We've got six amazing lighting set ups that we're goingto um show you today and now we're going to get into the students head and see what they're thinking and how they're approaching it and we're gonna whip up some awesome shot so let's go ahead and start off with the first shot huh where you are going to do the twinkle lights shot and start off with this first um and so who's who's volunteered to do this shot and you and drew come on up once you introduce yourself again a little bit everybody hello everyone out in the world hello everyone and studios unless you haven't met me at my name is andrew maury maury weddings mori photography and I mainly do weddings a new really state photography and today I'm going to do some twinkle lighting waiting for two all right so let's get going uh who do you want to choose is your mind well actually you know what let's say you first then you can get mentally prepared you're going to hold on to the hot chair in a second okay so what are you using th...

is with so to start we're using the twinkle lights what I'd like to do is have it on a stand a little bit under the shoulders of the model that way that way it's going to be the bucket of the lights are going to be right behind her you don't want the lights interfering behind the head because then it could be a little distracting next up we have a gorgeous video light from scott robert studios equipped with a umbrella to defuse some of the light and so this is going to be pointed onto the subject right on dh then lastly we're going to be setting up a little bonus rim like ok there's still part I think we need to get the house lights all the way down if we could possibly do that at some points um and let's bring up for models we get the hype of the video light and uh with a hundred we'll build it up how's that okay how about I hold your lighting for you works oh no unless you're not used to the camera settings and all that I said it he's for him I came extremely prepared okay that's a fifty millimeter lens is that going to do it for you want to change the eighty five o r aa dignify twinkle for you now do you know the best way to get those twinkle lights bigger and bigger move away I'm I need different lens so I can get through this put the subject away from the twinkle lights and then you get his closest you can to the subject doesn't that make them bigger? Yes okay right but her is that she dominating the whole frame slightly see what to go with tried within eighty five lands well let's get one shot in and then okay look but you set up your lighting and everything isn't it nice to have live you on there okay so so far not so good ok you got your background okay though they this is great you got your background here right um and the subject is uh well what do you want to put the nose toward the light right that's going to be better than that on purpose waiting for you of course yeah um and then right and then see how it goes because you're only one hundred billion that's that's pretty good that's pretty bright light take a look at the next one still little dark tonight up the I s o uh yeah well you could lower your shelter a bit right so it's a little bit dark I typically shoot this shot um at s o sixteen hundred above but looks like using I so one hundred but that's great with this light is bright enough so you still can use it can you help me find the oh you actually looking sorry twelve hundred I think you're pretty good though four hundred foreigners going yellow start for right now is that a little better? Yes well yeah I'm assuming once it takes it I have the live view on the right or did I turn it off it's different when it takes its darker but this photo looks a lot better okay right so you probably can up their shirts made a bit right so why don't you have her turn her body away towards the light a little posing thing like a not too much just a little bit here and then if you can shoot him, shift your hip out that way and then turn your face that way with them look back that way if you want to put your right hand up there you go on your hip should I have her do it? Can you can you figure I really want to weigh in but you're going to be touching your hair it says something that I learned you know um it's almost like you're about to touch your face but you're not it's kind of it's more so to just show up how beautiful your all right ready one two and three a couple more one teo and three back arms a little dark ok. Yeah. So if you maybe had some remind you could actually oh, you want to add some room line? Okay, I feel for you. Okay. So let's make sure the transmitter is would you recommend in eighty five millimeter? Well yeah, you would get the twinkle lights bigger if you want to do that, you wouldn't try to eighty five yes, without turning the camera okay, yeah, uh hold hold on to that you can keep your arm up if you can I just want to make sure you're ready for you know what actually if you want you can step back actually because we're kind of taking some time yeah, I'll get good okay, there is little that way where you get two point eight two point oh, a lot of times tio your two point eight there the lower that up stop to the glory of the lights okay, so you don't find it if if you actually move her away from the lights and you get closer and he's using longer lands in the lights are going toe in the background are going to get bigger. Okay? We're somewhat limited to space here in the real world outdoor sometimes those lights are like a half a block away or whatever and so that's why I can look pretty cool a little bit further back and see what we can d'oh see how these come out and try to get as close as possible does that look bigger for you? Your left hand's get if you want to leave it down way do the rive light yes please can you hit the test button to see everything going all right good and that's going to be a sixty fourth power it is now perfect on then if you khun no nose to the light and you're going to look at me all right and then with the rim light can you stand behind her? Okay and we're looking in and if you could shut down a little bit I've never really used room right before he's never done real live for his first side all right there's a dock like bigger they dio look amazing. All right, ready one can I get your nose pointed at the life and then your eyes again we looking past the camera past lens into the entered internet uh might be little oh, you know what you need to do? Three twenty all right. Oh, yeah so knows that the light you're actually sorry I'm gonna look right and get the flat didn't get the class still alright ready one, two and three I think we're still the shutter speeds a little too high school just to be safe I always put it well, one succeed. So should I lower the s o well, you just look at and see what you want to do because it is slightly by all right? So I know that the light and then you're going to be looking at me with your eyes. He just turned the f stop with the I have stopped up a bit if you want to, so how that that light because we're using a shallow f stop how it's flaring and getting really big right? And so if I see that it's kind of hot here on the side so what I'll do is I'll go behind her like maybe we could just put this on the stand and if we try to do some lens flare might look cool to where we were putting the flash right back into the lens and we'll get some really cool lens flare because we're shooting in a shallow depth of field and it really makes that light super soft big coming back into the lens so can you put this land slightly in your frame where do you want it? The flesh needs to be moved a little bit more behind her shoulder and a little bit back right there but they're okay all right, all right ready one two and three there we go way better check it out doing a good job see having the bulls they're bigger, right? I see that that's what? I love that nice big soft light coming through because we're using a low f stop on there and it's allowing that like that to get really big ok, what do you think that let's agree going good. All right that's a good profile photo I should say so okay. All right let's get that twinkle lights down okay, any pushing were good really easy how well, andrew, how did you feel about that? Um well, we practice myself waiting weii practiced a little bit last sight and so we were able to get some of the street lights from seattle some cars passing by even with a longer shudder longer exposure and so we were able to kind of play around with some of the concepts that we're going to be doing today so that's fantastic and what was your what was your experience like doing it yesterday was it uh uh we love frustrating? What were some of the frustrations you have? I think it was mainly because it was new using multiple more than one flash I'm just only one flash and actually shane's not used to any flashes and so for me it was like he knew zero I knew one and so we're trying to incorporate more than one and we're like yeah uh not quite there and then so we kept going but it's after about an hour we were able to figure it out so doing it here made it a lot easier and so that we could spare everyone of, you know, messing up and taking along you know, that actually is the thing what I love when I we get to see students like your chute is that you get to be the new person you know it's got to do this forever and it's and it's great to hear like here's the ideal and then to hear the actual frustrations so I'm just curious where the difficulties you were having was it in the technical making the flashes actually work, or was it more getting the look right? You have a difficulty. Well, we actually I own two flashes, and I have for two years, I've never used both. So yesterday I figured out how to use it, but I'd say it was a good two hours before we figured out how to actually get them to work together. And so it's, a completely different technical issue, fired get it? Definitely, yeah, so guess what? Dulled by the stuff from me. Sit on it for seven months, then three days before pull it out, and then, while you're at the wedding, you text me and say, I'm having an issue like that's never happened before, but did you work with it before him? That's. Great, yes.

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Crazy Stupid Light Review

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Final Exam

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Scott Robert Lim

Internationally acclaimed, master photographer, Scott Robert Lim (Photog Cr. AOPA) was awarded the prestigious 2009 WPPI Kodak Award and was inducted into WPPI’s Society of Excellence and has earned an Accolade of Outstanding Photographic Achievement by one of the world’s

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topics covered in this class

Lighting

Ratings and Reviews

Dan Frumkin

I read several reviews on this site which gave me hesitation to buy this course. Nonetheless, I pressed on. Now I have a suggestion for those considering parting with their cash. Before you buy, go to any of Scott’s galleries online. If you can shoot at Scott’s level move on. If you cannot see the artistry in Scott’s work, move on. If you cannot conceive of the technical proficiency Scott has with flash, move on. But if you are mortal photographer that desires to improve your work, compare your personal portfolio to Scott’s. He wins awards for good reasons. Invest the time and money. You will be amply rewarded. Real World Lighting: Advanced Techniques is worth every penny. So is Crazy, Stupid, Light. I purchased both and now use Scott’s advice and techniques daily. Plus, he provides a good dose of inspiration and humor. Scott is an awesome professional, fantastic photographer and a wonderful teacher.

user-f9ff5e

I already own Lim's class, "Crazy, Stupid Light" as well as two of his Strobie 230 flashes with transmitter (in addition to my Canon speedlight). I appreciate being able to get into lighting with flashes and equipment that costs much less than Profoto lights etc. that I couldn't afford yet. Lim has a very organized and energetic teaching style. He is a great speaker in that he is excited about what he is doing and seems to love to help others learn how to be successful with their lighting. He is very animated and funny and has the right blend of being confident yet self-effacing and admits his mess-ups during class. I find him very engaging and interesting. If you have less than $500 or $600 to spend on lights, but want to start adding lighting to your photo shoots, he is a great place to start.

a Creativelive Student

This class was fantastic! I've always opted for the easy way out when it came to lighting my subjects, usually resorting to using just natural light and a reflector even though I always have my lighting kit with me. I learned in this class how creating my own light can be the easiest way to get the results I want. It's much easier than trying to make the natural light do what I want it to do. Scott's passion for photography and teaching are evident, and his commitment to the success of his students is amazing. I definitely recommend this course for photographers at any level. I came away with many ideas on how to build upon the lighting tips presented here to make it my own. Thanks Scott Robert Lim!

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Final Exam: Twinkle Lights

Final Exam: Twinkle Lights

Lesson Info

29. Final Exam: Twinkle Lights

Lessons

Course Introduction

What Photographers Should Know

Lighting Gear Box

My Camera Gear

Understanding the Magic of Flash

Shoot: Essential Skill #1 - Lighting Positions

Essential Skill #2 - Bright Light Situations

Essential Skill #2 - Continued

Essential Skill #3 - Low Contrast Lighting

Essential Skill #3 - Continued

Shoot: Essential Skill #3 - Low Contrast Lighting

Essential Skills Overview

Essential Skill #4: Low Light Techniques

Shoot: Low Light Techniques

Shoot: Flash & Color Gels

Essential Skill #5: No Light Techniques

Shoot: No Light Techniques

Essential Skill #6: Composition - Rule 1

Essential Skill #6: Composition - Rule 2 - 4

Essential Skill #6: Composition - Rule 5 - 7

Reception and Event Lighting: Auto Flash

Shoot: Auto and Manual Flash

Reception and Event Lighting: Dance Floor Demo

Reception Lighting Q & A

Image Critique

Image Critique Continued

5 Essential Lenses

Essential Lenses on a Budget