Lesson Info
22. Shoot: Window Light with Reflectors
Lessons
Day 1
1Class Introduction
10:08 2Why Light Matters
35:34 3What Makes Good Light?
18:32 4Equipment Q&A
13:04 5Subject Centric Lighting: Bowling Balls
10:51 6Wizwow's Rope Meter
17:44 7Softbox vs. Shower Curtain (Claudine)
26:05Technical Q&A
33:07 9Light Modifiers
13:37 10Light Modifiers Shoot: Alyssa & Claudine
47:40 11Light Modifiers Q&A
23:25 12Subject Centric Lighting
25:14 13Subject Centric Lighting Q&A
03:35 14Shoot: What We've Covered
22:45Day 2
15Lesson 16 - 29 Introduction
08:41 16Reviewing Previous Images
20:21 17Placing Exposure
31:22 18Placing Exposure Q&A
11:43 19Emotional Lighting
17:58 20Shoot: Window Light (Brie and Alyssa)
42:11 21Working with Models
09:41 22Shoot: Window Light with Reflectors
06:20 23Shoot: Headshot with Hot Lights (Brie)
22:51 24Shoot: Headshot with Hot Lights (Alyssa)
13:09 25Shoot Q&A
11:15 26Shoot: Beach Lighting
27:47 27Shoot: Clam Shell Lighting
26:15 28Shoot: Beauty Dish
20:23 29Reviewing Today's Images
31:23Day 3
30Owning Your Own Light
13:57 31Telling Stories
09:43 32Shoot: Dramatic Single Light (John)
20:08 33Shoot: Beauty Setup (Natalie)
28:50 34Student Shoot: Tracy
13:18 35Student Shoot: Kimberly
15:18 36Student Shoot: Ian
16:53 37Student Shoot: Lori
16:13 38Student Shoot: Moe
05:54 39Shoot: Building the Ambient (Isabel)
53:48 40Shoot: Two Subjects (Briana and Natalie)
16:23 41Student Image Review
13:46 42Life as a Photographer
51:09Lesson Info
Shoot: Window Light with Reflectors
break him right over to that same corn we use that we use the two white cards that are on the stands there's no matter what I do I step on that court it's like my feet are trained I could bring these cards and really really close what I can't do is too dark in that sky I cannot do that I can't give you the f twenty two shot that you saw earlier swing this up just like this john good because I can't get mohr exposure than I have so I can't take the sun and make it brighter in here with cards well just set that down there what are you guys sure do know a little more yes these cards that you're using what what are they and where do you find these these are foam core cards the best place to find him I find our sign shops you can go to certain um art supply stores large eyes spicer's that'll have them but some of them are very proud of their foam cores and they're pretty expensive if you get a sign company they may give you more of a a better rate okay great so I can bring these cards and w...
ould just change over to the one hundred real quick and my hazard a guess on the meter reading who was the hazard guess and I want to say something like two eight one hundred on the right reading when you tell me what's your job uh if you said to eight and one hundred you'd be just a tad under its two ated a sixtieth at s o one hundred I'm shooting one hundred millimeter lens I'm not gonna shoot it at a sixty right my rule of thumb is don't shoot anything lower shutter speed than the length of the lens so I've got to be a hundredth or faster so I'm gonna go to aya so two hundred and I'm gonna go to two eight on when she goes there she is shake the hair well here right here good good good and right there that's pretty I like that and still a little bit under oh shari shutter speed my fault shutter speed here we go well its pretty chin up a little bit they're good yeah so here's to here's to fill cards that was lautner exposed there here's to fill cards uh natural light bouncing around inside there we got some complexity on the face so is this uh next shot comes in reverie so got some complexity on the face where's the complexity coming from it's coming from down here she's wearing something dark is coming from down here scribe here we go let's just bring it right up right up to her chest that's it come up and meet that's a little bit more little bit more alright good now were filled in that complexity is not going to be there it's nice very nice she looked this way with you right there beautiful so now we have a very pretty head shot with a couple of pieces of foam core this is about one of these full shapes about eight bucks wei had eight dollars with foam core and well four hundred fifty dollars with the stands but still you know you could come up with another stand or two um and that's it that's it just went all white and look at the look at the shop I love that thank you jon because when you bring that bottom line if we could go put these side by side from a couple back look at that look at the filet and catch light in the eye see now this is one of the world's things why why I say I love ticket sometimes going shoot by myself because I like this kind of light I don't have to take strobes and stuff with me here is that very complex light on the face complexity complexity complexity gone very much gone that's this thing coming in that's the card coming in and fixing all those little dark highlight things and even even ng them up so and look at how pretty the eyes look can you see how open up they are you know there's they have these actions that said you know howto fix eyes with actions my thought is well why don't you light it correctly and exit you light it correctly you're probably going to get good eyes you know you don't have to take a photo shop action that we got questions on the internet we'll ask you one question before we go to lunch with that uh folks are wondering if it's possible for you to quickly go over the white balance that you're using when you're combining like the daylight on the strobe when you're shooting um the white balance that I'm using I'm just using I just set my white balance too that light is so overexposed coming through there now it just doesn't really matter anyways the shot that we did it was totally blown out I set my camera on strobe that's the white balance I use and then when I get into a bridge or light room which would everyone I'll adjust there and then apply that to the rest of them
Class Materials
bonus material with purchase
bonus material with enrollment
Ratings and Reviews
Cheryl
I just finished watching this course, and with teary eyes can say, without reserve, this class has been fantastic! Don's last session would be great to watch in the beginning and the end because it helps to understand his thoughts on being a photographer. The rest of the class is full of great information on lighting and Don is able to explain his thoughts and his processes with ease. I hope I will always think ahead and plan how I want my final results and how I want my subject to reflect light. Learning this was one of my "aha" moments during this class. I own over 30 Creative Live photography courses and this class is one of the top classes I own. I already plan on rewatching the whole class. Well worth the investment! I feel it is not a beginner course, but a intermediate to advanced one. Don has set a high standard in lighting...a goal to reach for...a goal that is possible for each person willing to take the time to learn and practice. Thanks Don and thanks CreativeLive!
Ryan Redmond
I am so glad I took this course. I'll be honest, it took a few lessons for me to warm up to this series but I'm glad I stuck with it. I have had a couple cheap speedlights, softboxes/umbrellas, and reflectors for many months now and was too intimidated to start using them. After going through this I am not only downright excited to use them, and confident that I can have spectacular outcomes, I'm also confident about shooting in natural light indoors and outdoors. It's also given me the tools and confidence to start shooting in manual vs aperture priority and to nail the general calculations in my head. I appreciate that Don used mostly budget or unorthodox equipment like speedlights, foam core, work lights, curtains, etc. because that's what I can afford and have been using to try to replicate expensive gear. Other classes use thousands of dollars in lighting and Don proves you don't need that for excellent shots. I also appreciate his advice for directing your "models" and insights into his overall process. This class was invaluable to me as a novice. Thank you!
Joanna
I thank very much CL that I could see the wonderful material on the light in photography, in fact everything became clearer, Don you are the great teacher, great stuff, very interesting and fantastic lecture, very helpful ! Thank you one more time !!!