Lessons
Day 1
1Class Introduction
10:08 2Why Light Matters
35:34 3What Makes Good Light?
18:32 4Equipment Q&A
13:04 5Subject Centric Lighting: Bowling Balls
10:51 6Wizwow's Rope Meter
17:44 7Softbox vs. Shower Curtain (Claudine)
26:05Technical Q&A
33:07 9Light Modifiers
13:37 10Light Modifiers Shoot: Alyssa & Claudine
47:40 11Light Modifiers Q&A
23:25 12Subject Centric Lighting
25:14 13Subject Centric Lighting Q&A
03:35 14Shoot: What We've Covered
22:45Day 2
15Lesson 16 - 29 Introduction
08:41 16Reviewing Previous Images
20:21 17Placing Exposure
31:22 18Placing Exposure Q&A
11:43 19Emotional Lighting
17:58 20Shoot: Window Light (Brie and Alyssa)
42:11 21Working with Models
09:41 22Shoot: Window Light with Reflectors
06:20 23Shoot: Headshot with Hot Lights (Brie)
22:51 24Shoot: Headshot with Hot Lights (Alyssa)
13:09 25Shoot Q&A
11:15 26Shoot: Beach Lighting
27:47 27Shoot: Clam Shell Lighting
26:15 28Shoot: Beauty Dish
20:23 29Reviewing Today's Images
31:23Day 3
30Owning Your Own Light
13:57 31Telling Stories
09:43 32Shoot: Dramatic Single Light (John)
20:08 33Shoot: Beauty Setup (Natalie)
28:50 34Student Shoot: Tracy
13:18 35Student Shoot: Kimberly
15:18 36Student Shoot: Ian
16:53 37Student Shoot: Lori
16:13 38Student Shoot: Moe
05:54 39Shoot: Building the Ambient (Isabel)
53:48 40Shoot: Two Subjects (Briana and Natalie)
16:23 41Student Image Review
13:46 42Life as a Photographer
51:09Lesson Info
Shoot Q&A
we're going to do a thing that I called beach lighting now and I used teo do this only in the workshops that people attended and uh because when I saw you know and the reason I did this light was I really ripped it off from target and jacques melanie alone a long time ago I saw him doing it know what I'm doing that I got back to phoenix and no started shooting some models and phoenix with that lighting and both of the agencies within a year sent me every single girl that had to shoot in that light because they loved it so much and I even got calls from qatar was going how did you do that and I told him umbrella you wanna learn how to you go find jack melanie on in new york and find out it wasn't in teaching mode at the time questions while we set this up yeah we have a question to these two of these okay uh shooter umbrella on a boom coming down boom forty two seven this the forty two coming it's up high coming straight down and two of these oh but I start doing a soft shoe then we're ...
good we're good doing it with a small stroke or with pro photo you know what let's do with pro photo okay okay photo and that if we know the pro photo in that kiss liza bouncing brother okay all right well yes um don't question uh even what today's you know super s o cameras how come how high do you go comfortably me yes man I probably could count on fingers and toes anything I've been over eight hundred that's why for me perfect for me I've never really been one of those guys who cared much about the high I s o I don't I don't shoot sports of the weight I don't shoot you know plays and stuff where I need it I don't I totally understand people who dio totally get it and I think it would be is fabulous the fabulous thing but my photography is my photography and I don't go out and shoot with really really low light it's just not me um it never has been I don't feel he changed however I have changed you want to hear about my migration while these guys are working behind me I could do a little soft show there I used to live with this lens on my camera this wass violins and I still love you this is a very old l eighty two two hundred not a seventy two hundred kisses in eighty two two hundred I'll tell you how I migrated to canada if you'd like to hear I was a really proof photographer and back in the day when you were a pro photographer that king with some really heavy responsibilities one of which was to own every lens that camera manufacture owned so I carried a camera case with two f threes with motors that's uh sixteen batteries in each at sixteen batteries there right there hey batteries in each ah and fm with a motor that's another eight batteries and a sixteen eighteen twenty twenty one you know twenty one was that lens when the twenty was just a little too wide you'd reach for the twenty one says god forbid you do this you know twenty one twenty four twenty eight thirty five thirty five p c fifty eighty five one o five one thirty five one eighty and two hundred again the one eighty in the two hundred because sometimes the one eighty was just not quite long enough I have to reach for the two hundred those are all the bag now this is pre auto focus all that stuff so yeah my thirty five millimeter f to nike orlins is about this big it's tiny has just basically a lenses roll manual focus lens is we'll get a chute where I had to go to seven cities in five days and shoot and the day I left to go shoot I got the flu the really bad flu where your bones or in your muscles and everything I completed the job what do you do like sleeping in the back of a car running a fever one hundred for but I got the job done that camera bag was about sixty five pounds and the other bag was dina like kids with two heads pack stands in the whole bit that was about sixty five pounds so I'm going through the airport with about one hundred twenty pounds over two shoulders with the flu when I got back the day after I got back I couldn't get off the bet I could not get out of bed they had to call the medics and bring me over my back had been skewed the center of my spine was here at my head and it was nine and a half inches skewed where it went into my pelvis and it did this and I couldn't not side I said I got to change this it's time for me to go and get auto focus cameras it's time for me to get rid of these getsem zooms I'm killing myself carries crap around so I went to tempe camera and joey had the f four there want just crash tempe cameras website to dinner on dh he said well here's the new f four and I picked it up and I I'm holding it I'm thinking I don't like it I don't like it at all I didn't like the way it felt I didn't like the way my hands held it this is about his traumatic a moment in my life as I could imagine waking up one day and saying I don't really like that kid that I have I like the other two but that don't really like it I was a nice guy had nikon underwear you know what I mean had nikon everything as mr nikon um and I didn't like it went back two or three more times and joey joey was just kind of laughed because you really don't like I don't I don't like anything about it I don't like the way it looks I don't like the way it smells you know what I'm saying he said what you thought about the new cannon but all I'd remember the can is f one don't you've ever seen in f one is like a black brick with the lens glued on the front just the ugliest most utilitarian you could take photographs with it you could drywall with it fixed your car with just this big hunk of metal right said no but he did not know they got a new one and put that feels in my hand my hand went oh this is really nice so what's the wheel for he says contextual you wanted to be for f stop it's fresh stop you want for shutter speed you want pursuit of speed I'm like oh my god you're kidding so I left there that day with two doses and eighty two hundred lens and the twenty one thirty five lens and fifty and cheap uh inexpensive seventy one hundred two three hundred just in case I needed the long shots really used it but I lived with this this linz on my camera all the time I was mr telephoto absolutely all my sh I just love the way that hedge headshots looked on two hundred millimeters I use it all the time I rarely use it now I rarely use it I'm basically my lens right now is thirty five millimeter fifty millimeter hundred millimeter if those were the only lenses that I had I'd be happy I'm okay with that so things change as you progress through your your photography I don't see telephoto shots now I seem or normal lens shots thirty five fifty and they're that being said the lens that she'll never find me buying is the twenty four to seventy the twenty four I'll have thirty five already got but I never ever said boy if I only had a sixty two or sixty eight or seventy I've never wanted a seventy lens I don't get it so it's a wonderful lends really sharp candles sumi I love it but it's not the lens from a I'd rather go uh those prime so my prime's will be on my new camera gear will be twenty four thirty five fifty one hundred will get a two hundred maybe someday but those that's where I'm going to kind of live for a while and it probably won't be this brand it's probably a good thing I saved my lens cap are we close way are mean to set up or is this close to what you wanted absolutely not okay hey flip it around this thing's coming this way ok that's all all right questions how can I be a traitor to my why did I buy cannon all his stuff just like the way it felt at the time that could stay there so I believe that one camera makes a better image than the other no my goodness no I just seen too many wonderful photographs could you can you tell a photograph you looking for direct what camera was taken from really I can't I can't it's a photograph of it it was me I like it questions from the internet or the internet or the hinterlands going back to your last lighting the last model she was a brunette and she was lit from behind could you do that same or would it be the same or different if you had a model no these same absolute sense there's not enough brightness too blowout that blond hair okay we're we're well within the tolerances of the four stops that would make that that happened yeah in fact it's beautiful with one here and a question from k bolts I'm not sure if he already said this from houston texas but could you talk a little bit more about the lynching that you have there that's why we put it on there this is a compendium len shade um about it a long time ago I don't know if they even make him anymore they do really if you're going to have to let us know okay and because I love him and this is old old I don't want to die I love it it's a compendium so that it works for two hundred millimeters one hundred thirty five millimeters hundred millimeters I could just pull it out it's ribbed right you see the little um bellows effect light can't bounce around in this little bounce around in this that's black you know that we this one's a pretty good has got the felt inside but the one that I have from my two hundred is just a steel thing it's was shiny black right a shiny black balances light and you can put it on her it'll be times when it'll happen light hits this and it gets caught on the ribs and it's done no flair at all and I'd shoot a lot of things where there's light that could possibly flare so really liked this way put it on here because this that's pretty intimidating looking right uh it's not a guy with a camera there look I got that funny thing on the front it's all for show how's that
Class Materials
bonus material with purchase
bonus material with enrollment
Ratings and Reviews
Cheryl
I just finished watching this course, and with teary eyes can say, without reserve, this class has been fantastic! Don's last session would be great to watch in the beginning and the end because it helps to understand his thoughts on being a photographer. The rest of the class is full of great information on lighting and Don is able to explain his thoughts and his processes with ease. I hope I will always think ahead and plan how I want my final results and how I want my subject to reflect light. Learning this was one of my "aha" moments during this class. I own over 30 Creative Live photography courses and this class is one of the top classes I own. I already plan on rewatching the whole class. Well worth the investment! I feel it is not a beginner course, but a intermediate to advanced one. Don has set a high standard in lighting...a goal to reach for...a goal that is possible for each person willing to take the time to learn and practice. Thanks Don and thanks CreativeLive!
Ryan Redmond
I am so glad I took this course. I'll be honest, it took a few lessons for me to warm up to this series but I'm glad I stuck with it. I have had a couple cheap speedlights, softboxes/umbrellas, and reflectors for many months now and was too intimidated to start using them. After going through this I am not only downright excited to use them, and confident that I can have spectacular outcomes, I'm also confident about shooting in natural light indoors and outdoors. It's also given me the tools and confidence to start shooting in manual vs aperture priority and to nail the general calculations in my head. I appreciate that Don used mostly budget or unorthodox equipment like speedlights, foam core, work lights, curtains, etc. because that's what I can afford and have been using to try to replicate expensive gear. Other classes use thousands of dollars in lighting and Don proves you don't need that for excellent shots. I also appreciate his advice for directing your "models" and insights into his overall process. This class was invaluable to me as a novice. Thank you!
Joanna
I thank very much CL that I could see the wonderful material on the light in photography, in fact everything became clearer, Don you are the great teacher, great stuff, very interesting and fantastic lecture, very helpful ! Thank you one more time !!!
Student Work
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Lighting