Lessons
Chapter 1 Introduction
06:59 2Welcome to Lighting 201!
03:16 3OCF = Anytime/Anyplace
06:49 4Chapter 2 Introduction
05:11 5Wired, Infrared or Radio?
15:03 6“Pocket, Medium, Full Strobe?”
13:23 7Our 3 Favorite Flashes “Pocket Strobes”
09:26 84 More Flashes “Pocket Strobes” Worth Looking At
14:33Our 2 Favorite Medium Strobes
12:55 10Understanding Radios Part I: Channels & Groups
11:04 11Our 2 Favorite Radio Triggers
07:59 125 Simple Steps to Trouble Shooting Radios/OCFs
15:10 13Fantastic ND Filters at Any Price Range
09:03 14Our Favorite “Sticks”
11:01 15Our Favorite Ultra-Portable OCF Light Modifiers
19:38 1612 Mounting and Must-Have Lighting Accessories
12:28 17Gear Setup - Setting Up a Light Stand or “Stick”
08:14 18Gear Setup - Setting Up a Monopod Light or “Boom Stick”
09:30 19Gear Setup - Setting Up a “Medium Boom Stick”
12:15 20Gear Setup - Setting Up a Manual Flash “Big Boom Stick”
13:30 21Gear Setup - Setting Up a Full Feature Flash “Big Boom Stick”
09:40 22Chapter 3 Introduction
04:12 238 Steps to Perfecting Each Scene & Image When Using OCF
12:30 24Over Powering the Sun - Part I
16:42 25Over Powering the Sun - Part II
12:42 26Slow Down! Watch the Details
08:32 27More Power Without The Power
11:03 28Adding to Existing Light - Part I
10:52 29Bare Bulbing with Large Groups
14:36 30Back Lighting to Create Interest
13:33 31Getting Crazy with the “Whip Pan”
17:27 32Chapter 4 Introduction
03:44 33The Flash Modifier You Already Own
12:05 34The Oh-So Powerful Umbrella
11:13 35Large Group Shots with an Umbrella
11:21 36Exposure Balancing via Lightroom
04:20 37Portable Softboxes - Westcott Apollo
10:22 38More Light Control, Just Grid It!
12:53 39Dusk + Modified Pocket Strobes
13:51 40More Power? Medium Strobes FTW!
12:37 41Perfect It In-Camera. Then Photoshop
05:23 42Adding to Existing Light - Part II
12:00 43Adding or Enhancing Light Direction
11:17 44Our Ideal Group Lighting Technique
12:58 45Incorporating Flares with Flash
10:39 46Cutting Light, Grids and GOBOs
10:29 47Chapter 5 Introduction
03:34 48Fog + Flash + Grid = Dramatic Change
08:56 49BYOL! The 3-Light Setup That Only Requires One Light!
12:07 50What About the Fill Light?
12:15 51Backlight + GOBO + Fog = Magic
08:36 52Drawing Attention via Light Shaping
08:29 53Visualizing Lights & Color Shifts
09:17 54Mixing Ambient + Gobo w/ Flash
11:37 55Better Light Can Change Everything!
09:47 56Chapter 6 Introduction
01:57 57Subtle Refinement = Massive Difference
11:31 58Great Light Changes Everything! Part II
11:50 59Manually Triggered RCS + Shutter Drag
11:29 60The Right Power for Each Scene
14:24 61Dodging and Burning via Light In-Camera
07:23 62Subtle Light for Natural Portraits
09:14 63Light Modification & Simple Compositing
10:16 64Expanding Your Photographic Vision
11:37Lesson Info
Exposure Balancing via Lightroom
In this video, I want to quickly run through how we would do our exposure balancing inside of lager and it's very quick, very simple and the whole process should take well under a minute when you do it on your own, at least once you get used to it. Now I'll be the first person to admit that this type of kind of lighting large groups via multiple flashes and kind of feathering those flashes in the light source and so forth isn't necessarily an ideal group lighting technique. If I were hired to do, say, an editorial shot of the group and that was the only shot I was needed to create, I would do it via different techniques. I would use larger light sources, larger modifiers and even compositing if necessary, but when you're shooting weddings or events or when you're shooting on the go and you don't have that kind of well, you don't have the time afforded to you to do those types of more advanced lighting setups, then these techniques are absolutely fantastic because it gets you to a very ...
professional result with very minimal gear and time and that's, we're going to show you here, ok? So basically what we're gonna do is all we're going to do is open up the image inside of light and you can see that the top image here this is the fully raw image ok, so we haven't done a single thing to this image you can see how nice it looks coming out a camera and the whole goal of this was again remember to get the left and the right side the group's basically everyone in the group within a half stop and exposure range so we can see that maybe a little bit on the outside over here they're a little bit on the dark side maybe a tiny bit over here we could also do a few things like maybe darken up the ground a little bit and the top part of the image a little bit too but all in all it's very close to being finished. So what do we do? Well for this image we complete the post production in two simple clicks using the lion preset system now of course, if you don't have the process system, then just adjust in your basic rob processing settings at that point now from there we're just using basic graduated filters and brushes to dodge and burn various areas of the image and again, if you don't have the presets, you can always pause and just dial in manually. All we're doing is doing point five up to a point five burn or dodge on every side, the image and then you'll just kind of tweak and adjust manually from there to get them all balanced but from left to right, where polian graduated, filters across the frame again with the point stop difference in each one to just basically burn or dodge as necessary going across the group. Okay, so we're going from left to right from the whole downshift when you're doing that just to constrain that horizontal angle, so little basic constraint, so it only follows that little line. Okay, now what we want to make sure is that, again, we're not doing more than half stop a justice because anything more than that is going to become noticeable, particulary in the background where the background will just notice that he also get brighter in a certain area. So just kind of watch that I pull down graduate filters from the top to burn down the light that spills a little bit out of the ceiling just to get him or kind of nice ambient light on kind of that more moody looked to the image and also burned down just a little bit on the floor at the bottom again to kind of bring in the attention from outside of the image down to the center of the image we have are bright subjects right in the middle, and we kind of reduce that a spill on the ground a little bit. Okay, if necessary, you can use an adjusted brush to target any other areas to any dodging and burning if needed. But that's, really, at the entire process, literally should take thirty seconds to a minute tops to balance out a shot that has been shot correctly. Okay, if you haven't shot it correctly, if there's a major difference in the exposure, it's not gonna be that simple, and you might even need photo shop because you end up having to basically layering and masking and fixing numerous things in the image to get it to look right. But with a properly shot image and about thirty seconds inside a liar, and we get to a fantastic image using the most simple of lights and light modifiers on a very large group. So hopeful you can see how robust this technique and be in getting you to an amazing image with just very minimalistic gear and approach that is extremely quick. That'll actually fit the pace of a wedding day or an event. That's it for this tutorial, let's. Move on to the next one.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Lê Tiến Đạt
I'd like to say thank you to SLR Lougne, Creativelive and especially Pye for creating this wonderful Lighting series. Pye has a great sense of humor and he is also a great teacher. He expains everything in tiny details. I love his creativity, all the tips and dedication. Recommended!
Colin
Pye is a god. His teaching style is really engaging, breaking down everything you could want to know about each example in a fun yet detailed manner. The course is absolutely jam-packed full of great information and fantastic inspiration. This course, as well as Lighting 101, give not only a perfect foundation for anybody learning about flash from scratch, but also have more than enough tips and advanced techniques in them to help experienced flash users seriously up their game. Cannot recommend it enough.
Karen Ruet
I'm watching this live and am seriously considering buying this course. I really like the examples and all the information. Pye is super generous and easy to listen to. I also appreciate the talk about gear and am happy that Pye is giving us options for different price ranges. Thank you, Creative Live.