Working with Flash

Lesson 9 of 13

Multipoint Lighting with Flash

 

Working with Flash

Lesson 9 of 13

Multipoint Lighting with Flash

 

Lesson Info

Multipoint Lighting with Flash

Let's do this little demonstration now so what we're gonna do is let's take these out for just a second and can I get that tall four by six in let's go on his left side and we'll have dom do is I'm gonna have to let me have the x bar teo get a little pump on have you guys ever heard this like guys go I'm gonna go to the gym get swole yes well I feel like I say it were too ok so when you're actually oh you've heard that you get swell all the time don't you know oh there phil oh yeah let's put it on the side yeah yeah we'll use the smaller ones on that side just to demonstrate um so with finnish youth there's several things that we do too actually kind of make the models look even more ripped one of them is they get a pre pump when you guys exercise and work out and if you noticed but your muscles actually get bigger they get swollen so that's why people say I'm gets well they're not liking it you are you having a good time? Okay, so he's going to do some so generally the pre pumps going...

last like thirty minutes we're gonna have like, working out do all those things once they're done with that we actually do certain things like well, we'll give him alcohol, alcohol vascular dilator what everything so it actually dilates the vessels and blood vessel makes you look very veiny and so we'll give malka will do several different things to make them look and they also like fast and they do all these things with hydration and everything we don't want to do all that stuff it's it's grueling so we're just going to a pre pump so just keep doing that till your hearts your live brother thirty there there won't make these the best curls of a life just like I'm just kidding okay s so what we'll do is let's go ahead and start with that one light and let's just let's do it the way that we would actually do it gonna put my grid back on you guys want to check out the mag wand later? I can show that you two at the really cool little device and what I'm gonna do is have you stepped forward on that what I'm doing guys if you'll notice the angle, think of this as a mirror that you this way to get to get your light to go where you want to think of your reflectors a mirror and if you imagine that the mirror could you see the person on the other side of it okay requires little imagination, but it works I'm gonna push the light right to our mirror, okay, we're gonna go let's go up to half power just to see just to see all right, I think I missed my reflector so pull it back a little bit okay? And I want you to go you do a half pump and then hold and then look down into the right side there cool okay, we have no school in the background I'm gonna go up to maybe I so two hundred you see that shot first? All right, we've got the light about in the right place okay, now let's finish the set up so let's go ahead and bring in a silver actually do a white first let's do a white and then we'll add a silver kick so let's go for so now let's just say I want to get a little more light on this side right? I'm just gonna place another reflector on the other side let's just finish the setup actually we don't need to demonstrate every single frame so what we'll do is let's go with that silver you have you have a gold? A white okay, we'll put the white up and let's just put this up john like right here okay and then the silver so get this depending on what you guys bounce off first so you saw that siri's of fitness shots that we did in that gym right? The first set we actually bounced off silver first and then sent that light to the different sources the second set actually bounce off of white first the reason was this light was so powerful that it was too bright on this side of him so I switched this to a white so kat less light switch those two a silver so that was pumping more light back into him okay does that make sense so that way that you're bouncing like if we understand light and the way that it works we could kind of go okay, I want more land this side let's line this side I want mohr effect on this and get her look so let's just do this let's have you can you hold this up right here done. Daniel would have a stand for this um and let's just do it. Those two will reflected right there. Okay, I'm good looking down to the right there you go right there. Okay, now take a look, john you can relax now. Okay? Let's see now the highlight edge on the right side of him. So what I'm gonna do now is don we were going to spray you down and let's still scream them that's fun just to show it and we're gonna do is actually can we replace this with a white eso let's just use the white b flat I'm gonna move this to the other side there phil and where is going to keep it a simple two point bounce all right dude this is gonna suck you need thio coming in something to cover his shoes just so we don't this is a glittering water mixture blistering is like just sugar it's harmless but it'll ruin clothes and that kind of stuff so we generally don't want to get it on clothes and we can tell I'm so sorry I totally forgot to look let's go around his weight student so we don't get so um we put glitter in it because it makes the water evaporate slower so make sense so doesn't has a nice machine looks cool perfect did close your eyes no does this go spray mode help like giving him a shower okay close the eyes yeah okay now bring your you can take the towels off and then bring the x bar up okay I'm gonna find my light where it's bouncing from and then I was going to open this up a little bit john there you go so what they're like doing it's opening up against this and then hitting that to come back right what down chin up a little bit right there perfect one more perfect rather give me a hand where's the still loading yeah oh man dom come back in one second no all right right there for bringing him back to me just a little bit right there that work and then what we can do is if you guys ever want to get a light more dramatic or less dramatic you push it further back, you know? I mean so like we can make that light okay, so you can see it all here. So it's a soft kind of rembrandt we have a silver kicking back light you can see like, the reflections off of his body and if we want it to be more dramatic we just push this read this the flat behind him and generally I'm always gonna have so if he's doing that right here I'm always going to be doing something where he's kind of crossed over and like the face is kind of coming back towards that light that's coming from the other side so more dramatic pull it back for less drama so I want to go back to the slides going up a slide down you're good now, okay, so look at where the light's coming from in here can you see it it's behind them, right? It's actually behind. So if if this were don would actually be right here and we'd be throwing the light right behind him and I'd be coming back ok, this is a little bit more close to the front this is fully behind him and he's now looking away it's a broad lit kind of shot so actually that one's this one looks like it's more like directly to the left side of him like he's right here ok, so the easiest way to make those adjustments is by pose because you can literally just haven't take a step back or take a step forward and just make micro adjustments the silver fill so what we did was on this when we did a white to a silver on the on the one where we had that kick going to show that this one so we did silver toe white and then I added a silver like if you imagine this right where his abs were I just put this against the white and so what that did was where his abs were kicked more like no that one little spot that's it easy easy peasy okay real quick case study we're getting back on time here we didn't we didn't get all right don't get so that same couple that we had in downtown the one I did the sinister headshot couple we're here in front of bridge and what I want to do is I want to do a shutter drag where we get the car streaking by right? I didn't again we were filming this for lighting one one so the point is let's show what we would do if we didn't have off camera lights and we didn't have those things but it looks like off camera light right? Same thing this is our white that's being held off to the right side of camera. We're throwing light into it all we did for the shots. So incredibly simple. Here's the first shot, right? We're on a twenty for one point for l you can use whatever whiting lindsay want one tenth of a second f four hundred. I'm bouncing it around one fourth one power this shot is to get a good exposure on the background and a good exposure of the couple in one single frame. Okay, we throw that light to the right. It comes back, we get a good exposure. Makes sense. Yes, he's a external actuator like a button. Um, I kind of like I love doing things short and sweet and quick. I have a shutter release actually brought it with me, but most of time I'll do it. I mean, I was gonna use my finger, so I generally don't use it that much for this is it, but I do have it on a tripod. The key to the shot is having your camera on a tripod and I'm gonna show you why in just a second. So the first frame it's on a tripod one tenth of a second so we get a sharp image. What we do here is I'm just adjusting my exposure and granted it's kind of to my eye right? So what I did was I slowed it down to two seconds I went to f or a nicer one hundred and I go are those exposures close enough? If they're close enough, I'm good you don't have to get it right because we can make a small adjustment in light room when we need to we get a shot with the cars going by and this side and a shot going with cars going by on that side could we do this all in one single frame? Yes, absolutely it wouldn't be that difficult. The hard part about it is when it's nighttime there's no cars you might be waiting for thirty minutes for two cars to go buy the same time you know t able to get the shot so we do what we call a simple composite where we just we can do this in less than five minutes a car goes on the left side got it cars going by right side got it we're good let's go so we get shot number one we slow down the shutter this car streaks by we get shot number two car goes by the other way I think it's a bust on the other side camera on a tripod the entire time so it's not moving that's the key here okay? And what we do is so incredibly simple. You have three frames, they're the exact same frame. All we do is in later, and we'll do a basic adjustment to get the exposure and colors accurate across dropping in a photo shop as three layers. Mask, mask, mask it's literally a three minute process. We call it a simple composite because it's when it's shot right, it takes two, three minutes and you just basically mask out. I'm asked in the street on this side, I'm askin the street on this side and I have what we call the plate shot with a couple in it. So that first shot is called the plate using just a basic bounce. So this is just our on camera flash bounce to the right and I'm generally we are goingto light into the girl's side. Okay. That's ah that's. A rule of thumb that we always use light into her side because generally girls look better with more light and guys look dramatic with less light so we leave the shadow side on the guy's face. We light into her face cool because this shadow looks great on him and makes him look cool in masculine dramatic. But you put that shadow on the girls side and they're probably not gonna like you for it.

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.