Lessons
DAY 1
1Intro and Who This Class is For
07:01 23 Groups for All Lighting Scenarios
09:00 3My Progress in Lighting
10:09 4Analyzing Circumstantial Lighting
51:46 5Circumstantial Lighting Q & A
04:16 6Using a Reflector the Right Way
15:45 75 Behaviors of Light: Overview and Angle
15:225 Behaviors of Light: Inverse Square Law of Light
13:05 95 Behaviors of Light: Relative Size
21:43 105 Behaviors of Light: Relative Size Continued
38:13 115 Behaviors of Light: Color
12:26 125 Behaviors of Light: Reflective Surfaces
05:39 135 Behaviors of Light: Q & A
04:53 14Location SWOT Analysis and 10 Things to Look For
23:47 15Location SWOT Analysis: Examples and Exercises
45:13 16Overview Q & A
11:30DAY 2
17Speedlites: The Basics and TTL
33:40 18Speedlites: Manual Flash
36:00 19Speedlites: Zoom Flash
08:35 20Speedlites: Zoom and Rotating Flash Head and Reflectors
12:50 21Speedlites: First Curtain vs. Second Curtain Sync
08:07 22Speedlites: High Speed Sync
12:01 23Speedlites: Optical vs. Radio Systems
06:38 24Speedlites: Groups and Channels
11:35 25Location Lighting Upgrade Examples
32:38 26Indoor Lighting: Building on Ambient Light
14:44 27Outdoor Lighting : Speedlights in Direct Sunlight
15:41 28Outdoor Lighting: Using Speedlites in Shade
22:29 29Outdoor Lighting: Romantic Look and Patterns with Speedlites
09:48 30Indoor Lighting: Creating a Window with Strobes and a Curtain
15:47 31Indoor Lighting: Moody Light with Speedlites and Gels
19:05 32Indoor Lighting: Reflective Surfaces
17:47 33Indoor Lighting: Shooting Against a Window
10:21 34Indoor Lighting: Adding a Reference Point and Ambience
07:15 35Indoor Lighting: Shooting into a Mirror and Creating Separation
04:59DAY 3
36Why You Need to Learn to Get it Right In Camera
07:32 37Location Photo Review and Analysis
35:07 38Intro to Reception Lighting SWOT Analysis
15:49 39Reception Lighting Setup
32:01 40Image Critique: Lighting Problems and Solutions
46:32 41Don't Limit Yourself As A Photographer
04:02Lesson Info
Circumstantial Lighting Q & A
You have any questions now? I do actually and question have come in that I believe actually leads perfectly into your next little bit that you have here the question was from julie emmett who says when you put the reflector on the ground at that slight angle does that not give you up lighting on the face? I'm always told that up lighting is a no no but the photo looks pretty fantastic yeah that's because of the size of the light source, right? So if you put um if you put a small light source up into your face you're going to get you know I see that people situation but if you, um keep the light close because the quality of like this better close right and then you make it big you did you make it a large light source you defuse it or something it's goingto illuminate your chin a little bit but what did I say about that? What what did I say to do? Just lean forward two inches two inches three inches I didn't say go do like gymnastics right? Just I'm just saying from here do you hear it's...
all you need it makes all the light change because that light those rays of lights you can either hit you or they can miss you so if you lean towards the floor just a niche for three you're getting all those race are now hearing their face that could be the difference between that lighting at f four on lighting at half two point eight two point name means you don't have enough light so it's probably the answer to that okay cool digs yet so if you wanted to use that mural and the murals flat lip because she said that would be the best time to use that mural of its flatly lit so where would you put your subject um would you scream the subject will pull him into the shade under the gas station okay you know overhead so the sun is actually coming from here do you see it so if the sun is coming from here that means that the only way to shoot her would be if she gets hit by direct sunlight right there's the sun is not in the opposite if the sun wass here going this way I could just turn her away from the background could be the the wall and she would have clean lighting her because that sounds coming from behind her but the sun essentially hitting her directly in the face so I have two choices I can embrace the sun and have her chin up with a dress which is the only option really on have the painting in the back be totally clean living because or you could pull out a diffuser on diffused the light over her on dh, shoot from below off course, because you don't want to show the floor, you only wanna show the painting. You shoot from below into the painting, she's defused, and you have a you have a good life now, the wayto add one side brighter than the other, which I'll explain in a different segment. But I kind of go over it quickly before we move on. Here's, another little tip to our, um, to add a little bit of light on one side more than the other, when you have a few slight, don't put the diffuser over the person's face this way. Don't do that angle into one side of the face, so that gives that gives this side closer light than this side. So when people do this, I'm like that's. Flat, light go like this, and you have a lot better light, so any kind of angle will improve that cool, alright segment one.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
MizUniverse
Im sitting in my office listening to Roberto with my earplugs on and I know I have already left 2 reviews but he's so funny…. my family comes into the office asking me "whats so funny" Roberto makes me laugh out loud with his jokes but at the same time, he is SO great at teaching. Im watching for second time to make sure all his good info is ingrained. HIGHLY recommend you take his workshop on Picture Perfect Lighting if you truly want to take your photography to the next level! WOW thats 3 reviews now…can you tell I am impressed
Maureen T.
I'm taking a portrait photography course at NYIP online. one of the mentors there recommended the posing book by Roberto. I ended up ordering at the library the posing and the perfect practice book. I fell in love with both books...ended up buying them and signing up here for the year membership just so I can take all of his photos courses. I spent most of my weekend doing perfect lighting course here I am in love with the way that he teaches! He makes something so difficult and challenging for me make sense. I also like that he challenges us photographers to be true professionals. I am thrilled to have discovered Roberto and already noticed my photography is better in the short time that I've been studying him.
EDUARDO LLERANDI
I can say enough about this class, the best class ever I've seen about lighting. Roberto Valenzuela, as a professional photographer and artist is the best also as a teacher. If you are beginner, enthusiastic, o professional photographer and want to craft and master lighting for ever and ever, please buy this class. Thanks Creative Live for the opportunity of been part of this. Roberto you are the best. "Eres el Mejor Amigo, Gracias"