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
Overhead Bounce + Fill
Overhead bounced, plus phil now, in the last tutorial we used overhead bounced to create a very dramatic and kind of cool look with our fitness images, but overhead bounce come used in some way giveaways for beauty, for fashion, for portrait, for puppies, yes, but what we're going to need to do is we're gonna need to modify the light just a little bit. We're going to overhead balance plus fill in this set of tutorials. We're going to be using up to four reflectors, so and I'll talk to all the different kind of set ups in just a second let's talk about the gear that we're gonna be using. We can use ifyou'd like four westcott reflectors, but the thing is that you're going to need stands toe hold those reflectors so you could buy the stands separate or what I probably recommend is getting too stands of the photo dio stands that come with reflectors and then just getting to westcott so that we have two oval ones and you have two circular ones that you could use on top of bottom and so fort...
h. We're going to create a sandwich setup and that's gonna cover the techniques on the left side with our little puppy shot, I thought I'd be. Even more adventurous with that and rather than using any type of reflector than you'd buy we just did it d I y style because I want to show you guys that light modification is super easy to do guys if you don't want to buy something that's fine well you're gonna need to buy at least foam or some like that but for these shots all we did was just used foam insulation basically to create the same kind of box and it was extremely expensive things like ten bucks to get all the film installations we just cut it up and it works perfectly so remember that light modification while you can buy all these different like tools and things and it makes it simple because it saves me time have to make it you khun d I y it in so many situations and save money by making your own modifiers all right so let's go over the primary tips in this little section number one does remember the same basics if you decide to use white then you're going to have a more diffused light but it's going to come at the cost of a bit of intensity and it's gonna have less contrast if you decide to use silver then you're gonna have more light, more intensity and also a higher contrast light same stuff same thing I just want to reiterate ten number two is to watch where the light's falling I'd always recommend starting with one light, adding a second fill and then adding additional ones as you need, but always start with one first and see what it looks like and then adjust from there and then watch what you're phil's and watching these other things and watch basically the highlights and how they're landing. This goes into the refinement of your lighting, okay? And when you practice these techniques, I want you to take a shot and then study it. Look, if the highlights are too strong along the foreheads or look at it, the phil is too strong coming up from the chin, look at all these things and make small adjustments here and there just to kind of tweak and modify before going forward, okay? So let's, go ahead and talk through each of these set ups over here on the left, we have our clamshell lighting setup, so basically, this is a paramount light setup we have. Well, this shot actually is coming from the left is a split led light, and we're just trying to show you really all we're showing you here is just that if you do split lighting without a modifier, it looks absolutely terrible, I don't know, I don't want to be trying to show you look in the bottom one. Okay with the bottom one we have paramount line and we have that led light placed above head. We have it going through diffusion and we have a fil below. So the payment light with phil and what does that become? Clamshell we get beautiful, soft, natural and that's all I want to show you is just how soft that gets and we've talked about that before, so I'm going to go a little quickly through that one but that's one of the overhead phil bounce phil techniques while we did it here within led you could do the exact same thing with flash and the way this is gonna work is how we're going to do it in the second shop. Now the top image right here this was taken of brandon during that same portrait session where we did all the fitness and all the other stuff too. So it was on a twenty four seventy at seventy millimeter zoom this is the mark too. By the way, we're sending mark to this is that one eighth of a second two point eight and sixteen hundred this is what that shot would look like if we just used the natural you mean like pretty terrible quite crap tastic not good. The bottom shot, though, is that one, two hundred second f to a d s o two hundred and what we've done is we've placed four reflector so we have two reflectors on stands on the left and right we have a reflector overhead and a reflector underneath what is this doing? Well with the flash and for this type of a shot, you don't need to use a grid because what you want is any time you're placing the flash close to, like the modification that you're gonna be using well you want the flash to actually open up and to fill that entire modifier so I'm not going to use any zoom even at all I want to actually widen this out well, I'm going to the zoo I'm just not gonna zoom it in I'm gonna zoom into twenty four millimeters so that way when it hits that top modifier it spreads out it opens up ok otherwise it's only gonna hit the modifier in a small place and is going to come back it's going to be smaller light which we know a small lie it's gonna be a harder light so we balance into that top reflector then it comes down bounces into the bottom reflector and all the meanwhile we have the left and the right sandwiching reflected, which captures light from the left and right and throws it back in the face with four reflectors all around the plate face I think I almost said place but either way for reflectors all around the face what type of light do we essentially create? We're basically creating a square or a flat light set up but we did it with basically one overhead lights so the lights actually bouncing up overhead are on camera flash and it's coming around and is creating a flat light which goes in and it looks awesome okay, we do this type of setup all the time for hedge odds not on with brandon with other people it works fantastically well chris beautiful catch like that creates a fantastic look and if you watched the peter hurley f stoppers dvd which is a fantastic course on headshots then you'll know that he uses a similar flat light setup he sets it up a little bit differently but it's the same type of quality of light okay, now you like doing headshots? I'd have eric when checking out that course because it's a fantastic course on getting the best poses of the best expressions out of your models so if you want a more speculative light for this type of a set up you silver's I think for brandon we actually ended abusing silver's but if you want a softer look with the light then use whites either way it's not gonna be a huge difference because there's so much light coming in it's just going to be a small difference in speculator ity not so much in wrap the softness for the hardness it's going to be very similar because all the lights are the exact same all the distance of the light or the modifiers to subject is the same it's still large so it's still gonna be a very wrapping light it's just gonna be a little more contrast versus a little bit less contrast fantastic set up super easy to do and basically all we have on the bottom so one hundred second f two eight two hundred this is for silver flat square set up you can run t on this but again I can tell you not to just don't we run one quarter to one eight power on manual okay twenty four millimeters get beautiful exposures every single time all right, so with that technique you could do the exact same thing and create either paramount or you can create a clamshell paramount rimmer paramount is just one light overhead clamshell is paramount plus phil all we do is subtract the left and the right reflectors if we take a left and right with flickers out and bouncing that top we get this exact look but with our own camera flash so let's move on to the puppies now with the puppies I want to do something a little different I don't want to do the same exact lighting techniques I want to show you guys that we could modify with whatever okay? So the top shop direct flash this is on a fifty millimeter lens at one point two l we're shooting an f two eight one one sixteen of a second and is a one hundred and direct flash take a look at the docks look at them they look angry with me they look they look veritably pissed off that I direct flash them unhappy then I go okay so what we're gonna do now we're gonna show you guys that light modification will be simple and incredibly cheap so I took the foam core that you'd get or not the foam core the phone installation board you get at home depot and I just made a little box out of it it's a little home its a phone for if you will okay and I'm using basically one piece on the sides and one piece over and I'm using the are white little paper background are seamless paper that's my bottom part and then under sitting inside of it and I have the dogs just place in front of that and all I'm doing is doing the same thing in the reform is bouncing of the top and then it wraps all around and goes right into the puppies these puppies are actually my partners puppies so I have his wife you've got there helping me to kind of play some in position and play with them and do all sorts things we get these beautiful looking shots they look fantastic same exact techniques, guys, beautiful, light, really bad light, same flash, ten dollars, a modification, and we get to this so what's the point of this again, you guys could go out and buy reflectors by stands by those things, because they make your life simple, but don't feel like you have to. If you want to die, wyatt, you want to make your own fine. The techniques toe light, and to modify our identical regardless of whether you're buying your modifiers or make them on your own. All right, so that's it for overhead bounce, let's. Move on to the next video.
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 :)
Student Work
Related Classes
Lighting