Speedlights

Lesson 8 of 10

Multiple Speedlights

 

Speedlights

Lesson 8 of 10

Multiple Speedlights

 

Lesson Info

Multiple Speedlights

Is going to be a very creative segment on very fun, but of course we have to start with understanding a little bit off off the background of the theory behind it and then we're going to get right to it um we're going to go through the thought process of image making on dh what creates a really exciting image on it doesn't matter if it comes out or not because we're here just to learn whatever comes out of the photograph it's only for your benefit and for your benefit, so we're gonna work together just to kind of create cool photos and realize that the flash on top of your camera the speed like it's actually not that scary despite all the incredible amount of information that's been given today if once you understand you break it down and you watch the course over and over, you start to see how things start to come together and the dots become connected, especially from the science part to the creative part you can start connecting the dots. Unfortunately, if you don't understand the sc...

ience behind it, you're just going to keep guessing the rest of your life so I don't want that for you, I want you guys to have control wei have three models on, we're going to photograph them all three we're going to play, we're gonna have a great time, we're going create problems and fix them if we have too much contrast, we're going to reduce the contrast through the ways we know how if we have too much light we're going to reduce the light if we don't have enough light on somebody but we have too much light in the others were going to fix on that as well. We're going to change the color and the mood of the whole room using just speed light's gonna be so much fun so stay tuned for this one I want to turn your attention to my key note please we can show that on the screen and then we show them on that screen. Thank you very much very quickly when you are shooting in manual flash you have to think about too exposures the first exposure is the ambience thatyou wantto how you wanted you wanted bright you want dark ok, you can control that when you are in manual fleshly repeat this only works in manu flash you can control the ambience brightness and darkness through the shutter speed. Okay if once you have the background I mean the background dialed in or whatever is being led by ongoing light which is like what? What this is once you have it dialed in your brain now switches gears so the light that's gonna be hitting your subject using speed lights okay so two exposure's going on in your brain first worry about the ambient light get that dialled in then worry about the light coming from your speed lights eliminating your subjects for example if you are outdoors on do you want to balance the light? You probably want to bring the exposure value off your ambien or your surroundings to just maybe half a stop lower so just have a stop darker okay if you bring it down three stops darker and then you illuminate your subject with flash there's gonna be too much of a discrepancy between the lighting heating your subject on the lighting in the environment which is a telltale sign that you use flash which is horrible so balance them out you know that the ambient light can be exposed to about zero exposure or a normal value and then bring it down half a notch just half a stop down so suddenly director okay you're not going to lose any information with have a stop darker then you grab your speed light and you've got to tone that down are you gonna do whatever it takes to make sure that the light on your up subject sort of matches the light on your onions and third you're going to remember that you need to be able to read the color of light if you do not go through this mental step they will be telltale science if you're shooting in sunset time or a time like past six o'clock where the sun is starting to go down remember that the electromagnetic radiation going around the photons is goingto be a lot maur orange and if that's the case you need to grab your speed lights which are daylight balanced I fifty two hundred fifty two k three to two hundred k on you need to put half a city or fielder or a full ct or filter um you guys know what the cto filters are so when you do that not only are you now exposing the omni improperly but you're also balancing the flash exposure properly in your subject and then on top of that you're going to the next level by matching the color off the ambient light on matching with the color of your flashlight I know you have our four that doesn't look like you used any flash at all for example this portrait here that we have if you if you take a look at this picture which I took in new york city you cannot tell that there was a flash being used in this photograph it's beautifully done because of the steps that I just shared with you when I showed up to show photographs this I said okay we have trees we have this arch okay I want my aperture to be pretty shallow so the troops can go out of focus and I could bring attention to my to my subjects once I got that tile down, I tone down the explosion for the ambiance by about half a stop down just a little bit darker. You see that once I got on, I liked it and I got that dialled in switch gears. And then I put my flash in the back off the bright pointed towards her veil on manual flash so I can control the exposure had I not done that the flash was going to hit them see the black tuxedo legs see the black because he was on the floor that flash would have would have read the light would have read part his black pants would have read the scene which had a lot of dark inimical she was it was very close to his legs. They would have given me three times more power, giving me a total telltale sign that I use flash. So tt l was not the answer for these pictures were quickly switched it to manual. I put it on the floor pointed towards the veil because the veil was going to be illuminated by the flash. I wanted a veil to stand out. I changed my eyes saw to a pretty high s o because the flash was on the ground at least three, four feet from the male. Which means I need to make my sensor senses sensitive enough to the light that the light will not only hit the veil, but it will kind of wrap around very gently around a couple. Had I shot is that I also one hundred. That veil would have been illuminated beautifully, and then the rest have been pretty dark. People ask about the supper asses, that's pretty much that's. One of the thought processes that goes on with pictures like this. Um, we're going to create this kind of photos here with hands. Atlanta and katie were gonna go all three, and we're not going to get scared about it because we're just going to work with it together. We always have different skills in this room, and we have different skills on people watching. Okay, um the flash sweet spot. This is more for people watching that are interested in in creative lighting. Using your spiel, eyes on location, the flash has a sweet spot. The sweet spot. The flash works at its best when the sweet when you are at that sweet spot off settings. If you shoot at aperture, you want the light and you want your subjects to be separated from the background, so you're shooting at eight. Your background and your subject going to be the same a lot of it is going to be in focus that's not that attractive and then your flashes to work really hard to get all that light into that little tiny hole of eight through your shutter just a very small amount when you do that it slower is that recite so is a recycled time creates problems what you probably want is to lower your aperture as much as possible you know that you want to lower your aperture so low that you're at the maximum shutter speed your flash can handle which is what two hundred for cannon two fifty for nightgown at two hundred shutter speed your flashes in heaven because of two hundred your aperture is at its widest is that two point eight or even lower okay which means that that light can just hit on all that beautiful I would just blend into your sensor able just go right into your sensor to point at the hole is like this big on two point eight okay and you're a two hundred shutter speed you get the best quality of light on your flashes using that flash sweet spot once you put your flash on high speed sink which is what the next topic you basically grabbed your a knife and you stabbed your flash to pieces and then you tell him then you tell the flash to continue working for you and he will but he's bleeding like it's like life shows guarding out of a flash so it's basically not meant for that it's like telling you guys to go lived six hundred pound ways like olympians you just not meant for that. If you do it, you'll break your back. You can probably do it. You'll break your back. Okay, when you push that high speed sync button you better have more than once people are ready to go because it's bleeding and all that blood is just spilling out of the light so you need more flashes to compensate for that you lose a large percentage of your light power when you shoot it on high speed think let me explain to you why understanding high speed think is an interesting concept. Let's, take a look at this, okay? If you look at that chart real quick if you look at that chart for me take a look at what's happening the flash is closed on the left because there is no way let's pretend we are at one for thousands off a shutter speed let's pretend at four thousand no way the flash is going to be is going to work. Okay, they're flashes that's not it's not gonna work it's gonna give you a black a black line around it, okay then you push the high speed sing bun and your flashes cool, I'll do it, but I'm gonna not be able to give them like you think you can again when that shutter opens like on the second square if you can see the second square there that white rectangle at the top resembles the flash going off in that part of the window that's open and the first current left open on the sensor so the first curtain comes down and it reveals a little percentage of the sensor to see what I'm saying at the top and when that little percentage of that sensors revealed your flashes, I got to go now so the flash fires a burst of light right there, but that burst of light is blocked by ninety percent of the of the curtain you see that ninety percent of that current is blocking that light so that flashes went at it? I'm all its might on hopes the currents ninety percent of the current so close so only ten percent got it okay, then the second curtain starts to close like on the middle square. I know you have the sensors exposed in the middle by a tiny little percentage ten percent of the of that is being exposed because the second current cannot wait, so the first one is all the way down before he starts closing it has to start closing otherwise I won for thousands of a shutter speed. It will just not be possible that's what? Mechanical cameras like the old like us and the night guns and all that their maximum shutter speed that they could possibly d'oh it's five hundred or thousand shutter speed because mechanically cannot they cannot close. This is electronic so it's easier so we can go to eight thousand mechanically was too hard for the show for the curtains too close. Okay, so in the middle that ten percent in the middle of the centres exposed the flash ghost party flash and then works again. Only ten percent of that light went through. Now you're killing your battery, right? Because your flashes thinking it's it's all its glory and its not it's always glory but only ten percent went through and it's going so fast that the battery just gets drink. Then you get to the third curtain and now the second curtain is almost all the way close to and only the very bottom of that centres exposed now and again when that little parties exposed to send the flash goes boom again, which means that now, after that that shirt, that shirt shutter closest and the exposure is now over, so instead of having one burst of light in the middle without exposing the whole sensor, now you have shutter opens exposes that center a little bit and then boom one flash then he moves down boom another flash then he moves down pullman on the flash then a moves down form another flash and then the shutters almost close boom another flash and then the shutter closest okay, what does that remind you ofthe having that much light going through your shutter what does that remind you off? What light behavior does that remind you off? You know how strobes we behave strobes behave the first curtain goes down I'm in just one burst of light illuminates the whole sensor and then it's over some crazy speed but when the light seems to keep illuminating that sensor many multiple times it reminds you off the way natural light hits sensor natural light hits the sensor the entire time she was hit in the sensor high speed sync resembles natural light because when the seance was being exposed little by little the flashes keeps going kind of like he was sunlight does that make sense now what does that mean? It means that that whole concept off your shutter speed doesn't affect your flash is out the window on high speed think because of your shutter aperture and I s so affect your ambulance I'm high speed thing behaves like ambient light now your shutter your opportunity so is also going to affect your flash was that somewhat clear lee's like no okay when you have when you're outside you think a picture you choose your at your settings basing your aperture shutter speed and toe be able to get an exposure, the faster your shoulders but the darker, the smaller, the aperture, the darker, less light gets in that light is continues he just keeps on hitting that sensor high speed saying behaves the same way because even though it's exposing the flash little by exposing the sensor little by little it's still exposing it repetitive li like natural light wood. So now you're shutter speed dos effect your flash on high speed sync if you grab your your shutter and you're on high speed thing and you turn it upto a faster shutter speed your flashes, you're the flash that comes out it's going to be dimmer and dimmer because he behaves just like natural light at that point so you can go above two hundred no, yes, that's why is our is our max with high speed eight thousand? You can go all the frickin head way to eight thousand shutter speed, but it's very important that people make the differentiation in there at home when they're using flash. You know, I see a lot of people pushing that high speed sync button and they just keep shooting like nothing, and then they wonder why the raccoons are still there they wonder why things that's just not happening properly they change their shutter speed and then all of a sudden the exposure's old dark now they're like do what I have my flashing what's my computer's broken my flash is broken and I'm like no just you just don't know squat you know like you didn't read the science of how this light works if the censor's getting continuously hit by light then you have a natural eye situation whether the lights coming from the sun or from the speed light but if the center is only being hit by one blast of light at incredibly fast speed then you have a strobe situation which is a totally different beast then your aperture controls the output on the shutter speed controls the ambulance so below two hundred shutter speed you can you can control to exposures the ambience on dh whatever's illuminating with flash to think separately what whenever you go to high speed sink, everything behaves like a natural light okay but then you can go all the way up to eight thousand shutter speed but your flesh is weak only ten percent of that light went through so you need to gain up on more lights three or four flashes at the same time but we can't get that that this thing here this is the I d c triple threat I don't know if you know what this is you can put three flashes here, one here, one here, one here and this basically attached to your umbrella, and then you have three flashes going off. These are great little tools when you have high speed sing situations, you have now three flashes working together to create a good exposure. So now each flashes to work less more like it's. True it's, beautiful on the speed light. So can't you? Aren't you limited to about, like twenty flashes at at full power before it'll start burning out? What is high speed sync due to the unit? Excellent question. Yes, if you are busting out the flash of full output that that speed, you're goingto probably burn out its own overheat your flash and they were shut off but high speed think the burst of light are very weak. They're low frequency bursts that because it just it's not going to get through, so it just gives you a little touch locus of light, so it actually it doesn't. Yeah, I mean it's still burnt out if you keep doing it all day, but there isn't what you put three or four more here's, because when you have high pitched, high speed thing, I recommend two things a your flashes better be a lot closer to your subject because the light output it's a week or be put multiple flash and getting them off together so you can grab your flash and just keep keep begging them in that in that thing's, so even go like this. One flash goes here, another flash goes here, another flash goes here, they're rolling their one here, one here, they're all in high speed sync, boom. All work together, and you can expose properly with only one. You better be very close to your subject, okay?

Class Description

Speedlights is part of our special bundle Lighting Toolkit.

There are so many options when it comes to speedlighting — how do you know which model to choose? Award-winning photographer Roberto Valenzuela will answer all of these questions and equip you with “go to” settings for any shoot, no matter the location.

Off-camera flashes are powerful tools for creating and complementing available light. While they might seem overly complicated, speedlights are an effective way to precisely control flare and create glow. By simplifying the process and arming you with step-by-step formulas, Roberto will eliminate your fear and give you the foundation you need to take your photography to the next level.

Reviews

a Creativelive Student
 

I liked this course. Except I think on segment 3 of the lighting, as stated by one of the studio audience he got the color balance of warm wrong and blue when he was talking about balancing the light (at 30 minutes in). Having said this I got the theory of balancing, and the rest of the video was excellent. It really does help to see flash as photons and understand what science behind it, to understand how light works and how to use it to your advantage. This a a great course in order to revisit now and again in order to become competent on lighting when put on the spot of having a difficult situation.

user a391f8
 

This class is like shopping at Marshalls: there are some valuable things to buy but you have to go through a lot of crap to get to them. The production value of this class is awful. The folks at Creative Live must not have a class on video editing to follow because not enough material was left on the editing room floor.. Roberto is fabulous but it must have been one of his earlier forays into teaching because he was scatological in many areas. Creative Live could have minimized this by doing some editing. He's a fabulous photographer and an even better teacher and this class would be much better if it followed the format of his 3 books: orderly and succinct. Learned a lot from this class. I just wish I didn't have to work so hard for it.

CJ McBrown
 

I have to say upfront that I have not purchased this course but the brief information he gave is spot on! I'm a sr. photographer for a large beauty company and I have to give him kudos for how detailed and accurate his explanations are. If the entire video is anything like the preview I highly recommend it.