Working with Flash

Lesson 5 of 13

Direct Flash Done Right

 

Working with Flash

Lesson 5 of 13

Direct Flash Done Right

 

Lesson Info

Direct Flash Done Right

Direct flash done right let's do this let's do it right now let me have allie come in for a second so I want to show you all like direct flash can actually really cool I keep wanting to set this thing down I hate putting things in my pockets it's like one of my cds okay? My money okay, so and oh, push against the wall this is a look that you'll see in a lot of places it's a direct flash look and direct flash can actually be really cool it creates a very stylistic like editorial look, american apparel uses tons of stuff you'll see a lot of things going into like hollywood and like whenever they shoot celebrities they do it with this like if they wanted to have that punk rock look like they should with direct flash because it gives that look we wanted have a seventies kind of look you do direct flash it gives it that look so direct flash done right is really simple the first thing is and we can uh why don't we bring up the camera? Actually, no, I'll just take a couple shots then we'll br...

ing it up in a second I think I stepped away for so I want to do is just adjust my exposure settings so I don't see really any ambient light okay? So I was raising my shutter speed to control my ambien so you guys can see this at around one, two hundred second to a one hundred the amulet is for the most part gone it's blacked out okay, now we're just going to do a direct flash by the way, if there were any situation to do's e t t l this would be it subject's standing there against the wall you can do it then but granted I still like to do it, man look, I know the flash cars going to consistent every single time, okay? I'm gonna do a quick test shot we're just going to go out like let's say one eight power just to give it a little test fire a shot ok, cool so well I got here is yes saw how I twisted my camera to the side like that. This is where direct flash goes wrong is it actually creates a shadow off to the right side of her you see that? And so it doesn't look quite natural. So there's a simple way around that this is a twenty dollar bracket it's called avello brackett ok, you attach this the e l l o uh let me take the flash on first. By the way, I'm most likely I'm going to drop my camera at some point in this talk so just be aware it's okay happens to me all the time, okay? Now all I'm gonna do the attached the flash up here, but because we're going to remove the flash from the hash you, we need to have a way of connecting it, right? So there is this guy. This is another little cable. I think it's like thirty, forty bucks. This is the fellow cable too attached to your camera. By the way, I'm so pleased myself that I got the right exposure on the first try gonna pat myself on the bag has ever do that. You're like you're shooting your like, so good. Actually, I do all that. You gotta come yourself up, you know, like, when you're shooting, kobe doesn't perfect, okay, you know, wrap this wherever you want and then we're going to stick the hot shoe right here onto this guy. So now my flash can still talk to my camera. Okay, what this allows me to do now is I can twist my camera to this portrait and then the flash days in the same place. So now let's do something. Punk alley. There it is. I love how good she is, she's amazing. Okay, I'm gonna dial it down a one eighth power guys just cause I was a little bit heavy and then do that again here, perfect, there it is okay, so that person was a little bit too much power right? Second one just right and now the flash shadow is coming behind her and now it looks more natural it could be like yeah now lean up against the wall like put the elbow like above the head and like do it yeah that's cool and like give a kick to the hip like swing the hit to one side there is perfect and now to do whatever you want teo perfect okay and we can get this like really cool kind of a look right? You see celebrities all the time with that look that's how it's created it's just a simple this is direct flash what we say direct last done right no modifiers no nothing let's go back to the slide real quick and I'll show you all I say real quick like my dad says I say real quickly okay, so this is ambient light only in this shot this is bouncing it so we're getting amore like bounced soft light this is direct flash off the side this is that shot that we just did right now. Now if you just look at these and I didn't tell you that their direct flash which one would you say is more interesting and fitting of the subject matter these ones right but it's direct flash this is what I'm trying to say is that every kind of light can look perfect alley, you're amazing, thank you so much. So we had a dress that way because this kind of a look is either like seventies editorial type stuff it's, punk fashion, it's, edgy, that's, the kind of life that it creates. So that's, the way that we have the person dressed to make it look like our lighting is matching our subject matter basically, is that kind of cool. You guys think that direct flash could ever look good? Not really right? We do a dance for all the shots that gets on the dance floor. Those they're all direct flash, too funny thing is that we photographers tend tio, we really harp on these things of like, um, you know the quality of light, you'll notice that your clients careless it's like, does the image look cool? Does their expression look good? Do they like it or they look, do they look flattering it beyond that, they don't really care so here's those three different shots of yoko punk fashion?

Class Description

Learn how to achieve professional results during real world shoots, working in less-than-ideal scenes, and with absolutely no time in Working with Flash with Pye Jirsa


Pye has lots of experience shooting in high pressure situations with minimal gear. In this class, he’ll teach on-camera flash bounce techniques that you can use to create 1, 2, and even 3 light setups using simple and inexpensive light modifiers. Pye will also help you add motion to your images and he’ll dive into the basics of off-camera flash so you can take advantage of the additional flexibility and creative options it affords. 

Best of all, you are going to learn lighting from the bottom up. You will see just how powerful the gear you already own can be, while learning about inexpensive stepping stones into the world of off-camera flash.

Reviews

BALPhoenixPhotography
 

Not only is this a great class, but Pye is entertaining to watch. I'm a natural light photographer and I wanted to learn more about what a flash could do for me and my business. After watching this class I have not only learned more about flash photography but also learned that it can help boost my photos and create more beautiful photos even for my family clients. Great class I highly recommend it for anyone wanting to learn more about flash photography.

samphotopro
 

Great course, Considering that I am a professional photographer that is always searching for new ways to work and make my workflow more efficient and my work more creative, I find this class to be very helpful and interesting. I already own 3 pocket flashes and I realize that I don't exploit them as I could. It also made me realize that I was more in the «the more gear you buy» mode and not enough in the «exploit your gear and be creative» mode. So for the price, I think it is worth it !

Ali Plantz
 

"Working with Flash" was a great introduction for learning the basics of using a pocket flash, as well as providing opportunities to explore more advanced concepts related to light and its manipulation. I would definitely recommend this class for anyone who is wanting to familiarize themselves with the how flash can transform your photos and how its control can provide a creative avenue with artistic results.