Lighting 101 Speed Review | Transcription

Welcome to the Lighting 101 Speed Review. This is the last time I’m going to be mentioning Lighting 101 in depth. In Lighting 101 we covered the foundation of lighting. It wasn’t just about hot shoot flash, it was about manipulating light, about how to create soft versus hard light, about how to diffuse or use specular light, and how to do these things to create certain stylistic effects. It was about tons of different things and the overall just foundations of light shaping.

Before continuing with this course, I want to make sure that you all have a basic understanding of these topics and if you don’t, guess what we can’t cover them here because otherwise because first of all, we already cover them, why would we want to repeat the material anyway. We can’t cover them here because if we did, this course will be like another eight hours in length and it will be Lighting 101. I’m going to say this those of you that have watched Lighting 101, just make sure you have a basic understanding of these topics otherwise if there is anything here that we referenced that you don’t really know, if there is anything that sounds unfamiliar go back and re-watch that piece on Lighting 101.

For those of you that are smarty pants that think I don’t need Lighting 101, well, first of all, shame on you because Lighting 101 was fantastic, we taught how to do amazing things with just a Hot Shoot Flash, which, believe me, will come in handy in your career as a photographer. Regardless, for those of you that haven’t watched Lighting 101 then just be sure that you are intimately familiar with all these topics here because otherwise we are going to be going at a speed and a pace that is going to be really difficult to follow.

Now, we are not going to say that we are not going to be talking through each of the scenes and talking about all the techniques here but we’re not going through and talking deeply on things like color temperatures and corrective temperatures versus stylistic temperatures and that kind of stuff.

Without further a due, let’s go ahead and look at some of the key components of Lighting 101 and what you should know. Number one, I haven’t actually thrown that slide in there, they can throw that slide up on the screen is ambient light versus… well basically ambient light balancing. It’s creating a natural versus a dramatic image.

Next, we have the five common key light patterns. Understanding the key light balance for flat, butterfly, loop, Rembrandt, split lighting and what each… I like counted to five but I only got four left in my hand, that was kind of weird. Each of these are meant for specific stylistic reasons and each of them have a certain effect over your subject. Be sure that you understand that.

Clicking next, we have our five common secondary light patterns. This is basically where the secondary light is going to fall and what type of effect it’s going to have over the image. Whether it’s going to give you feel like, a kicker, rim, edge, a hair, a backlight or a background light. Now that we are taking the flash off the camera this is going to play a bigger part of lighting 201, 301, and so forth because we have more control over these things.

Next we have… well basically the subject positions in relation to that key light. Are you shooting short lit or broad lit images or is it flat lit on the subject. Every one of these again has a specific purpose. Again, we are not going to go through all the details because it would make it very long. We don’t want this video to be five hours long.

Light qualities. Understanding that you have soft versus hard light and neither one of these things is right or wrong. You have diffuse versus spectacular light again neither one is right or wrong. Each one of these different types of lights or these light qualities have different stylistic purposes in your images so how to create those stylistic facts and understanding what those do is absolutely important.

Next, HSS versus ND filters. Well, if that topic threw you off you need to go back to 101 because this is all about sink speed, so high-speed sink versus using a neutral density filter. This is basically all about controlling because basic types of radio triggers are limited or basically flashes are limited to a certain sink speed which is relating to your shutter speed on your camera and that is 1/200 of a second.

If you need to go above that you either need to use a neutral density filter to cut down the amount of light or you need high-speed sink of a full featured flash and that again we talked about in depth inside of Lighting 101.

All right, let’s go into the next one; we have the inverse square law. This is all the understanding how light falls off in a scene. How basically based on that light position, the fall off is going to be much more dramatic than you possibly think it is because light falling off at array that is exponential not as simply a ray that you might think of twice the distance equals half amount of light that’s not the way it works.

Inverse square law is about understanding that principle and how to light large groups, which we are going to be talking about in depths here.

All right, let’s go into corrective light bulbs. This is all about correcting that flash light bulb to match the ambient life of a particular scene. We also have stylistic light bulbs basically where we are using light balance to create certain type of effects.

Going to that slide. Let’s see, there we go. We call it creative light balance. This is where we are manipulating the flash light balance to change the ambient life of the scene to basically to get two dramatic results like you would see here with our lovely subject over this deep blue sky, which actually didn’t look like that but those are the basic principles.

If any of these things sounded at all unfamiliar to you or you just need a little bit of review then go back and review Lighting 101. If you haven’t watched Lighting 101 before starting this course, I highly recommend that you guys watch it otherwise just make sure that you know these topics in depths because we are going pretty quick from here. We have a lot of stuff to cover in this course and we want to dive into nity gritty and not cover stuff that we’ve already covered.

Introduction

  • 1.1 Lighting 201 Trailer
  • 1.2 Welcome to Lighting 201!
  • 1.3 OCF = Anytime/Anyplace
  • 1.4 Lighting 101 Speed Review
  • Gears, Setup, & Reference

  • 2.1 Our Three Favorite Camera Flashes 'Pocket Strobes'
  • 2.2 Chapter 2 Intro
  • 2.3 Wired, Infrared or Radio?
  • 2.4 “Pocket, Medium, Full Strobe?”
  • 2.5 4 More Flashes “Pocket Strobes” Worth Looking At
  • 2.6 Our 2 Favorite Medium Strobes
  • 2.7 Our 2 Favorite Radio Triggers
  • 2.8 5 Simple Steps to Trouble Shooting Radios/OCFs
  • 2.9 Fantastic ND Filters at Any Price Range
  • 2.10 Our Favorite “Sticks”
  • 2.11 12 Mounting and Must-Have Lighting Accessories
  • 2.12 Gear Setup – Setting Up a Light Stand or “Stick”
  • 2.13 Gear Setup – Setting Up a Monopod Light or “Boom...
  • 2.14 Gear Setup – Setting Up a “Medium Boom Stick”
  • 2.15 Gear Setup – Setting Up a Manual Flash “Big Boom...
  • 2.16 Gear Setup – Setting Up a Full Feature Flash “Big Boom...
  • 2.17 Chapter 2 Quiz: Gear Setups & Reference
  • Off-Camera Bare Bulb Pocket Strobe Techniques

  • 3.1 Chapter 3 Intro
  • 3.2 Our Favorite Ultra-Portable OCF Light Modifiers
  • 3.3 8 Steps to Perfecting Each Scene & Image When Using OCF
  • 3.4 Over Powering the Sun – Part I
  • 3.5 Over Powering the Sun – Part II
  • 3.6 Slow Down! Watch the Details
  • 3.7 Assignment | Over Powering the Sun and Using "Upgrounds"
  • 3.8 More Power Without the Power
  • 3.9 Adding to Existing Light – Part I
  • 3.10 Assignment: Adding to Existing Light
  • 3.11 Bare Bulbing with Large Groups
  • 3.12 Back Lighting to Create Interest
  • 3.13 Assignment | Back Lighting to Create Interest
  • 3.14 Getting Crazy with the “Whip Pan”
  • 3.15 Assignment: The Whip Pan
  • 3.16 Chapter 3 Quiz: Off-Camera Bare Bulb Pocket Strobe Techniques
  • Off-Camera Modified Pocket & Medium Strobe Techniques

  • 4.1 Perfect In-Camera, Then Photoshop
  • 4.2 Chapter 4 Intro
  • 4.3 The Flash Modifier You Already Own
  • 4.4 The Oh-So Powerful Umbrella
  • 4.5 Large Group Shots with an Umbrella
  • 4.6 Exposure Balancing via Lightroom
  • 4.7 Assignment | Large Group Shots with an Umbrella
  • 4.8 Portable Softboxes
  • 4.9 Assignment | Softbox Portraits
  • 4.10 More Light Control, Just Grid It!
  • 4.11 Assignment | Softbox with Grid
  • 4.12 Dusk + Modified Pocket Strobes
  • 4.13 Assignment: Modified Pocket Strobes at Dusk
  • 4.14 More Power? Medium Strobes FTW!
  • 4.15 Assignment | Medium or Full Strobe Portraits
  • 4.16 Adding to Existing Light – Part II
  • 4.17 Adding or Enhancing Light Direction
  • 4.18 Assignment | Adding to Existing Light with Medium or Full Strobe
  • 4.19 Our Ideal Group Lighting Technique
  • 4.20 Assignment | Medium or Full Strobe Group Photos
  • 4.21 Incorporating Flares with Flash
  • 4.22 Assignment | Using Flash with Flares
  • 4.23 Cutting Light, Grids and GOBOs
  • 4.24 Assignment | Using Flash with Gobos
  • 4.25 Chapter 4 Quiz: Off-Camera Modified Pocket & Medium Strobe Techniques
  • Seeing Like An Artist, Thinking Like A Camera

  • 5.1 Chapter 5 Intro
  • 5.2 Fog + Flash + Grid = Dramatic Change
  • 5.3 Assignment | 3-Light Look with 1 Off Camera Flash
  • 5.4 What About The Fill Light?
  • 5.5 Backlight + GOBO + Fog = Magic
  • 5.6 Assignment | Backlight and Gobo
  • 5.7 Drawing Attention via Light Shaping
  • 5.8 Visualizing Light & Color Shifts
  • 5.9 Mixing Ambient + GOBO w/Flash
  • 5.10 Better Light Can Change Everything!
  • 5.11 Chapter 5 Quiz: Seeing Like An Artist, Thinking Like A Camera
  • 5.12 B.Y.O.L | The 3-Light Setup That Only Requires One Light
  • Case Studies

  • 6.1 Chapter 6 Intro
  • 6.2 Subtle Refinement = Massive Difference
  • 6.3 Great Light Changes Everything! Part II
  • 6.4 Manually Triggered RCS + Shutter Drag
  • 6.5 Assignment | Long Exposure and Manually Triggered Flash
  • 6.6 The Right Power for Each Scene
  • 6.7 Dodging and Burning via Light In-Camera
  • 6.8 Subtle Light for Natural Portraits
  • 6.9 Light Modification & Simple Compositing
  • 6.10 Assignment | Light Modification and Compositing
  • 6.11 Expanding Your Photographic Vision
  • 6.12 Chapter 6 Quiz: Subtlety & Refining - Case Studies