Lessons
Chapter 1 Introduction
01:26 2Why Just One On-Camera Flash
04:22 35 Reasons to Use Flash
10:37 4Common Flash Myths
06:51 5What Makes Flash Challenging?
04:56 6Chapter 2 Introduction
01:36 7Flash-Strobe vs. Ambient-Constant Light
08:19 8Flash vs. Ambient Light Exposure
03:07Flash vs. Ambient Demo
06:42 10Flash and Ambient Balancing for Natural Effect
07:11 11Flash and Ambient Balancing for Dramatic Effect
04:19 12Flash and Ambient Balancing for Creative Effect
07:10 13Understanding Flash Duration
08:37 14Chapter 3 Introduction
01:34 155 Common Key Light Patterns
08:38 165 Common Key Light Patterns w/ Diffusion & Fill
07:42 175 Common Secondary Light Patterns
08:28 183 Primary Subject Patterns
05:27 19Light Qualities
09:56 20The Inverse Square Law
07:50 21Inverse Square Law in Practice
08:21 22Corrective White Balance
10:02 23Creative White Balance
05:47 24Chapter 4 Introduction
01:58 25On Board vs. Hot Shoe Flash
05:57 26Full Feature vs. Manual Flashes
08:59 27TTL vs. Manual Control
08:12 28TTL vs. Manual Recycle Times
04:43 29Flash Power & Zoom
09:18 30HHS vs. ND Filters
12:29 31FCS vs. RCS
07:11 32Chapter 5 Introduction
01:38 334 Tips When You Must Use Direct Flash
06:00 34Bare Bulbing Done Right
11:42 35Grid Snoot + Direct Flash
06:43 36Mini Beauty + Direct Flash
06:08 37Ring + Direct Flash
07:52 38Understanding Modifiers
09:24 39Direct Flash + Shutter Flash
09:07 40Chapter 6 Introduction
01:55 41Ambient vs. Direct Flash vs. Bounce Flash
14:27 42Silver Bounce
14:27 43More Light Silver
11:02 44Soft White Bounce
15:41 45Overhead Bounce
11:39 46Overhead Bounce + Fill
09:42 47Event Bounce
12:42 48Chapter 7 Introduction
01:38 49Natural vs. Dramatic Light
17:43 50Filling and Refining Existing Light
08:44 51Coloring Light for Corrective Effect
13:33 52Coloring Light for Creative Effect
10:27 53Chapter 8 Introduction
00:43 54Case Study 1 - Dramatic Sunset
09:45 55Case Study 2 - Desert Sunset
10:04 56Case Study 3 - Sinister Headshot
09:40 57Case Study 4 - Family Portrait
08:21 58Case Study 5 - Athlete Portraits
11:19 59Case Study 6 - Working Angles
07:22 60Case Study 7 - Drag + Composite
08:09 61Case Study 8 - Less is More
07:16 62The Good Karma Jar
01:41 63Favorite Feature Flashes
05:52 64Favorite Manual Flashes
21:35 65Favorite On Camera Flash Modifiers
21:21Lesson Info
Common Flash Myths
in this video, I want to debunk four common myths about Flash Phil. We're gonna tuck in my thumb like go 44 common myths about Flash. And those myths are that Number one flash is complicated. And I have displayed a calculator here because I hate math. Absolutely. This is coming from a former accountant and c p a. The climate Dogra now hate number two Flash can't look natural. Your images are always gonna look like they have been flashed, completed faults number three Flashman degrees expensive and requires too much gear. It's true that Flashman degree does require more gear. I mean, it's more geared to use but doesn't require tons of year. And the gear isn't necessarily expensive either. So that's completely we're gonna talk about each of these in detail. Number four flashes only needed in dark or when dealing with subjects in shadows. That's completely false as well. All right, so let's start from the top with flash is complicated. Okay, We have e t t l. We have t TL. We have manual f...
lat power am universes, flash exposure, power setting zoom, inverse square. What the heck is that? Sync speed, High speed sink. I mean, there's a ton toe. Learn about flash, but it's only complicated when you try to approach it all in one sitting. When you try and approach it all of the same time where you're doing off camera flash, an on camera flash and studio strobes and pocket strokes and you're trying to get that whole thing just swallowed in one gulp, it's just not gonna happen. But when we break it out and that's the reason again, why we're using one single on camera flash cause we can focus on just on camera flash and break down each one of these principles. It's gonna create an incredibly intuitive foundation for your lighting going forward where basically, after this workshop, whether you're using a studio strobe, a pocket strobe, whether using off camera or on camera flash, these principles are gonna become simple and easy to understand. And basically all you have to do is learn where the buttons are on whatever piece of gear that you're using. That's it. Okay, so flashes only complicate when we try to approach everything all at once. It's true that there's a little bit more toe learn because now you're learning lighting in a different type of technique versus natural light, but it's gonna be well worth it. It's not nearly as complicated as you think. Myth Flash can't look natural, that is complete. Flash can look completely natural. It also could look super dramatic and unnatural, if you will. It's really just a matter of balance. I mean, over here we have six different portrait all of these air designed to have a very natural and subtle use of flash basically in them. So that really in looking at them, you wouldn't think that they're anything other than either natural light or simply reflector modified natural light. But in actuality, they all have been flashed so flash can look as naturally wanted to. It could look as dramatic as he wanted. Teoh, we're talking about that as we go through the workshop. But don't think that it can't look natural. Myth number three is that flash is too expensive and, you know, I kind of get that because most workshops, as we talked about, start from that bottom up year approach where they say they tell you to buy all this gear and all the lighting modifiers and everything that you possibly might need for studio in, off camera and on camera and all that kind of stuff. If you did that, you're spending $10,000 that is expensive. And that's saying that you don't go out and buy the best stuff you wouldn't buy. Brown colored your spending 20 $30,000. But it doesn't have to be that way. And what this workshop is designed to do is to teach you flash with an on camera flash and just simple light modification, inexpensive reflectors. That way, it's accessible and approachable to everybody. I mean, most of you should already have an on camera flash. If not, please buy one, because it is quite necessary to have home chamber flash. Everything else, though, is gonna be around anywhere between 10 bucks for D. I. Y. Solutions that we'll be showing you 20 bucks 30 bucks. Most all of the light modifies that we're using here are under bucks or well under 50 bucks, with the exception of one thing, and that is a neutral density filter, and there's gonna be different levels of quality that will give you those can range between 103 $100. But again, one great neutral density filter is something that's fantastic to invest in its going something used quite a bit in your flash career. And it's useful for a whole bunch of purposes as well, just in general to slow down your shutter speed. But we'll talk about that more later on. But that item there is the only piece that's gonna be basically more than you know, 50 bucks. Everything else extremely inexpensive, very accessible, and flash does not need to be expensive to get great results. Myth and before is that flash is Onley meant for the dark. Now it's true that if you want to, you can go out at night time and can use Flash to brighten up your subjects. You can shoot in the dark and use flash to brighten up your subject. Great flash come using the dark, but it's not just for that. Okay, hopefully you've already seen by now that we're using flash in the middle of day toe, overpower the sun to create really dramatic shots with great color Behind them were also using flash the middle today like, for example, in this shot where we have a beautiful natural light portrait. We just use a little bit of flash toe, add some light direction and change the light quality a tiny bit. We use flash in our studio to create the right type of light to accent different features. As you might see in these athletic portrait's here, we're basically I want to show off muscle definition. I love this shot where we shop is absent that crazy abs, I not so much. I have, like one AB he has, like eight. That's crazy. Okay, here we're using it in. It's kind of a darker scene, but this is still in the middle of the day. It's under a bridge, and we could shoot there with natural light. It's still bright enough to shoot with natural. I were just simply using flash toe, overpower the existing light under the bridge and create a very dramatic effect. Hopefully, this video helps to kind of debunk some of the myths out there of what flash can and can't be or what it is. It's too expensive. It's too complicated and so forth. It's simply not true. Most the time I found that these kind of reasons and myths that exist around flash their created because photographers are oftentimes they don't want to learn flash because maybe there a little bit lazy. They don't want to get out there and actually practice and study it and so forth, or they might be intimidated by they find it very challenging, and so they'd rather stick with what they know. Either way, I want you guys to expand your vision of what flash can be. And it's just one of those additional kind of tools in your tool kit that's going to give you more control, more flexibility, regardless of what senior working within. But we're gonna talk about some of those challenges in the next video, so let's go into that now.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Sid
The best class for understanding light and lighting there is bar none. Pye is an excellent teacher and the quality of the material provides for a rich and very informative experience. Pye breaks down the fundamentals in easy to digest packets and then elaborates as needed. If there is one class that you watch this is it! Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. Again, and can't say it enough, this is THE BEST video to lighting on Creative Live. A must watch for the novice and the expert.
Petra
Great course, I highly recommend it if you want to become a more confident flash user. Pye is a wonderful instructor and just such a nice guy, it's a pleasure to listen to him
Simon Metselaar
This is the best thing that happened to me since I've been into photography. What a lifesaver. Unfortunately I already payed for some courses that are not Pye, but Pye just nails it. Amazing, and kind of a life hack. Thanks again :)
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