Lessons
Class Introduction
06:16 2Two Exposures Explained: Ambient & Flash
09:13 3The Triangle: Aperture, ISO, Shutter
10:00 4Overpowering the Ambient Light
07:30 5High Speed Sync
11:26 6Shutter Priority Mode
04:13 7Manual Mode
12:24 8Color It
06:55Lesson Info
Class Introduction
we have three days of speed lights, and, um, this is gonna be a blast, and we're going to just slow down. We're gonna go through everything that we possibly can about these little speed like guys here and lots of time for question and answer. So what I want to do is first say welcome talk to you about the three days and what we're gonna be doing. So day one is a solid foundation. So what I'm gonna be doing is Day one is really helping us understand every single little nuance of what the cameras doing with the flash with the flash is doing and how it's doing all of its exposure. How, uh, the flashes figuring out the correct exposure, all that kind of stuff. So we're digging in, we're gonna tear everything apart. And so we know all the different technical language. All this stuff that you need to know to really wrap your head around what has happening with the flash and so a lot of practical information on day one to make sure we're solid day, too. We're gonna take all of that informatio...
n and we start modifying the life we're going to start adding soft boxes and, like, modifiers and some of the roads stuff. We're gonna get our flashes off our camera. We're gonna talk about how to do a key light in the kicker light and feel like it, and we're gonna do a bunch of different things. We're gonna be shooting outside, shooting in low light. We're gonna shoot in the dark, we're gonna shoot in bright sunlight, you know, a bunch of things. So all this training that we get from day one, that seems theoretical and and a lot of information. We're gonna put that into practice Day two. And so we're gonna be going over and over and over it, and then we're gonna continue Day three, we're gonna put everything into practice. And so these air sort of both put everything into practice. But we're doing is all the language understanding all the technicalities, all the stuff that's going on. Take that build on it a little bit. Make sure that we know how to put that into practice with modifying the light, understanding how light is shaped and used, and they're going to take these two things, and we're gonna run through a bunch of scenarios. So we're gonna go through things like, How do you shoot? Maybe Christmas or holiday photos at home in low light? How do you shoot those Halloween photos of kids? How do you shoot a wedding reception when all they have are tables outside with little lights wrapped around trees? And there's just is pitch black? How do you do that? How do you shoot a group? How do you freeze action when people are flipping around and doing sports and things like that? So we're going to shoot a lot Day two and Day three. A lot. A lot. In fact, that's pretty much. All we're doing is just shooting. So day one really heavy on understanding the technical stuff. Day two and three put into practice, put it into practice. So for everybody home. What I want you to do is if you have your camera and flash grab it. You were gonna be walking through things, and so you're gonna need that. As we go through these different things, you could be flipping switches and dialing and going in and looking. Also, if you have a user manual for your flash and your camera grab that, too. Um, so you'll be needing that as well. Now, before we begin, there is something that's very important for everybody to understand. It's a really important, and that is there are a lot of different kinds of cameras. There's Nikon, There's cannon. There's Sony. Others in the list goes on and on and on. All right, all of those different cameras and flashes in those different units. They treat their flashes a little bit differently. Not a lot. All the principles and things that we talked about today of how the exposure is made and all that stuff it's the same. But how these guys talk to each other, their flashes and cameras. There are a lot of different variations on how that happens. And so that's why if you have a manual and I say, Hey, we're gonna talk about how to turn on rear curtain sink It might not be exactly the same as I'm showing you so you can flip there and know that OK, record in sync does this. And here's how I turned it on with my vivid tar flash. One of that thing is so they're not created equal either, and so you can have a cannon for 30 e x flash and a cannon 5 80 x to flash, and they are not the same. They have different abilities and features and power and things like that. So we're not saying that a Nikon and Canon one is better than the other? What I'm saying is that a cannon and a cannon one could be better than the other. So they're not all the same. They're all created equal. So don't let that be a stumbling block. As we go through this course, just understand that there are differences between different flashes and things, and I will do my best to talk to those without. I mean, if we went through every single flashing camera combination, it would take us weeks to go through that. But we're gonna be doing is we're gonna stick with Mike on and can cannon because that makes up 90% of the market. Now all cameras are not created equal. That's also a big difference. And so, for example, if you have a cannon d Siri's camera one D s or the one d X, those really expensive high end cameras, they have capabilities that no other canon cameras have. And the same is true of like the Nikon D four does some things with its on camera flash that the rest of the night. Cons don't do so. Some of the things that we talk about you can do with some cameras, but not others. So again, just be cognizant of the fact that there are a lot of different variables here. We're gonna start with this big question and that is this. What is the issue we're trying to solve with her flash? What's the problem? What does that think? Drama. Boring photos, mixing light, controlling things It all boils down to. I'm trying to trick you into one thing. That's this. Everything boils down to one thing. What we're really trying to do is solve this issue light. It all boils down to that light. So we're trying to do something specific. So let me tell you, marks version of the solution, and that is this. We want to use an external flash, something that's extra length a little guy that pops up okay, an external flash to add an appropriate amount. So not too bright, not to not bright was that dim. Have it just right. Just the appropriate amount of flattering light. Okay, we want it to be flattering. They don't want to be nasty light that cast shadows. We didn't come from the side and look nasty. We wanted to be the appropriate amount of flattering light. And we want to add that to the scene while still capturing the available light. Also known as ambient light to the best of our ability. That's what we're trying to do.