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Lesson 2 of 2

Speedlights Part 2

Mike Fulton


Mike Fulton

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Lesson Info

2. Speedlights Part 2


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1 Speedlights Part 1 Duration:1:26:54
2 Speedlights Part 2 Duration:1:16:16

Lesson Info

Speedlights Part 2

We kind of talked about a little bit before, but I wanted to kind we went over the science, the foundation now we're going to go over some of the actual application concepts and we talked about a little bit before, but I want to reiterate it is controlling the ambient light with your off camera flash and I think that's the first key toe building an image because that's what we want to do right now is build this image and we talked about a little bit before, but the whole thing is is what? Where do you want to put the lights? And I think that's the whole key and so for me I try to use the standard three lights set up every single time I go out now that doesn't mean that I'm gonna have three lights, it might mean that only have to off camera and I'll have one natural son and so what I try to do is I talked about it before is when I get into a situation some time to put on the time of day I might not be able to put that person in the place that I want them to be because of the natural lig...

ht it's just so bad and so what I try to do is see the sun and then put them in a place where the sun is going to look decent on them generally, I put it in the back, so I want the sun to be their hair life because I'm a big if you ever go to try co seniors or try coast photography website, you're going to see almost every bit of our work is really strong room light. When I first learned photography, any book that I read basically said your key, your main like needs to be certain power your feel like needs to be a stop lower and your hair caroline would need to be to stop slower and that's what I did for a long time, but I really didn't like that hair light being so weak. I love a strong ram or hair like I really like that pull him off the backdrop, pull them out whatever you put in a minute, it's kind of a fashion glamour look to begin with, but I didn't have to be, and I think it adds so much death to your images. And so for me, the sun is always the hairline, if possible. If it's sunrise sunset, that golden hour where I'm from it's a golden ten minutes appear you have about an hour or a little longer, the farther north yugo, it'll go a lot longer. When I was in sweden, it was like a golden five hours was awesome it was it was it was one because they still get the same hayes you have here but they're so far northern nessun never went down and I was like, this is this is amazing I mean way had a steak I mean a seafood restaurant meal nice meal on the bay went out in a photograph for a couple hours, came back and had dessert and still watch the sun still set so it was awesome but what I try to do steal as on the sunrise sunset I'll put that is my main line at that point because it's that beautiful life that you just can't get any other time or any other way I mean you can kind of artificially created but it's still not the same. So if the sun is too bright for my main mikey, I always put it is my hairline even unless it's just directly noon even even twelve thirty the afternoon or whatever, you can still have a little angle that son and so I'm gonna try to put him to where it hits hits the top of their head one it looks better into they don't squint as much and that's the whole key is you don't want to squint, so I put the sun and as we talked about, I'm actually going to build that image so I literally would meet her for my subject find and I think that's why I didn't mention that in the first segment I'm going to meet her for myself it always I don't if I had just strobes like the alien bees or you're photogenic sor or your bowman's which I use in our studio whatever I could meet her for the sky I can little take a light meter find out what the how bright the sky is I could set my camera for that and I could take the photograph but I'm gonna have a perfectly blue sky every time but those strobes are a lot more powerful than these guys so even if I'm seven stops under my person upfront that I want to properly expose the flash and my skies maybe seven eight f stops difference I can under expose that much with the strobe and still have enough power to expose my subject properly but with these guys I can do that so the happy medium that I found when building an image is one I place them in the sun properly and then two meter from my subject always and then I under exposed from there to get the background where we want to get the sun on his or her hair properly exposed for my taste maybe my taste it's one stop under because I want it brighter maybe your taste is three stops under because you want just a little kiss of light on their hair and it doesn't matter as long as you don't under expose so much that these flashes one exposure subject that's the key so the maura under exposed the more we'll be able to pull that blue sky out in the image is going to look more blew it won't be it'll go from nothing pure white natural light to a light blue to a dark blue to almost black if you under expose so much you can little knock out all the sun with the more you under exposed, the more flash you have tohave to balance out your exposure so the first step is always put my subject where it needs to be in the sun second step is a meter from my subject, so if I'm innovative matrix or spot meter and we talked about that before, it doesn't matter I'm going to meet her for my subject if it's spot ah locked exposure recomposed and then I under exposed from there for candidates this dial I told you before for a night kind you have that little plus minus button on top your camera body and you just turn the dial it's right in front, up or down and that's going to adjust your your exposure compensation and it'll say plus one plus two actually in your lcd for a nikon so you want to go to the negative you wantto under expos this is something you can't cheat either on, and I have groups in our classes, and they have to say mechanical cannon bodies or salmon medical nikon bodies, but they'll have different flashes, and they want to copy each other said, and you can't do that because every cameras different, even if you had the cames, same camera, same flash, same linds it's still going to be different because they don't all represent the same thing all the time. And then on top of that, you're you're the artist, not the camera. So again, what I think is proper is not what you're going to think it's proper. So you add again, flash to taste, so the more we under exposed the image, the more flash we have with the problem with that is, the more flash we have the maur. If we under exposed the more flash it's going to look, the more harsh life that these guys can put out, the more shadows you're going to see. So now you have to be more accurate with this light placement. And I think, that's the hardest thing for me at least, was one of the hardest thing I still struggle with it is finding out the proper placement of light. With these guys because you're gonna put a shadow and let me go back a frame it's kind of hard to see but if you see this photo here the catcher you see that shadow on earth of chin that's their by design if she has a little double chin, you will never be able to see it it lines that chin line out and it slims them down if you've done it correctly so shadows there are part of your for photography and needs to be used in a positive manner anything that doesn't have shadows is going to look flat and ugly and I promise you if you flat light a young lady she's not going to be happy because it's gonna add pounds to her now she's a little crackhead and she's a little bit skinny thing you could do that and get away with finally finally our live in enough! I like that I didn't get a laugh in I was saying I'm going home I'm not I'm not in the house anymore I'm leaving but if she's already a normal or heavy girl you don't want a plus size model you don't want to ever flatline you always want what they call short light you want to turn her face to the light you look at the bride over here you see how her face is towards the light and so the side it's facing the camera is in shadow more that slims them down, that's considered short lining, and that slims them down. That is what you always want to try to get wait and when I first started in photography and I was doing bridles and I had all the concept that digital, the technical aspects that we've been going over, down and there's a young lady she's actually been created lot before her name's jin hyland james she's out of minnesota, soon to be in new york, she looked at my works, he says, you don't know anything about light, and I was like getting all defensive. My chest swelled up and she goes, every one of these you, you broad lip, which is the opposite, and it adds weight, all of them. So I had the technical aspects down the guy, and he was going, I got this down, but technically the girl part of me should have been stronger in poster correctly and made and thought about what she really wants to look at. So it it brought back well, maybe that's why she didn't like that image, and I was upset that she didn't like it because from a technical standpoint it was perfect, but from opposing standpoint, it was horrible. And so it was a great lesson for me to learn that I always try toe short like them always try to turn their face to the camera so their bodies for a girl body away from the camera turner face into it and you'll get that short, like guys, you can kind of get away with it a little easier, guys air we're guy. So you khun broad like him? They don't care. They look more man and makes him look bigger. If you brought a lot of you could turn their face and their body right into the light. Make him look bigger and that's. Okay. Society says that's. Okay, but if you slim down a young lady, I promise you she will like your image is a lot more. Doesn't matter what technical aspects you have to remember, shadows are important. You want shadows, you wanna ratio. But the more you under expose, the more you're gonna have a problem with shadows. The more you need to know where to put them, you will get without all these images were taken without a soft box. You will get harsher shadows with east than you will with the soft box, plain and simple it's, just part of it, it's, just part of the nature of the way this product makes light but you have to if we talked about before, you can feather to soften it up, you can shoot it through a defusing panel, which I do sometimes it's not too windy, and it makes a giant south box. If you don't have a lot of room you have, you can literally just get some ripstop white nylon from any fabric store and make a pvc frame for it, and I actually have it toe where actually the bottle make spikes, it can go in the in the ground, and I could put that flash right behind it and what's neat about that, especially of a small studio, and you only have these and don't have you're going to someone's home, shoot babies, they're going someone's home to shoot boudoir. You can actually put that in front. And the nice thing about that over soft box is a soft box. You have to move pretty far away to soften a raise alight with this. You on lee, move it very little amount from that panel and it will actually completely change the light pattern and the softness or strength of that light. So it's a very, I'd say a poor man's way of creating a great, great, easy to do soft box and tight corners. I did that when my daughter is now thirteen when she was an infant and I shot in the day before at a studio I did that and they were great images, so I do that you can folds up, you don't have to glue the pvc you can pull it apart put it together on location it's a very simple way of softening light with these guys so again with the light so what I try to do and we're going who wants to be anybody want to be my victim also going up raises you raise your hand actually too quick so it scares me come back right? Actually that's good, I actually goingto make him a little farther back because I want to show the shadows on the background because that will actually help you learn a little bit better. We're gonna make this the field so when I go into a session, this is how I'm doing, I'm not going to really worry about is pose and I'm not trying to create a great image here. I just want to show you guys how the system works that's kind of my teaching method if you want to see our images, you can go to our website, I'm not tryingto create a huge one here one of the big images you have are one of the big fault with flash is with a soft box I can actually again with our sweet lights off box four by six if this was in my studio, I would put the four by six soft boxes here, I'd put the lower corner right here, so we go four feet up six feet out and come down, and so I have all this right here to throw light all the way around where homeless don't even need to feel like if I do, I could maybe put a reflector there and it would pull them and we put enough feel light in for me with these guys one you can't do that, but the other problem I found that people want to do is they want to come up and they want to treat it like a soft box and they want to have this like, way up here on our subject, it doesn't spread like that soft box so what's gonna happen here is I'm gonna light a few pieces of his hair, and then I'm gonna like that wall really well, it's not going to like his face at all. So the first thing you have to do is you need to lower this flash toe almost even with their eyes just a little bit above their eye brow line, the other thing is with guys, we have a thicker brow line and girls and so you can't raise it. You almost have a lower a little bit more for the guys. If you find when you're photographing and you're getting dark circles, your light's too high, you need to lower it down and you'll have more problems with guys, especially some of the guys really have those really strong for forehead and the brow line, you're going to lower it even more so you know that, then what I try to go for is a loop pattern. If you don't know what loop lighting is it's a very simple standard light that when the light hits his nose, it's going calls a loop to come right down here on this side of his nose. I don't want that luke to go so far below them middle of his mouth, the joint right here of his upper and lower lip. I don't want that luke to go too far down if I have it going that far down your lights too high, you need to lower it. That's just basic beginning flash all this is going through my mind after I figured out where the sun needs to be placed him or her with a son needs to be for a guy, this is great for a girl, I would turn their body away and then turn his his her face into the light and I always do this this is my neck and this is my head so when I do this I just wanted to turn their head and that's a simple they call it s suppose you'd actually kick out your hip a little bit but I'm not going to tell you there you go oh I love it perfect so that's the foundation of opposing nothing spectacular but that's the basic thing of where you want to put this light so what I would do is I'd turn off all my flashes I come here if this is in the inside ing I don't wanna mess up my hair I don't want to mess up my tethering so there we go all right so outside it's very simple we have a lot of light so we would use a gravy mode inside you never want to use a gravy mood that question didn't come up but the point is if I'm in a vey mo which I am right now chris my s o is way up high but if I'm one hundred sixty s o at three point two or two point eight my shutter speed is one twenty fifth of a second really too slow because there's not enough ambient light and we're into these big stage lights so there's a lot more light in here for a camera than there ever would be in a regular wedding scenario or inside portrait studio so any time you're inside you want to go from a gravy mode on your camera to manual because you're not gonna have enough shutter speak your shutter speeds going too slow that makes sense anytime I have enough shutter speed I'll go a v or a b mode and when I say enough enough is the old general of thumb and this is a kind of a thing we lived and breathed by living died by when we're in film days is whatever millimeter you're focusing whatever millimeter you're shooting it is the slowest your shutter speed needs to be so if I'm shooting a one hundred prime my slow shutter speed needs to be one one hundredth of a second anything slower than that I will get handshake and I will get blurry images just by holding you will need a tripod at that point that's the other thing I like about t tl is I don't need a tripod because I'm shooting at one five hundred won to thousands of a second and I'm not gonna have any shake whatsoever but if you're worried about your shutter speed general thumb is whatever millimeter you're shooting it it is the slowest your shutter speed needs to be so if I'm shooting a sixteen to thirty five and I'm shooting at the sixteen millimeter range I could slow down all the way to one twenty fifth one twentieth of a second and not have any blurriness in that image if you hold it normal but if I'm shooting one hundred millimeter I can and this is why I guarantee almost every single one of us did it when we first start off and you're buying a lens and lens is expensive but you by that famous seventy two three hundred three point five to four point five lands that everybody loves and you're going to think it's the unbelievable lands in the world it was expensive coat cost me four hundred dollars and it looks great at seventy millimeters and then when you zoom it into three hundred everything's blurry that's because your shutter speed is below that one three hundred of a second and so everything is blurry I can't tell you how many times I get people telling me that so if I'm inside and my shutter speed is below whatever millimeter I'm shooting I will always go to manual or even at night so in here we're going to act like it's daytime we're outside so I'm gonna just raise my eyes so up tio overcompensate for the sun and so I would turn my master flash off you khun turn these flashes on if you want which is what I probably suggest doing prepare them to where you need him to be and then turn your master flash off because if your master flashes off it's not going it's not gonna trigger and I will just compose the shot you talked about the composition I literally would just composed my shot and get whatever I want and these air kind of acting like our son it's a little under exposed you can probably show you want and not trying to see how it's under exposed so I'm really, really glow here but I'm not even raise myself a little more because of marty at two point eight now and just to get what I want but it's still I'm talking about being a navy mode and it won't even work so I'm gonna drop it way down so it two hundredth of a second two point eight looks like its proper expos I think it's a little bright but I still need to get what I want to show you that that's what the camera thanks his proper exposure I don't like I never like with a camera thinks it's proper exposure unless I'm shooting naturalized but that's what the camera thinks his proper exposure so from there I know him at two hundred two point eight and so I'm going to under expose which is going to basically raise my shutter speed if I underexposed because I'm taking out and be like I don't mean a v mode I don't want to mess with my shutter speed because I mean my f stop because I want to control that depth of field so also I do was underexposed which again will raise my shutter speed allowing less light in but I don't care what that shutter speed number is only care about how many stops of underexposed so by raising it then you're going to get darker image the little doctor not much and then you don't like that you raise it some more which I'm going to I'm going to raise it up to one five hundredth of a second and that's still not too dark but it's dark enough so I'm taking out some of the ambient light he's muddy if you're really going to get dark they would almost be silhouetted if you were outside I don't care about that I'm only looking at my background that's all I care about right now and then I'm going to introduce my lights I'm actually gonna turn this one off because I only want the one and so now I'm gonna introduce my lights I put it where I wanted to be again as long as I'm in that six stops of change range that I could be this light is fine turn my flash on start off zero compensation on your flash and I can't stress that enough because if I had my last session was negative three and you don't set it back two zero the first shot I'm gonna take it's going to be a negative three and you're gonna look and go wise it's so dark and if you're in a stressful situation it's going to freak you out and you're not going to think about the logistics of how easy it is to fix so always start off zero that's why I start off a zero on my exposure compensation that we just did and now start off zero my flash compensation so I take the shot I'm going to make sure this flash is not exposing which it is so I'm gonna turn that off for a quick I need to make sure was in slave mode too all right and I'm gonna take the shot and the flash goes off and you can see the shadow and you can see the light on him great great look for you by the way and so that is even that's tt l fast but let's say I want a little more light so I'm gonna raise it up and this is the other thing when you're learning this don'tjust do plus one third this is plus one third it will look almost identical I don't want you to do just plus one third it's almost the same make big changes go two plus one plus two right off the bat where you can see what this flashes doing see what that flash is doing to your subjects so when you shoot you will see the change yes this is too bright but I physically khun see what's going on it actually doesn't look that bright mile city looks a lot brighter than the tv screen that brings up another point if you're using this, your lcd as your eyeballs is what the final product will look like it will be different than what's your computer your color calibrated computer looks like you will just have to get used to the difference now you can raise your lower your lcd on your camera to be pretty close so what the final product will look like generally this is brighter than what the actual image will look like, which is exactly what's going on right now this looks blown out like crazy and it looks not too bad on the tv screen, so you have to get used to it. This is my old trusty mark two coming apart I got to get it fixed the cps service and everything else we have sixties and we have the fighting mark threes we even have seventy, seventy days we have all kinds of cameras in our business and every single one of them is different every single one even the same model, the sixties they're all different one home it's cold everyone looks like they're zombie in there they're dead and so and I just know because first I knew there was problems like what is going on here and I know in that camera I said my white balance to a certain kelvin automatic, kelvin and it's fine, I don't pay attention to the color, so you just have to get used to that. But I want more light. I'm going under expose mohr and that was it, plus one so my underexposed and it's still not even that dark because t t ells overtaking it because only had the one light. So now if I introduce a second light, this is where tt l kind of gets a little crazier. So now introduce the second light and now look at the difference. That's a lot brighter what's happening is with t t l in theory, with one light is I theoretically, as long as I'm in that six stop range, I can get so far out that it plus three the light's going to start fading off. But if I'm in that range, it should theoretically be the same amount of life here until I come all the way in, because as I get closer, that that calculation is going to get it's going to say it's more like coming back through through the pre flash so it's going to make this light get weaker and weaker and weaker and weaker and weaker? Does that make sense with one light, but with two lights it changes a little bit because now I have two lights. Not only one I'm having light come from both sides and it's completely different angles which is what showing appear this light I think it's set in manual mode or notes in t l so I could control it so it depends on what this light is set on if it's in the same group or if it's in a different group again I want him in the same group so I can actually they're both output in the same amount of power and then depending on how different it is so that's why I always say you get this light set up where you want it with one light then you introduce this one and if it's too bright which it is I would move it back or you can come over if it's emmanuelle you can actually physically adjust the power because what I did for years take this one off what I did for years is I did this nikon one about nikon years ago because that's what I originally my law enforcement agency was working with and so I bought an icon and then you get to use cannon I can't get that off so I'm gonna wear about it later so I had this nikon and so it's sitting back and I didn't know what to do with the great thing about nikon canada's not have it has what in the old guys and girls who used to call it a peanut slave it's a basically dummy slave it's basically an optical slave just like your strobes and so I used this all the time in manual mode with my cannon flashes and t t l but I physically come over and adjust the power up and down but it will go off with any flash any any flash whatsoever to go off that's great and controlled environment I know we talked a few and some of you guys do product somebody dio architecture this is awesome for that because I can put these lights all over the place and they're going to fire it is going to give you a little bit so light everywhere but if you're in a wedding reception this is really not good because any time mom or dad with a camera and flash it will set this one off a cz well and so that's why I don't like using it when I'm around other people in a sense it has cameras course it doesn't matter cause I found when I was a part time photographer I said in my crime scene and I had a great job and I love the guys up there and I literally ran the division I had a position not a job it's a difference and but I found that photography was just pulling me more and more and more to be full time and I found I spent all my time sitting online studying photography if creative live was around, then I would be sitting online watching creative life instead of working, and I had the best equipment out there, the latest and greatest of everything, and then I became full time and I realized I could use my money and other places. I didn't I don't have that extra money coming in from other job, and so I realized that I just really need what works and so to me today, that's why I still have a bunch of flashes we have new flashes, we have old flashes, I buy what we need if it's going to help me, what the other equipment doesn't do like it for example, the new new cameras are great in lower, so when we shoot weddings, I always take the new sixties and the five d mark threes or even the even the new I'm looking for the new seven d come out, but even the seventy is a great cause. I'd like to go in with a full frame, a one to one crop and then one to six because my lenses that completely different with them and I like that, but if it wasn't for the eyes, so I don't need that in my studio, I'm shooting one hundred, two hundred, so my old five d version one would still work because I can get a sixteen by twenty out of it crystal clear, and so when we shoot our volume business, I'm I'm shooting rebels, even because it's it works. And so I found when I was a part time, I had the best care in the world when I was full time, I don't have the best care in the world, but as long as it's effective and so that's why I still use these guys and so for me to be able to put this so I'll put it on this one over here in manual mode with a peanut slave, so now I'm not picking up anything. I'm not worried about a little sensor that gets picked up. All I need to do is have this in proximity to where it's going to see this flash and it will fire for me and I think it's a yes, sir, go ahead. How will combine in man off flush with the video will effect with the flash and you're good if you would've waited like five minutes would have been a perfect segway into what I was going to talk about, but that means you're thinking you understand it, and so the question was, is how can a non tl flash? And in a t t l flash how can they work? And does it mess things up and that's kind of what I was fixing to show. So as I fire this and I'm gonna lower the power and I think this is a really strong so let me go in lower because I was going to blow you out of the water with this power. But now that you brought that question up, I'll go ahead and actually answer correctly. So as I fire this, that one fire yeah. Won't you look at the image? Did this one fire? Okay, let me get that one to fire first. But I was too far forward that would fire them. Batteries must be dead. As I said. Channel one channel juan general on channel one. If you do, you could always do a test. E all right. But I want you to notice this one is not in the image. Very well. See how it's not write it all over there. Now, why would that happen? This wasn t t l this one's in manual not set too low. What happens with tio? What am I doing with tio pre flashes setting this one off, so this one will never show up in the image, same thing with stroke. It'll never show up in the image because that, while again to the human eye, it all looks like it's happening right away. We're talking the speed of light, all right is not advanced enough to pick that up. So what you have to do is with this type of setup, a shoot just manual with this now they've overcome that with some new flashes again, going back to this one, this one has a setting. It has basically tt l want teo to its s one or two on this flash, and basically one is straight peanuts lay like this will fire the other one will not pay attention to the pre flash and on lee fire on the main flash so that's, how you can overcome that, or if you're doing a lot of sight like this, just just wide open ranks. The other option again is using wireless triggering devices like radio poppers, so if I wanted to, which we'll get into a little bit later, so I want to use like these new junior twos. I can literally plug my flash into that, and it'll all trigger on the radio frequency, not on the actual ambient optical slave. So that's what I want to really show it and and I learned the hard way I didn't really think about it makes perfect sense when you think about it, but I had a big job and I was it was at night and we had an old truck I had jails all over the place and we had strobes and had speed lights and was great and maestros were not showing up and it took me forty five minutes to figure it out. That was the problem, and I kind of look like an idiot in front of the clients because it was forty five minutes and commercial jobs you don't take that long and so finally I took a deep breath I was really just fixing to give up, I took a deep breath and wait, wait a minute that pre flash I turn all my speed lights to manual and everything worked fine so and the neat thing about it is if when I do that, when you're doing the system, I can actually also have to do let's say that's the only option I have, I need another flat balls I have to do is turn my master flash in the manual mode and it will automatically turn my t t l wires flash emanuel when I fire the fire it so the next time I fire this and it didn't fire because the battery's going dead gotta love live but next time I fire now the back of this flash will actually be manual and then pop right back to teo so when these guys were in slave mode or remote mode don't pay attention to what this lcd says the only thing you need to pay attention to is on the same channel and that the power's on because when it's in what remote mode it literally your master or commander is commanding everything on this so you can bounce back and forth between manual and t t ell all day long the only brought back is when you're in manual you won't get high speed sync so if you want high speed sync you have to go teo does that make sense then ask your question a little bit okay so what I like to do is I try to stay away honestly I used proper lot but I try to stay away from true right wireless trigger devices when I can if I need only use the radio papa product and the reason why it's less stuff I need to worry about and again so I want you to really simplify your life if you possibly can I like the new ones that air out I don't like anything that that needs a a cord to plug in like the older ones I love the ones that you could just put on ah hot shoe and it works because again it's simplified cords break you lose cord you leave him at home you don't know where the heck they are in fact I left some in home for this trip and so anything that you could slide on so I don't care get ready pop or not but I highly suggest if you go wireless trigger device get one that has the hot shoot these days not one that you actually could just hang off you gotta put a according to now the neat thing about these guys is not only can control any ti tl flash so your old vivid tars and your old son paxton or fifty sixty bucks who've been around there even chief maybe in your in your closet all the way up to the new the nine hundreds that the nikon nine hundred and seven hundred having a different way that khun they quench the light ofthe old teo flashes I have what's called a virus was kind of like you're you rapture linds how it pinches light off and opens it up that's kind of what how they control tio it literally is a system and it literally tightens down and won't allow light in unless you want it and the more you want it opens it up with the new nikon seven hundred and nine hundred went toe a digital version of that and so many of the systems wouldn't work with that, because it was a new technology. This is one of the first ones that actually will come. We'll work with it. And so you little plug n e t t l flash on here and I can control troll of light from my transmitter. The neat thing about the transmitter is it has four different groups, and so and I can control in the power and three different ways I can control in a one third stops. Which I know that's how flashes aren't cameras. A lot of people were used that memory wise, I can control it and one tenth stops. Or I can control it in a percentage. So if I like the percentage aspect from zero with little allowed no light to one hundred percent are actually ninety nine percent of the fullest. It will go. It will be full power. And so I have four groups. I can literally plug one of these on in four groups, and I can sit back there. And I can control all my lights from these guys, which is nice. And it controls any paul buff product. So your alien bees, your white linings. And they even have the new einstein plug in, so if einstein so aiken work now this is only manual so there's no ti tl involved here but I little looking control all my lights from here which if I had my back in my crime scene days you should have been in a great deal all right so kind of getting off track but let's get back on track so I would set this light up in the rains that I want and you feel free to ask question guys if you have questions take the shot if I like just that flash and it's not going off let me see if I can switch flashes sorry guys if this light was going off I'm going to switch these out when this happens lots of times and these air older flashes switch your I found that the master mode because it might not be the slave mode it might be the master mode on this one can go out first sometimes so you switch him and switch one to master one to slave lots of times will work better so we'll see if that works now get a check to make sure I'm back to where I want to be all right okay it's great to learn though what you go through in terms of absolutely yeah you know I'm not I'm not upset embarrassed because it just happens yeah my set correctly sir don't look you could embarrass me now no slave channel you're good so and again you khun so now that could be I just thought about it that could be the delay that that gentleman talked about in the first segment. I don't know if that's a problem when you do a test, it is going to delay its not gonna delay when you do the firing, so that now sometimes if you have a pocket wizard or ready popper like the radio papa px system or the pocket was thirty five system that that system right, that little test won't work anymore because those systems especially the pocket was it overtakes the entire flash and actually teaches in its own way, so that won't work. But when you fire, it should work too far yeah, it definitely it now look at that image the temple what's wrong there let's have it what's wrong? Why did it do that way? Talked about it batteries that's why one of these weren't firing? To begin with, my batteries were were bad and I need to get some new ones on charge, which you don't have to put him in charge while we're shooting. But that's what's going to look like when you have that over exposure that's what's gonna look like when I said you have battery problems and it's not getting the full system coming back so it's sending a signal and so between this one or this one, one of them is a problem and it's not picking up the signal correctly and it's going to give me that that was that even exposure on my flash there's no possible way that it's that bright paired whatthe shots were before, so it was just completely messed up on the lower maya, so we're going to go back to even exposure. So what I would do let's just say I have new batteries that happens, I would actually go back to square one almost, I would go back to getting my proper exposure on my subject if I can again outside would be easier, so I'm gonna go back and I'm gonna shoot, and so now we have no flashes, but now we're properly exposed on him again. And then now I would actually go ahead and introduce my flash again again, go back to zero, start off even and then your brain can figure out where to go. The beauty of this system is when something goes wrong you on lee looking at two things, I'm looking at my exposure compensation here and my flash compensation here I don't have to worry about anything else both our visual that's one reason why I like nikon has the built in pop up flash that could be a master and that's really useful it's really it's really good sometimes specially if you're limited on flashes which you have to adjust everything from your menu and cannon even though while I have this external flesh on I can go on the menu system and adjust this flash for my menu system but the problem I have with both of those are it's not visual and if you're pat fast paced situation especially a wedding or children run around where you only have split seconds to capture an image if I have a problem I want all issues to be visual I want to be able to see the problem right away and I found this technique where I have this up here and this down here the exposure in the flash I boast conceded it makes it a lot easier for me to solve so now we got that solved I'm gonna go back to my flash and it's still too bright because I think my batteries are dead so I'm gonna go all the way down the negative three and if it doesn't change it's not changing it all what I want oh explain that too this is going to be another problem I don't know that one was going off but I want to make sure and so that's another problem you're gonna have when you have bad batteries all that tl is out the window it's not going to meet her properly at all so any time you see this change your batteries and it will solve just about everything, so we're good here. Take the shot too. That even fire? Yeah, now we're looking like a g q model again, so turn a little bit to the side. Never shoot us right on. Yeah, there you go. All right, so we would have that we would introduce another flash, but I wanted to I could introduce a strobe. You do multiple things. I'm going to actually put this flash in manual. I mean in t t l but I'm gonna put it in where it's going to pick up cannon again? This flash could pick up nikon or canon. So now I have this where I want it let's say and now we just introduce the other lights. It's a hairline if the feel like it's whatever I wanted to be and that's really bright but that's kind of way. Like now with that life placement. Sorry, I don't want it that close to his eye. If I'm stuck like this, I would actually tell him to move forward, move forward some and then I can adjust this light where I needed to be and now it will be more on his hair, but I don't have to change anything I should get the sacks, same reading and it shouldn't be so far on his on his face or his clothes, or you get him to turn his face, turn your chin just a little bit to this life and look at me not quite a year ago, so that's, basically how I would've just now you can get some flair like I just did, you kind of see some of the flair I do that a lot as well. Remember how I said I don't want it directly into the camera because it's going to shut it down? But if I just see just a little and I'll see a little bit more here where you can actually get some of the flair in the image, I do that all the time in fact, my last battle session, I can't show you because her husband hadn't seen it, but I did that all the time, but with that sad on the flare, let me see if I can actually get it. Two point eight your flair is going to be very soft, just like in that image in this one very soft, just a soft ball of light it's not gonna be very bright it's going to be really hard for me to show and here the stage lights, but to put it f twenty two, you're going to get the sun flare. So if you want that in your images, you don't want to shoot two point you want to shoot at sixteen are bigger number twenty two and you'll get it it is a product of the aperture linds the bands of your after so some lenses they're going to be better than others, so if you're outside and you say that's the sun that's like the sun and you want that you would shoot at the f eleven I mean they have sixteen of twenty two all way up, but some lenses will never get that it's the way that they're manufactured so you'll have to play with your lenses to see which one will do it and which ones won't so don't get too frustrated with this flash. I couldn't do it with this twenty four to seventy this is the version one with the sun I would never get that with this lens never my sixteen thirty five will do it and the twenty four seven virgin too well do it with this one won't do it so but that's what I love about this concept and of course it's inside so it's dark but if I literally went if I said everything correctly and I'm I'm in a v mode and the shot I want it's kind of hard to tell because theirs were in such tight quarters so everything's in focus let me actually you know I can't move back to much farther but if I move back come forward some and I'm gonna put this life behind you just for a depth of field and people like what is this guy doing he's an idiot I am an idiot though so this is the shot at two eight and you can see that the flash is a little blurry it's what I was talking about it's a little soft although I have to do is change this button here f nine or ten and so it dropped my shutter speed from one one thousandth of a second and now I'm down to one twenty fifth of a second and now everything's going to be in focus and look at the sunbeam so this is why I like tio this is why I like shooting a navy mode or a mode I literally can don't adjust anything but that one dial and I have completely range of what I want when I'm outside as I said before if I don't know if I wanted to point eight or if I wanted to f twenty two I would do both and I worry about which one I want and post when I'm looking in light room or photo shop and figured out and all you have to do is change that one simple button don't make sense you have see thank you may this alleyway so hang on just a second. All right? You got the power point. We kind of want to review some. I don't know, he's kind of. Jake. You we don't need to really leave that that's actually. Pretty nice. So if I had batteries it's not that big a deal, but what I want to show you is such a person up in the sun where you want that sun to fall on the person, and if it's inside, you would set that person up and you would actually just use your suppose your compensation, the camera settings and get the overall appearance that you want, not worried about what he or she looks like with the overall background. So if you're in it dancehall, they're going to the first dance. You know where it's going to be? I would actually get the position where I want to photograph, and I would actually have no flashes and I would keep shooting and get the ambient light where I want it, and I used to take away all the ambient light. I don't know if I'm in an ugly old hall. It was built in the nineteen forties and there's bubble gum and cuts and everything else all over the place, I would knock out all the light. And just have just a little bit where you can tell they're in the hall and then I would turn my flashes on in t t l and then just adjust my flash compensation if you have one, theoretically is that flash moves closer and closer? It's going to get weaker and weaker light on. So I put my lights usually into corners, and I'll be able to photograph and adjust the power from them. Aziz did in the creative live, actually, in april, we actually ended like a set on that and actually had what I like to do is have a one in one corner on channel to the one in this corner on channel one. So is the couple spins around? They're in this pot, my master, flash to channel two and get light from this side. And is there spinning around? I pop my master, flash channel one and get light from this side and then is there right in front of me. I turn my master flash off, and I would just get on camera lighting so I would get three lighting styles without ever having to move. Um, okay, so I just had this idea pop pop in my head, but, uh, going off of, like, being in like, an indoor hall and you throwing ah, let's say like a diffusion in front of it how would that affect the t tail on that then like if you're in a wedding hall and you wanted to be a little bit more softer it's going to spread it that's the big problem it's not gonna affect the tt on how it meters okay? Because it's long is it's picking up the signal it's not gonna affect it and that's the whole key now you're blocking the signal it could definitely affected but if the light is going through it and it's picking up the pattern and shouldn't affect it at all but if it's going through the panel so it's like a scrim we're shooting through it and it diffuses it you are gonna have a harder time for that flash to pick up that master signal it can cause those issues so what I try to do is if I'm gonna have a panel at least try to get behind the panel had the panel over in front of the flash over there where I still have a direct line of sight to my flash okay, does that make sense? Yes. Yeah, you mentioned different dipper flashes and speed lights but the stay there's such change and how this big high schools depend on the camera for instance sing speed with point and shoot that half hardship for instance they can they have a cartoon so they can sink faster knows that and they basically they don't have a mirror and if you don't have a mirror like that when the little old cannon g tangie nine and ten came out years ago you can get high speed sync with that and technically any anything speed you wanted any shutter speed you wanted you could get but with these digital slr is with with the mirrors you're going to be stuck with the flashing speed and therefore the high speed sync is on ly you're flashing speed and so for your sake adding that kind again has advantage here they're all in one to fifty of the second generally where cannon is the big ones or the five d the five team or two's the fighting mark threes they're all one two hundred of a second the sixty is one sixtieth of the second so even dropped lower and so because I have it says it's two hundred the paperwork I think but we always get a ship targetting the shadow it one two hundredth of a second so we've had to goto one sixteenth of a second but we're in the studio and when I do an action so it's not that big of an issue but it's definitely a studio only what does that make sense so if it has the mirror you're only and has that flashing speed you're not gonna be able to get high speed sync you're stuck in that same speed if you don't have it samir this camera which a lot of the sun is coming out a lot of were coming out with him again shed relief in the old days you can get anything you want so it just the way the technology is personally if you haven't looked at the loom ix cameras, I think they're amazing they're three quarter camera unfortunately, the man in me won't allow me to get it yet because when I goto I'll shoot it all the time for volume but when you go to a wedding part of being a professional is your appearance these cameras are amazing they're three quarters there seventy two hundred lenses only about this big and it's two point eight in the quality's amazing equal to arrival nikon cannon but you show up with that little bitty thing and then you know that the doctor besides you that's just the gases get the mark three or the x or you know one of the big cameras and it doesn't look the same and so but I love those the newer cameras that are mere lis that you can get more with that have the eye detection that can shoot in the four by six friend that could shoot four by five friends shoot one toe one frame straight at the camera all that to me a superior over the canon and icon traditional systems and they're a lot lighter. You could get more form, but you, you almost soldier, soldier one of the other, in a sense, because you have thousands of dollars on lindsay's thousands of dollars in camera gave a thousand dollars and flashes you can'tjust readily change over, and and they know that and they're good system is just some of the other stuff is really catching up and passing them if you got past that point. Yeah, we actually just related to that arm in the chat rooms on dh couple people had voted on this as well had asked about if you have any recommendations for the micro for third systems mix is the best bit the jittery, but in terms of the flashes to use with them almost in that point because you're not going to really do high speed sync, you're just needing a light go with inexpensive flashes because it's going it's going to be more effective, you don't need to unless you're really going to get into t on high speed sync, and I'm not sponsored by anybody but you, you can have an icon. You really don't need to buy those expensive flashes now because they're so reliable, and if you do, you can get the off brand that one hundred seventy dollars that does it and that's only again on ly a wireless, but with the new trigon systems like the radio papa g two's, I mean, the junior twos that control any ti tl flash if you don't want high speed think you don't really need to buy the big flashes, and and I know that's hard to say because I have a ton of the big flashes. I mean, I have like, thirteen, fourteen flashes in my business, but with these guys coming out unless I need the high speed think I go, I'm going manual because when we go to and I was kind of get off topic, but when I go to the beach or if I'm going to session, I'll have a couple of alien bees in the trunk and I'll come the flashes, and if I don't want high speed sync when I get there, I'm gonna go with the alien bees and all manual because it puts out more lighting it's, easier to use, but when I travel, I'm all t t l because I don't know what I'm going to get, and I want the most range with the most options at my fingertips, and the tt on high speed sync is what gives that to me got any more questions? Bill had asked, and I had seen this question as well come through about very variable nd filters can you use a variable andy filter for background improvement? Absolutely and that's that's where I think that's a great question t t ells and is your other option for neutral density filters, which is indy filters? Neutral density filters is basically fills you score on that basically removed light and it was the only option to shoot a wide open f stop before t t l was invented, so if I had my strobes and I only could do manual and I really want to shoot it at four with the light outside of so bright it's only given me half eleven, I can put on neutral density filters to remove light and it allowed me to shoot it at four, so I'm not getting any I'm not getting high speed sync my shutter speed still sits at one two hundred one to fifty of the second, but now I'm removing lied and I can shoot it at four and it's also, I think they're great and yes, you can do that with this system, but my problem with that is when I travel is one it's more stuff, I gotta carry it's more stuff that I could lose, and I don't like if you notice I don't carry any filters. There's no filter on this land's probably dirty, but there's no filters on this lands I do put when I'm really shooting in real life, I put the lens hood on that's my only protection because I don't like any I mean you by twelve hundred two thousand dollar lens and you put a seventy dollars filter on the front of it. Why you buying that? Spence of lynn's? It doesn't make a lot of sense. I have insurance and break it up, break it, so I'm kind of a stickler for I want the quality and so I try to stay away from neutral density when I can if I'm using my flashes, if I'm using my manual, my strobes, then I would go with the nutrients because it's the only option I have but again, if you put him on so much, it makes it hard to focus too great thank you so were building the image, talk about alien babies and talk about the manuals, the big he is, and what we talked about is you have you have to have a flash that nolan voids the pre flash if you're going to mix tl and manual together, that is a must you have to have another? We talked about it, that's, what I like about this little guy again, we used but they have some other ones out there if you don't want to do any radio trigger devices to me again I keep talking about this but I think this is one of the best little flashes for the most versatility out there so you have basically turned off you have it in t t l mode is a regular flash on your camera you have teal slave for cannon you have tl slave for nikon and then I have just a pure manual slave flash that's going to pick up the pre flash all manual I would use that or have manual that's not that's goingto ignore the pre flash and so I could mix tt yale and manual together with this guy to me this is one of the most versatile flashes that are made and again it's like a hundred seventy bucks and I make no money from them so you can take it or lose it leave it but to me this is if you're going to mix in teo manual would just speed like this is the flash for you in my opinion and so you can use any your other tt l so if I do that it's very similar way I had it set up I would have teal out front all my subject I don't wanna have to worry about the proper light on my subject I need to make sure that's good so I'm going to tl to do that and fine tune the adjustments and then I'll manually have to go over and just the power to this and I'll use that as my hair like because if I'm awful my hair light a little bit you're going to be okay it's not gonna be that important to an image I'm talking fast pace situation some of people out there that are sticklers air going probably kill me for it for saying that but that's just the way it is so I like this flash is my hairline and now as my main light does that make sense yeah I like it on lee it's this road so you need to ask a question to sometime because you're you're in this row because this is the on ly row that's asking questions fine great difference between the by color balance with flashes like temperature ways that's a great question and yeah I do sometimes there these are not bad this is actually you can tell it's really design almost like a cannon flash and so it really has a pretty simple similar color balance to my cannon flashes that I found the key is you have to let him recharge like he said earlier this one doesn't have a battery pack so I can't shoot super fast with it because there's this shoot super fast it's going it's going to go warm because it's not gonna fully charges capacitors and it's getting warmer that's the keely steal the alien be product to the strobes because you can choose fast as you want, but they're not going fully charged so they get really off white balance so you'll have perfect white bowne someone image and their horrible why balance on another in the film days? It was a nightmare that was it was over, you couldn't do it digital world you can actually kind of fix it in post pretty easy but on the white balance subject and I haven't mentioned it that's why I don't use an automatic white balance I'm always on some sort of white balance if I'm using off camera lining I usually in a flash white balance if you want to do one of the auto ones or I'm in a calvin and of hundred into calvin said and I'm usually between fifty, two hundred and fifty eight hundred calvin because if I'm all I want to be off across the board on all my images and I can fix a really easy and post with just one click of the button but if I'm on auto and I got white balance is all over the place it's going to take hours to fix those images because I have to go to each and everyone and what I would do like if I'm awful little I want to be off on the cold side and not the warm side especially where I live we have a high hispanic population going to houston there's a high asian population both cultures have a little more yellow in their skin tone and if you're off on the warm side you can't bring it back and it really makes it a big issue, but if you're off on the cold side, you can easily warm it up and it makes a big and it's a lot easier to solve. If I'm off on the warm side either tell them they have john distort hepatitis because that's what it looks like or their new beluga and or I just turn into black and white because that's about the only thing I can do so I found by the fifty two to fifty eight hundred is about my wife is my happy white balance place so when I'm building an image kind of repeat myself but I want to stress this a lot there's two things you need to look for you will get better at this and I keep screwing this up you will get better the goal for this goal I know this is only a three hour master class, but the goal for you guys here in the guise listening is I want you to start off if you've never done this as I said, you turned your flashes off and you just get the exposure conversation use your kid. Use your dog is a you know, a manic in whatever you want. Place him in the sun and I suggest that first, starting a couple hours before sunlight when we do our workshops right off the bat everybody wants to go out at noon full sign and like, just get the gusto and then they don't get it and they get frustrated they get upset. So start off easy first and then work your way into the heart of lighting would start off. Line them up where you wantto get the exposure compensation first. Once you get your exposure compensation first, do not touch your camera again. You never touch your camera settings again. You only worry about your flash compensation. Start off zero on your flash compensation. Use one light only one light only exposed for your subject. Then you can actually move that light around as we kind of showed earlier. If I want a flat light or our want morva ratio like if this is my subject by one racial lot of stronger ratio, I put the light over here. Wanna flatter light? You put the light here very simple. So you'd move it back and forth you get that light happy, then you don't touch this light ever again. Then you would introduce the second light and you would move this toe where you want if it needs to be a feel like depending on the main the key like if this is the sun and the sun is beautiful then I won't need this one I could move it over and just have a feel like for this and then move my second one is the hairline if the son is the hair like this will be my key and then this one would be my field on the ratio that I want but the key to this whole demonstration is you do it step by step by step your exposure compensation first which is your background you get that to where you want it the more you under exposure exposure compensation the more you're going to have to over expose your flash compensation so if your exposure compensation sunrise sunset is just slightly under exposed your flash maybe even maybe plus one third yes a little lower but if I'm in full sun two o'clock in the afternoon there's not a cloud in the sky nightmare situation I might be two or three stops under exposing my exposure compensation and so I'm gonna have to be plus two plus three of my flash compensation so the more extreme lighting conditions the mork stream, those settings are going to be apart and the more contact comma lighting conditions they're going to be closer together there's no magical peel but I can tell you and what to just go in and set it to but that's the closest that I can do on the extreme settings there more extremely apart on that you get your exposure you don't touch your camera again you get the first light you don't touch this again and then you balance all the other lights leaving this one alone if you start moving things you're not going to know what the heck is wrong because there's too many variables and you move too many options out of the way so you don't know what you have to move back to get the image that you wanted the light on the image that you need and so I always start with the exposure compensation first if I started with my flash first and got my flash perfect and then I want to lower the background when I lower the background I'm taking out ambient light and while this is autumn this is artificial light it's still part of the ambient world so I'm taking the light out of this as well so you have to get your background first then you do your flashes and that's been another big big problem people remember you meter on your subject not the sky so meter for your subject under exposed from there the more you under exposed the more flash it's gonna look even when I do natural light shots I like to put a flash in there, so maybe I'm even exposure. Maybe I'm a one third over, which is very rare because I said almost underexposed or maybe I'm half a stop under, so when I take the photograph, the background might be blown out like natural light, but I'll barely put a little artificial light in their eyes to make it look just like almost a reflector. We're just a little kiss eyes where opens up their eyes a little bit takes the shadows out from underneath their eyes. If they have colored eyes, even they don't have color. As my wife is full korean, she is dark, dark eyes, but if you look in her eyes, you could still see a color separation between our pupils and the actual eyeball. I want to be able to see that color separation in these images if I don't I fails an artist, I fails a portrait artist. So my goal is to always see that color separate in their eyes. The other beauty thing is, when you're outside, they're people, they're going to be smaller, it's the same things we have a modern lamp inside same thing is these your people get smaller, so you have a better chance of seeing the sea in the light. So but make sure they're not squinting so you put this here your photograph and on natural light I would just put just a little bit of light in their eyes open up we do that all the time I can't we try coast u's are official flash so much that we have to go back and check bounce each other because my wife will come through and you have amazing senior session grad session senior grads not seniors and and she she's so excited and I'll look at the images and I go boy, you you really miss the natural light there look at that beautiful natural life and she'll get really frustrated and really matter herself because she knows you missed it because our brain just thinks this way so that's the other thing that I really want to concentrate on that this is a technical issue and it's like when you first learned photography you'll go out and you're like okay, wait a minute I got this shutter speed down but this f stop things goofy the bigger the number, the less light, the large little or number the more light wood that's backwards and then finally that clicks all that's awesome so you go out and you understand how I esso n f stop and shutter speed relate and you start taking photos and you think your professional and you get him back and then you realize you got tree limbs coming out everybody's back of their heads because you haven't put the composition together yet because there's too many squirrels run around in your head and they hadn't slowed down yet and that's the way this is too there's a lot of little things that you're gonna have to remember and so don't get frustrated when it doesn't happen keep working at it because if you just remember those steps complicit expose your compensation first get the composition down main key liked give that down don't touch it and then adjust the other ones you will get this and it'll get faster and faster and faster and pretty soon your little e set up everything together have the lights on, you'll take one shot which is almost like a light meter shot you look at the back of your city and you'll make a few just had to take the next shot you have and you go to the next location it gets that fast you almost kind of answered it there with your last I was thinking about that when I'm outside shooting natural light other than being in a wedding or something I don't have to think a lot I just directly connect with my client so until and while I'm still fumbling over all of this new stuff to me until I d'oh have it firsthand and I understand it quickly do you suggest you bring someone else out and test like I think you should always do that. Even that I think is an artist. Here's the thing I love love photography. I love love love our seniors and our client. I mean, I love it is what susie and I we're meant to do. So this is my wife. I didn't put that into the factor when I became a business owner. I put it in black and white. I need this much money on this facility to be in the black each one, not the red. That was all I thought about it, but the more we got into, especially falling photography, that's why we got involved because that's the most money per click in the business of photography, and I got into it for a pure money thing. But we started photographing these kids when they're this little playing t ball playing youth football, and they get bigger and we felt about each year, and we end up taking a vested interest in these kids, and we get to know their parents and they come in, and when they six, they succeed in life, it feels like we succeed in life because we've been a part of their family for so long, that's the part I didn't put into this equation, but with that it's still a job and there's days that I don't want to do it in those days that I got to get up and go do it because it's a paid job, even if I'm alone, business you know, I thought owning my own business, I could do everything, but I didn't realize I work more now than I ever did before when I did no more business. So I highly suggest to anybody in this business toe always bring in france always bring in that's what we do, those are products that first image I showed you of the girl in the orchestra and then the really crazy art project that is why we started our projects because we wanted to little e we have makeup hair artist he's also, and we basically we would come up with suzy would say, all right, I want to shoot an ice queen before frozen before frozen came out, I want to shoot an ice queen, and so he got all cool so we'd find a model which is usually a high school senior or junior, and we bring her in and they go behind closed doors and our makeup room, and cody would just have a field day and do whatever the heck he wanted to. And then when she would come out and we go all out and then we would shoot her anyway we want so we didn't know exactly how each of us was gonna work but it keeps you creative it keeps you practising it keeps your brain going because I'm a strong believer if you get satisfied your brain dies and the person that's next to your the person the photographer in the next town is not gonna be satisfied and they're going to pass you up so I how this is just doing that but I also suggest always when you're learning this, don't it scares the heck out of me when I teach a class and then I get an email saying the classes on friday and I g e mail friday night they're saying I have a session, I have a wedding saturday I'm going to use your new technique I'm like no, no no no no don't don't don't do it right away I mean I love the enthusiasm but you gotta make your money and so get the shots do you normally do earn the money and then start incorporating this? And if you get one shot out of twenty that works it's a bonus shot and that one shot out of twenty will soon to be five out of twenty than ten out of twenty pretty soon you'll get almost all of them there's any um anything to get a connection out of a client is this more nerve racking knowing a reflector or how do you ease them into getting a connect? This is a lot easier and that's the whole concept of how we do this is based on the experience because I'm a strong believer we try to give the best quality ofwork we possibly can to r tar clients but I'm a strong believer the experience that you said your client's is still greater than any portrait you will ever give them if you're an average photographer and you give him a great experience they're going to love you too the day they die you're the best for talking in the world and they hate every moment of it they will talk trash about you and your work is horrible so that's why I don't like to think about all the numbers that's why I don't care what my shutter speed is and only care about how many stops under I am and once it said it said I don't have to keep changing and that way I like it when I get this up that's my client and it's not quite this light's not quite the light right light I'm talking and I just kind of come up and do this as I'm communicating and I shoot I don't have to come over here and take my eyes off my subject and and fumble with my equipment I'm always communicating, and so this concept is definitely for is all about how the palace l've experience better and for the solo shooter because you can easily incorporate one light with natural light easily and just instead of over exposed that one stop, start under exposing a little and you'll be fine, maybe going back to again. We talked about it in the first segment, but the difference between the strobe what it is when you use it and these guys absolutely stroll, obviously makes your life easier because it's more powerful, this is an ailing be eight hundred equals about five of these guys, all right, or even mohr so it's a lot more powerful spreads a lot a lot more you don't have to be is accurate remember the placement of the light I had I don't have to be is accurate with it, I can put a soft box what we normally do because we're going to india. I usually use a beauty dish on this because I found a beauty dish actually with the cover, the sock over it, it doesn't catch the wind as much, and it stays up a lot easier if I have an umbrella or soft box outside, they're going to fall over really quick, so if I'm in a really windy situation, I'll actually shoot bare bulb like this and just pull it far away and spread the light out or I'll have to go with these little guys because that's the other thing that's great about these you can have twenty thirty mile an hour winds and this thing will not blow over because there's nothing to catch the wind and blow it over if you have a little sandbagged, you can throw on and it definitely won't go anywhere. So if it's really, really windy out for these or wife likes this and their little vagabond mini pack because she's got means the pack mule to carry that I don't have means the pack mule to carry it or eighteen year old employees zack zack is awesome so she likes using this is the main and then we have a couple of these that we use is feeling hairline or two to hear lies to really that's how she shoots a lot for me, I and by myself. So I actually go this option because it's a lot easier for me to just to carry two or three these and run them around. The big difference is very similar to what we had with this guy is you cannot use any tt l with this or it's going toe fire too prematurely it's going to go off so you have to use a radio transmission device if you want to mix in t tl emmanuel was strobes which we do I do often, but I used I used the radio popper juniors or the junior twos now and I'll plug that in in the back here and then I'll literally have these up front is my t t l and again the junior two's what's nato bottom and the juniors is we talked a little bit about before but this is a little phone jack and it comes with it when you buy and you plug it into the back of the alien be the white lightning right here and when you do that all this becomes null and void it doesn't matter I control everything from this the little guy right here on my camera and so I can control the power of that and I can control the power of these clashes all by changing to me that is really, really powerful when I could mix is there's a lot of trigger devices that can control just strobes like inside my studio and there's a lot of trigger devices that can control maybe my speed lights but there's hardly any if not any control not only the alien be not only the white lightning not only your photogenic snot only your einstein's but I can control all those right here and so it's really, really powerful and allows a lot of versatility but is a little more technical so that's why in this class I say uses I talked about him, but I didn't want to push them because if you're just learning this, this is another step you don't need to worry about right now, I want you to know that it's out there, but my main goal is for you to learn this firm first and then take the next step and just know it's there and you can you can get to it and again sign up for my newsletter because we talk about it all time it's free, I don't spam you or call me or hit me up on the facebook or twitter, whatever and I I can help. So tell us again where you people can sign up for your news better if you just go to our site trepkos photo dot com it's offer there if you go to four photographers there's a link if you don't know you, khun hit me up on twitter, which is just try coast e r I c o s t or facebook page, which is facebook dot com slash trackers photo as I said earlier, I don't get excited look at people's photography, it's boring to me and I know that sounds really weird, but I've seen it so much what gets me inspired, what gets me going what's makes me excited to capture another image is doing exactly what I'm doing. If you got one little nugget of information and it's going to help you make a better photographer, I helped cleared up a little bit of t l that you didn't understand before. That's, that's. What makes me excited and my wife, she gets it, cause she teaches some, but she doesn't it's, not, like, built into or like me, but it all comes from when I was in law enforcement, police officers couldn't take photos to save their lives, and I started teaching basic crime scene photography, never thinking they would leave me here. So it's it's kind of funny how the world, what happens is such a small, insignificant part of your life is everything. So might try and be all philosophy and everything, but just really, really, really dig into this. Learn it. If I can help you any way, I gladly will.

Class Description

There is a science to shooting with speedlights and in Speedlites, Mike Fulton will teach you it.

If you want to shoot with speedlights you have to learn the system first. In this class Mike will dive into the concepts behind flash and trigger devices show why these tools work and where they fail. You’ll learn TTL metering and watch Mike work through challenging shots using speedlights and strobes.

If you want to get speedlights right, you won’t want to miss this opportunity to watch theory put into practice.



If you think you're getting a Zach Arias type "beginner Strobist" type of video course here, you're wrong. Mike Fulton's entire lighting technique in this course is based off of TTL metering and using one of the auto functions on the camera. I can't help but think that many of the major Speedlight gurus out there (or the Strobist community) would scoff at the techniques taught here. someone who has been a part of that community, read the website, done the challenges, purchased the OneLight series, the books, the cards...I kind of wonder why I didn't ever just go ahead and go the "easy" way with my Canon's ETTL mode. Mike's technique is simple and incredibly useful. He teaches you a step-by-step technique that is nothing short of common sense once you learn it, and this technique can be applied through to fully manual shooting if you're so inclined (fully manual mode on your camera meets fully manual mode on your flashes). You start here, then you go here, then you do this. BOOM. I wish this course would've had one additional example shoot built into it, outside. While I felt that the indoors mini shoot explained where he was going, it didn't appropriately display everything that Mike had been talking about throughout the course.


if you want to learn to use flash and need a course that gets right to exactly what you need to know, look no further! Mike is an excellent teacher and explains every detail!

Rachelle R. Vetter

This was a great class on using speedlites in TTL.