middle so if I want this light to be brighter I'm moving in and now that's my main light this becomes my field that becomes my hair I take the shot I moved to the other location right around where he could just literally turn is angle and go into the field house in the back I pulled my men this one back out now its feel and this one over here move closer night's main and take the shot and he little taken stand right there and I could just move my lights back and forth and get any light ratio I want fast, fast, fast and easy easy, easy does that make sense? Yes, it looks nice because I see a person standing by that light there. Yeah, he's on the beach. So she says you're using the v I t w system voice instruction to wife yeah, no normally she's just there because he's holding it for blowing over and that's why I actually taking out that soft box the other beautiful thing about this technique is first of all if you get so far away from a subject with a flash you don't need a diffuser because it's not going to defuse any more the light can only go so far right and so when you're pretty far away you don't need it too it's a very cloudy day and so I won't need a lot of light and so I don't the soft boxes is great but I don't really need it but three it really catches the wind and blow stuff over on this day and so I took it off this right here doesn't take up a lot of space and it can really blow a lot of a lot of wind without this blowing over and that's pretty valuable for my stahl a shooting where I'm at because I'm on the coast and so that's another reason I like it you can put a little small sandbag down here and it's not going anywhere I can dig these legs into the into the sand on my beach so everyone anywhere so that is what I like to do and so little e we live just go back and forth back and forth back and forth and I literally move the light in with the light out moving light in the light out and I get any of the races I want fast and easy now the question that hadn't come up and I want to kind of explain it some people get confused about is if I had the light in here this is my main lights and then this is my feel light and I'm photographing where macey was standing here wife I raise one it why is one over powering the otherwise one not brighter than the other because a lot of people think that these guys meter individually and they don't remember what I said earlier now that we're explaining it a little more detail is when I'm in master mode and it sends out that pre flash it doesn't care if it's one flash or a hundred it only cares about one thing that might a light that comes back through that lands and its sole job is to make eighteen percent gray so it doesn't know this is one feet away put away our one hundred feet away it cares only about that light and so whatever light comes back through the linds it's going to do it's calculation to make eighteen percent grace so theoretically this one does kind of trump the equation because it will be the brightest light and maybe it has the most affect on the equation to make that eighteen percent gray but because it's here it's going to be eighteen percent grander face all the light and then the one farther back is going to be the weaker like because the distance the subject does that make sense with you sure because what you just understood it's called the inverse square law so you can get all nerdy on me, or I could get honored on you and say a foot away is a stop of light, which was a lot of people teach that I honestly don't try to get that technical. I know that's probably horrible to say, because some people are probably just rolling right now, watching me say it was he due, and you're supposed to be technical again. I think selling that experience is greater than me trying to be so perfect on all the majoring, because I visually can see it now. If it was film days, I have to be perfect. I have to light meter everything. I didn't have the technology of teal and it sure the heck wouldn't. In the third generation of tl, so it's, more accurate, I had to do all that today. This is a digital method of doing ratios that makes it so, so, so simple.

Class Description


Join Mike Fulton for a comprehensive course on speedlight photography — including how to use this versatile flash system to increase efficiency and expand your creative ability.

In this course, you’ll master all of the many buttons and features of speedlights. You’ll learn about each of your flash’s settings: manual, TTL, direct, bounce, off-camera, and more. You’ll explore the relationship between your camera and your flash, so you can move away from shooting in auto mode and toward capturing more nuanced, dynamic images. You’ll troubleshoot common flash issues and gain confidence manipulating the light from your speedlights to get exactly the look you want in your photographs. Mike will also cover the lighting choices that take an image from being just nice to look at to being highly marketable.

This speedlight photography course is the definitive experience for anyone ready to become an expert user of this powerful, adaptable lighting system.

Reviews

cmc
 

Someone should tell this nice guy, Mike that he should restrain his comments and do his homework and structure the course and sticks to it. Of 100s of pictures he took not even one was inspiring or great shot. Yes, he did say that "I am not going to make good image", why not I ask? I do believe he is not only a nice individual but knows the tech side, not sure if he can make artistic images.

a Creativelive Student
 

I am in the midst of watching this class through the videos I purchased and am very impressed by how in depth the information is. VERY happy with this purchase. I like Mike’s ability to make concepts easy to understand and also that he shows you by example what he means. As a direct result of watching this class, while visiting family yesterday I found myself looking at my grandson’s face as light was shining on him through a window and thinking to myself, “Oh, that is short lighting and when he turns his face it becomes broad lighting.” Thanks, Mike. Can’t wait to see what other gems of understanding I have in store for me in the rest of the class videos.

user-457531
 

Excellent course, especially when I learnt something within the first 5 mins of watching it. I have found Creative Live courses to be very thorough in detail and equally practical in application. 10 out of 10 Creative Live support has also been 💯 % helpful Thanks guys..