Lesson Info
22. Live Shoot: Signature Set Up with Strobe
Lessons
Class Introduction
10:34 2Natural Light Overview
30:31 3Live Shoot: Maximizing Window Light
15:51 4Live Shoot: Use Reflector to Enhance Natural Light
22:12 5Live Shoot: Back Light Your Subject
19:59 6Live Shoot: Back Lit Subject with V Flats
19:26 7Live Shoot: Utilize ProBoard with Natural Light
23:27 8Continuous Lighting Overview
21:45Peter Hurley Signature Lighting Overview
07:11 10Live Shoot: Continuous Square Light Set-Up for Women
22:18 11Live Shoot: Continuous Triangle Light Set-Up for Women
20:39 12Lighting for Men Overview
11:57 13Live Shoot: Continuous Three Light Set-Up for Men
09:29 14Live Shoot: Continuous Two Light Vertical Set-Up for Men
24:21 15Live Shoot: Working with Shadows for Men
19:43 16Live Shoot: Shadow, Kick & Fill for Men
24:28 17Live Shoot: Clear Glare in Glasses
23:53 18Live Shoot: Signature Set Up with Speed Lights for Women
15:25 19Live Shoot: Signature Set Up with Speed Lights for Men
07:52 20Live Shoot: Remove Big Pupils from Subjects
15:32 21Live Shoot: Through the Lens Metering Lock
05:06 22Live Shoot: Signature Set Up with Strobe
11:40 23Live Shoot: Perfect the White Background
32:24 24Peter's Journey with Strobes
23:00 25Dissecting the Face
09:44 26Live Shoot: Big, Bold & Beautiful Light
32:17 27Live Shoot: Large Umbrella Light Set Up
21:04 28Live Shoot: Feathering the Light
15:20 29Live Shoot: High Speed Sync Lighting Set Up
09:51 30Live Shoot: Interesting Light with Grids
16:50 31Live Shoot: Using Grids to Light Your Subject
22:08 32Live Shoot: Working in Hard & Soft Light
17:06Lesson Info
Live Shoot: Signature Set Up with Strobe
Let's just start... I always start in the mid-range. Let's go. Let's go. We'll just put the top on six. Now we know the bottom was even on the speed lights so lets see how this behaves. I'd like this back a little further. Give it a shot. Actually, you know what. Since we only did... since we only did one on the BPS, I'm gonna use Aaron for the BPS with one light and then we're gonna bring in... We're gonna bring in... Okay, we got that, scoot this way. So her BPS is a lot smaller because of that. I'm waiting. Pupil dilation is happening, people. Okay, let me see. That's good, hold that right there. What? No, I want the modeling light, that's the whole point. Now if the modeling... If the head is this close to her, which is that's about where we were, let's try this, let's try this, and let's see. So we're gonna guess shot it again, guys. We're gonna guess shot it again. Remote is on the camera, that will be helpful, and I'm just gonna do for this one cause its only one head, I'm just ...
gonna... I'm just gonna fire it with the... This is the regular air remote without the TTL. Its just works on every camera. I usually like simple, easy. Lets just try it. So we're gonna guess shot this. I'm just gonna... I'm gonna go one one hundredth... I'm gonna go ISO 100, we're gonna go one one sixty at the same, give me an aperture, go. Six point O on that, you gonna go five, six? Five, six. Okay, lets give it a shot. We're gonna get with... There you go, good. Let's see how we did. I'm not tethered. Good job, guys. There's another rookie mistake. All right, shoot. My percentage of shooting tethered or not tethered is going down. (laughter) Okay, I just did that so you couldn't see it cause it's way blown out. (laughter) All right, I'm gonna go... I'm gonna go... I'm gonna go F9, it looks really blown out. F10, or you know what I'm gonna do? Yeah, let's just go F9. Let's go F9, let's try it. Ready? There you go, good. Good. There you go. So how'd we do? Lets compare to this is... Light behind... Lets compare all of them. So we got... We gotta go in. Okay, that's the one we just did. That's with the window. That's with the window behind. We know what that is and here's the flex kid. So did the... Did that... Did the... Did it help us? It helped us a little bit, right? It didn't go crazy but it helped us a little bit. Yeah, its the modeling light. So we're looking at the modeling light. So the modeling light in that is pretty powerful. You're feeling it, right? You don't feel the modeling light? No, I mean feel it in the brightness of your eyes? It doesn't bother you at all? Okay. No, its fine. No, its fine. I mean maybe you're not that sensitive but the... Your pupils went down a little bit from it. I bet you if we added that... Let's try it. Get rid of that. We're going crazy here, guys. Oh, yeah. Holy smokes. Now we're talking. Now we got, now we got... Look at this. Look at that. So that trick will always be better, you got it? Put the window behind you? Done, we answered that, okay, thank you very much. Can we give Aaron a round of applause again? (applause) Meulin, come on up, Meulin. Lets go with the... We're gonna try and do the same set up. Same set up that we've been doing. Right, and we're gonna set our settings on the camera. Let me see, that's it. Come this way a lit... Right there, like I need you in there. That's perfect, good. Okay, we got all three lights firing. We're good. And we're gonna do the TTL exposure lock. Lets try that. So I'm going with this. You need the remote for your camera system. They make one for Nikon and one for Canon. I don't know if they have any others. I think they make one for Sony, too. Do they? Who knows this information? They do make one for Sony. Okay, good. So, and then you set it on TTL and I'm just gonna set the energy on them all at zero. My battery's dying on that but hopefully it makes it through this shot. So I'm gonna set it all at zero and I'm gonna set my ISO to 100, I'm gonna set my... I'm gonna set my camera, I'm just gonna shoot, right? Its gonna adjust for light where I am. So let's go five, six, let's go to our settings. One sixtieth, five, six, 100. And lets see what it does and then its gonna be locked in. I switch this to manual and then I can adjust them from here or I'm right next to them, I might just spin them. Let's see. Feeling right here, perfect, hold that, beautiful. There we go, lets give it a shot. How was that? Look how easy that is. It looks uplit to me. You see that? It looks uplit. So now, it actually knows that they're all really close... They're all even. It turned them... I had them set it like six point O, right? It went immediately to four point O. So to get my settings right, I'm good. But I'm a control freak so I wanna get that guess shot in and immediately I'm gonna go to manual. I'm done. And now, I can either go, I need to go down... No, two, they go to two. So I can just spin them cause I'm on manual now. So if I want to go down on this one, I'd go to three and Meulin, come forward a snitch. Gonna move her forward a little bit to get a little brighter. Lets try this. So I'm down at three on this one, I kept those ones at four. Let's give it a shot, let's see what we got. Might even go 2.5 on that lower one actually. Its just, I don't like uplit. I wanna make it perfect so I gotta shots in here to do it. No flash. That's cause the battery died. Can you give me batteries in here? All right, guys, its locked in. It doesn't matter, I'll use this one. Just imagine that's that one. Its not gonna change it anyway. Alright, hold that, that's it. Good, just for speed purposes. Look at that. How easy is that? Does prophoto make it easy? Then throw on DTL, do it, shoot it, lock it in, and then move it! Piece a cake! And now I got my sh-bang! And look at the catchlight. So if we go back to the... If we go back and we compare that to where we were. Where was our boom shakallaka sh-bang moment? Maybe here? Its still a little brighter. We could probably bring her up with prophotos, right? But you get this... Lets look at it for catchlight. So let's bring it up a little bit. Lets just do this. Meulin, stay right there. I'm gonna open up to four, five. Brighten her up a little bit. And lets just see. Good, skin a little bit brighter. And I'm gonna go to here, speedlights. So she's a little further away from the light than the speedlight. So that's... And then we're gonna go boom, boom, boom. I just wanna do it for catchlights, guys. Pretty much, its very similar, right? I got the square one in there because the one by three, one by three triangles becomes too big for me. I like the small footprint. Can also angle this one down a bit, but pretty similar, right? Angle this one down, I can put this one here, and I can put this one a little bit... I got it. Maybe like this. Alright, lets try this. Okay, here you go. Now let's try this. Drop this down and back a touch. Good. Guys, I like my stuff tight in there. That's it, that's it. And as long as that's not touching her, I can have my retouching to his job. Beautiful life, beautiful life. You with me? So I showed you my signature set up with the flex, I showed you my signature set up with the... With the speedlight. And now I'm showing you my signature set up with the prophoto, with the strobes. Meulin, thank you very much. Let me shoot you real quick. Come up here. Ill just do a kick with the square. There we go, all right. Just crank that up a little bit. Spread lines a little bit. And since I know my setting on that is pretty good, I'll go down on this. Go to two on that. Cameron, take a tiny step forward. Tiny step forward. Tiny step forward. Tiny step forward. Good. Let's get it decent. Where I want it, look here, lets just take a shot. Come a tiny step forward again. Good, that's it, right there. Scooch a little bit this way, right there. Hold that, gimme that squint, don't look so miserable, there you go. Fire it up, good. There we go, see how we did, all right. Similar set up, similar thing, we got it. You guys have a good morning? Was it good? We're firing, we're learning, the learning process has started. Cool, Drew. Couple questions about what size modifiers those prophotos are. Those are the one by three strip, the OCF soft box, one by three. They're super lightweight, super portable, I love them, they're awesome.
Class Materials
Bonus Materials with RSVP
Bonus Materials with Purchase
Ratings and Reviews
Hannah Walker
I truly enjoyed this amazing lighting class. Peter Hurley shows you how he achieves his signature look using all forms of light shaping tools from natural light, to speelites and high end strobes. Seeing first hand how the placement of the subject to the light source and your lightning set up is so important to avoiding the hazards of flat light and haze. He teaches you his unique methods and secrets on how to make eyes pop and get the best color contrast without harsh shadows. You will leave this class energized to hone your own creative vision with light and shadows using the methods taught by Peter. It was a privilege to learn from a master like Peter Hurley. Thank you Creative Live for another amazing class!
pete hopkins
Peter Hurley is the real deal. Not only does he know and share a ton of really practical knowledge of studio lighting for headshots and fashion, but he cuts through the crap and tells it like it is. He is very encouraging and serious at the same time. He had our attention from Day 1. and never lost it. *Bonus Gold - You've got to check out his Hurely-isms. They are priceless! Aside from the new bag of industry tools to work from, Peter gave me a real, sober perspective on what it takes to be PROFESSIONAL fashion photographer! And CreativeLive provided the perfect setting as well. The whole CL staff were warm and inviting and the food was great! I highly recommend CL and P. Hurley to anyone who wants to learn from the best of the best! I can't wait to start shooting with my new skill set. Sign up for CreativeLive! Take advantage of all that they have to offer! Build a foundation, own your light, and Shebang!!! You'll be at the top of your game in no time!
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