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
Three Light Setup
we're going to be going through to show you not only what the three light set up is, but how to translate that into something that is a little bit more advanced. And so almost anything that you do is based on this three lights set up in a studio lighting situation or portrait lighting situation, not necessarily with scenic photography, but with portrait photography. Almost everything is based on this, and you can have a set up that is 12 15 lights, which is rare, but you could and it still follows the principles of a basic three lights set up. So that's why we're gonna teach this. We're gonna teach this in a way that is very basic. And the lighting set up that we're gonna teach you can take it home and use it. It is a very, very vanilla lighting set up. So how we're gonna set this up, we're going to have our white seamless. So this is a seamless piece of white weight paper. So usually it's just called white Seamless. Sometimes this is called a psych short for cyclorama. That's a theate...
r term. It's this big thing that goes around the back of a theater like another movie theater, but actual theater where people act and so I'm have a theater background. So a lot of times I'll call this a psych and people like What are you talking about? But that's what I'm talking about is this white, seamless piece of paper, and then in some studios, it's called a cove. So it's a same kind of thing is just this white, permanently installed wall that's usually called a code. But that's what this is. And so I diagram that on What we're going to do is this is from the top down. We'll have Lex on a stool, so that's the top of Lexus head and we'll put a nose on her. Here's her shoulders. That's Lex. We're gonna be shooting here. This is the camera. And then what we're going to have is our first light right there. And that first light we're gonna begin with basic closed loop lighting that we learned about yesterday. And so we'll put that at about a 45 45. And this is what we call our key light or our main light mean so, um and those I use interchangeably, so don't be frustrated with that key light, main light. And this is what anchors our lighting set up. And it doesn't matter if you have 50 lights or one light. You always have to have one light that sort of anchors everything you're doing. And this could even be a natural light. So this might be a window, or it could be the sky. It could be whatever. But there's something that has to be the the the thing anchors your entire lighting set up. So this is our key light. And for this, I'm gonna put a zero next to that. That zero don't make sense in a second over here, we're going to add a fill light, and the fill light is so if we put a little line down the center of this, this key light here is illuminating one side of our subject's face. We're gonna have shadows on the opposite side that we may want to soften just a bit. Um, we might wanna like those up a little bit, so they're not quite as dark. Okay? And so that's what the feel like does. It just fills in a little bit, and usually you want this fill light to be, um, not as bright is the key light. And so what I'll do here is output a negative one or a negative two or a negative three Based on how much lower I want this like to be and these air stops. I want this to be one stop less or two stops last or three stops less. And the other reason I used numbers is because what I showed you yesterday yesterday on my light meter, the E V value shows up in stops. So it's easy for me to go. Oh, this is one stop less. And so we're just gonna say, negative one. And then on my light meter, it just says Negative one super easy. But as I'm building out lighting setups and figuring those out of have a little notebook, I didn't bring it with me today. But I've got tons of notes of different diagrams, and they all have numbers next to them saying what the relationship is between the key and anything else. So the only light that doesn't usually have a number on it is the is the key light on my little diagrams. Unless there's a light. That doesn't need to be anything but equal to the main light. And usually it's got nothing or zero that makes sense so far. Okay, so we're gonna do this where this is a 2 to 1 ratio. So this light will be one stop lower than this light. So we have key or Main Phil, and then what? We're going to dio. So we're going to have this light back here, and this is a separation light or sometimes called a kicker, and this one is usually plus one. So generally speaking, this is one stop brighter than the main light. And that plus one, by the way, Oh, by the way, this is also called a hair light. So this could be called three different things. And let me tell you why I'll use three different terms for this light. So if I have a model that has really dark hair or a subject that's really dark in a really dark background, and I'm throwing light on that to try to separate the subject from the background, I call it a separation. Like if I'm doing ah, glamour set up and I'm tryingto illuminate like the shape of whoever I'm I'm shooting and make him look a little bit glowy. I usually call that kicker light. Um, if I'm doing a basic Olin Mills type portrait, I'm illuminating the hair to sort of give it a glow. I usually call that a hair light, so usually, if it's a blonde model, it's a hair light. And if it's a brunette model, it's a separation light. Even though they're the exact same light, they're doing two different things.
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