Lessons
Class Introduction
09:19 2Language and Properties Of Light
07:59 3Position Of Light
04:43 4Terminology
03:10 5Science Of Light
16:47 6Dynamic Range
05:49 7Golden Hour
00:47 8Reflectors
01:22TTL Metering
10:47 10Studio Equipment
07:46 11Softbox vs. Umbrellas
02:17 12Intro To Flash Photography
12:41 13Color Balance
02:29 14Dragging the Shutter and High Speed Sync
05:22 15Light Metering
07:53 16Studio Strobe Science
05:30 17Three Light Setup
05:40 18Low of Reflection
03:18 19Understanding Histograms Part 1
04:42Lesson Info
Low of Reflection
we're going to talk about something that is called the Law of Reflection. And so when we're talking about speculator highlights and trying to control those, um, we need to understand this thing called the Law of Reflection. And, um, we're gonna do this if we have time. We have, like, she's gonna wear some really awesome glasses, and we're gonna see if we can control these things. So the way this works is when light comes from a direction and it hits a flat surface, we're assuming that this is an absolutely flat surface. Let's say this comes in at a certain angle and it's measured by this line right here. This is a 90 degree line to the flat surface. This is called the normal Line. This right here is called the incident Ray. So this is light coming in through, so this light comes in at 36 degrees. It will always be reflected. So this is called the reflected Ray. It will always be reflected at the exact same angle. Always. And so if this comes in at 36 degrees, it's going to be reflected...
at 36 degrees. And this is called the angle of reflection. The angle of incidence is what degree? It's coming in according to the normal line, 36 degrees reflected at 36 degrees. And so once you know that on a flat surface, you know that if this light here is casting Ah, highlight here. If you move this light Brooke to 50 degrees, the reflection is also gonna move to 50 degrees. So if it was causing problems here when it was lower, you just move that light and both things will move. So let's we're gonna have you come out, so I'll just take a quick shot at f 10. You know, zoom this end so we can see clearly. Chin up. Just a hair. There you go. Okay. On this shot, we will be able to clearly see that we have a nice glare in her glasses. Now, watch this. Yeah, not from over there, but from here. So watch this chin way down. Perfect. And now we'll see this second shot because her head moved, the angle of reflection moved and the glare went away. Um, so let's have you look, maybe over this way and then eyes back toward me just a bit perfect. And we're seeing that this glare is changing based on where those glasses are. So sometimes it's as easy as saying, Can you just tell your chin down or something like that? But let's just say that she can't do that because of some reasons. So let's have you straight and then chin up just to hear, Okay, so we're gonna have that glare once again. And then to fix this glare I will have to do is I'll ask John to raise the light just a smidgen. So I'm gonna look through here Perfect, Okay, And now what we have. And we should have re metered that that eliminated that because the angle changed. It also changed the shadows that changed all kinds of stuff. So it's sort of a trade off. No matter what you're doing, you'll solve one problem and create to other problems. You'll solve those two problems or create another problem. So what I try to do when I'm trying to solve for issues like this is go for the simplest solution
Class Materials
Bonus Materials with Purchase