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
Subject Centric Lighting Q&A
judy bee photography has a question if um if you can explain the lighting for blemishes and wrinkles once again yes bring the light from access a camera because as we know at the angle of incidence mean the angle the light going to the subject will come back at the same angle so let's think of a problem where does that become a problem red eye right cameras with a flash right next to it what happens the light goes actually right out of the flash goes through the eye hits the back of the eyeball which is bread blood and then shoots right back so you get red eye well the same thing that causes red I also causes wrinkles to go away because a wrinkle is essentially you know think of it it's just a little canyon it's just a little tiny shallow canyon the skin comes here and there's a little canyon if we put the light like from the evening or the morning we've got a shadow in the canyon if we bring the light at noon right straight into the bottom of the canyon and back out we're not even goi...
ng to see it and so I bring my light right toe access and pump it straight and high enough that we don't get red eye you know I don't I don't want to sacrifice one for the other hideout but it's actually coming right into the camera so somewhere on access if she's asking aboutthe special light then try a small grade spot that is one half stop brighter than your normal lighting so for shooting with soft box and we're shooting at half eight the light on the face would be like eight would be like f nine if you went to the shoulders of b f ate but the face would be a third of a stop brighter than the shoulders and that will kill your wrinkles on your and your bumps and everything question from lauren well in ah you said that light reflects yet black absorbs do you ever take away with black yes we do take away with black actually what we do it was laura what do laura is way provide the subject something black to reflect we're not really sucking away light and even even like I said everything reflects black will reflect it just doesn't reflect very much you know it's there's something there or we wouldn't be able to see it we would be it would be like a black hole to it so it's not very much but think of the difference between black felt and black satin what what's the difference you're going to see black satin right you're going to see how you could just see a beautiful black satin dress you see all the highlights on it what changed the surface efficiency changed it went from a very matte black to a very shiny black but I'll use black cards often to add depth to something white we had to do a bunch of candles um uh what they call them aroma candles and a lot of more white candles in white candles white wax inside glass old boy and actually the cards I stuck on the side of those candles or black cards not white cards I had plenty of white picture I think any more white I put black cards on the side so they picked that went from this to black edges all I needed to do was to separate it from the background
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
Related Classes
Lighting