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Indoor Lighting: Building on Ambient Light

Lesson 26 from: Picture Perfect Lighting

Roberto Valenzuela

Indoor Lighting: Building on Ambient Light

Lesson 26 from: Picture Perfect Lighting

Roberto Valenzuela

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Lesson Info

26. Indoor Lighting: Building on Ambient Light


Class Trailer



Intro and Who This Class is For


3 Groups for All Lighting Scenarios


My Progress in Lighting


Analyzing Circumstantial Lighting


Circumstantial Lighting Q & A


Using a Reflector the Right Way


5 Behaviors of Light: Overview and Angle


5 Behaviors of Light: Inverse Square Law of Light


5 Behaviors of Light: Relative Size


5 Behaviors of Light: Relative Size Continued


5 Behaviors of Light: Color


5 Behaviors of Light: Reflective Surfaces


5 Behaviors of Light: Q & A


Location SWOT Analysis and 10 Things to Look For


Location SWOT Analysis: Examples and Exercises


Overview Q & A




Speedlites: The Basics and TTL


Speedlites: Manual Flash


Speedlites: Zoom Flash


Speedlites: Zoom and Rotating Flash Head and Reflectors


Speedlites: First Curtain vs. Second Curtain Sync


Speedlites: High Speed Sync


Speedlites: Optical vs. Radio Systems


Speedlites: Groups and Channels


Location Lighting Upgrade Examples


Indoor Lighting: Building on Ambient Light


Outdoor Lighting : Speedlights in Direct Sunlight


Outdoor Lighting: Using Speedlites in Shade


Outdoor Lighting: Romantic Look and Patterns with Speedlites


Indoor Lighting: Creating a Window with Strobes and a Curtain


Indoor Lighting: Moody Light with Speedlites and Gels


Indoor Lighting: Reflective Surfaces


Indoor Lighting: Shooting Against a Window


Indoor Lighting: Adding a Reference Point and Ambience


Indoor Lighting: Shooting into a Mirror and Creating Separation




Why You Need to Learn to Get it Right In Camera


Location Photo Review and Analysis


Intro to Reception Lighting SWOT Analysis


Reception Lighting Setup


Image Critique: Lighting Problems and Solutions


Don't Limit Yourself As A Photographer


Lesson Info

Indoor Lighting: Building on Ambient Light

Welcome back guys uh we had a very much well recent deserved lunch lunch but we're back and we're gonna do a pretty exciting segment now because now we're going to start to apply everything we've been talking about it so it's not just he knows there will be no slights or anything we're just gonna start shooting while I'm shooting I will be explaining and I'm gonna do it in a very step by step approach so we will start out with no flash at all we will we will then start to shape we will add a flash on camera we will then take the camera the flash off the camera and we will start to shape the face the way we want it once we get unachieved uh desired result we're going to change the line we're going to do a whole different look using our lighting knowledge that we're going to a play so I'm going to know I'm I'm aware that people watching come from different levels off lighting, technique and abilities and so forth so I will try to kind of try to ah cover all my bases and cover the people ...

that are really one another technical side and I'll remember the people that really want to know the artistic side of what my positions are and why I will do my best with that if you feel like I'm lacking on the technical side you khun email chat room cannot and she will tell me can you explain more technical things and we can go from there with no further ado calvin, can I borrow you for a second? My friend this is calvin again. He has not changed his name since last time we saw him, um, way have a little problem with a salt trucks okay, I'm going to move this for now there and I'm gonna move this one you're now channel your guys jenna we're ok now let's go ahead and, uh, one thing this is not a post in class but I will post this just because postings very simple and super fun so we're going to start out calling can you sit down? Uh, by the way I put I put this box is this way on purpose this is gonna make him put his body weight on you no sitting down on this is going to change shift his body weight to one leg more than the other that's what that's why that's there. So you've been sitting on that soft box butcher is you're gonna put this neat right in this direction that me that we'll go there, then we're going to actually strain her back a little bit more and you're going to tilt your head slightly this way when we see something the other way stop took too much right there let's grab this is an issue so I'm going to bring this down there now put it there and only put the heel in the corner let me see how you look like now. Okay. Much better. All right, um step by step so the first one I'm going to take thank you I'm gonna take the first picture we have some lighting going on with windows okay, we have a little bit of video life from the video lights the led spot we're just gonna take up actually does ellie these are really influencing the exposure, okay? We're gonna take a quick picture we're going to start to shape him up so if you start with no speed lights at all you end up with something like this we're gonna go tether that and it actually looks pretty cool because the two lights are video the video kind of killing my whole situation here brittany looks bad. All right, great. Next step we're going to put flash on camera so let me see one of my flash is my cannon one right there. We're gonna go. This is actually the way you would practise lighting. Okay, so if you are interested obviously you watching you watching this course and really taking your life into a higher level though this step by step process until you start to really understand what's going on here is, um we're going to do a straight on flash on his face no problem I'm gonna switch it to manual okay? I'm gonna switch it to manual flash I'm on manual exposure I'm gonna also for hundred aperture to point a shutter speed one twenty five on we're going to just do a straight on flash and that looks what you would expect very very flat andi it's just not that attractive especially for a guy although that looks surprisingly good because he's kind of good looking so we'll just move on came by now you would know let's see here that if I want to make that exposure a little bit darker all I have to do is move myself further away and that would do it because someone manual flash as soon as I put my flash on manual on the little m shows up you have four choices to change the light you can change the distance between you and your subject you can change the power of the flash you can change the so or you can change the aperture okay, now we're gonna switch from here we're gonna turn this off we're going to start to shape his face and make him look like a geek you cover okay so I know I know so I think this one thank you very much steel can I put this one on on dh if you're on the web thinking this is these are crazy, huge lights, and this is performer lighting and all the stuff I can assure you you can achieve the same result with a flash and a diffuser, so don't don't get caught up in the equipment. The equipment this year is just because of the size, but if you have a future that's large, like if you buy a six foot diffuser, put the flash far away and it will be the same exact effect. Okay, okay calling let's, go ahead and set up let's set up the big light over here on we're only actually well, let's do it on on cameras on your list, one on this side, right there now to review from yesterday. This light source is not only close to him, but it's also a humongous, so the result should be very much engraved in your head before we even take a picture because I'm changing the lighting so much, I'm going to switch my camera to a black and white, uh, picture style, I'm going to go to black and white, and the reason this I want to focus on lee on the lighting, not on the colors that I see, so I'm just going to focus my attention on the lighting because this is so huge and so close is going to look that closeness is going to make the inverse square law of life coming to play so it's going to be shadowing the sidelight on this side but because this is so big able that the corners off this diffuser well basically reach the shadow side that the inverse square of light created andi will solved in the entire look of the face if you're not satisfied with that put a simple diffuser on the other side and it will bounce him with the light back into his face by doing that you can really shape the cheekbones and where you want the light to be so this lighting I can already tell you it's not the most attractive because he doesn't highlight his cheekbones if we were to put this light higher it would be better but that's a better decision for a smaller light so this will be the main light and they were gonna put a little kicker like toe to enhance the cheekbone area. Okay, so cool calling this strike uh can we uh put this closer to him? That's it right there. All right, let's, try this and put that out power number uh three okay let's begin really cool pose uh not opposing class and look, I'm gonna let it go let it go it's not opposing class college and you know I'm saying can I switch my lanes to seventy two hundred please okay as we as we expected uh let's go ahead and grab that okay thank you. Okay try this one more time okay so we would expect it's going to have a very soft light but the shadow side we cannot avoid it because because their life is so close to him the inverse square law of light will never change it he doesn't care about your equipment just does what it does so the next thing is you see here okay very nice that will be the main light I'm going to move the light a little bit to the back to make it look a little more artsy so I'm only going to illuminate his face with the edge of the diffuser okay now with the whole diffuser okay so I'm gonna do this now this side is going to hit him the rest is just gonna gonna go away and I'm just shaping the face to the way I want it don't change the power toe five look at the cheek bones now you're starting to come one more time okay, now look at the g is starting to look more and more jake you the way we wanted it so take a look at the last one starting to come out right see you simp lighting is so fun now we're gonna put the next light we're going to put it over here and we're going to basically bounce some light back okay, so this will become kind of like the feel light okay let's put that more on the side and I want to keep the shadow on the left side of his face but I want to just bring a little bit of lights were going basically turned it all the way to the lowest power possible we're gonna use only the edge of it as well so it doesn't have the full blast of the light on dh alright meant that carving that was cool this creature elbows there further up that's it now straighten your back a little more now pull back a little bit that's it stop right there red look perfect bring your chin down a little bit you are like perfection man that's perfect okay now don't smile killed us my everything you hate me for a second it's not hard to do expand your shoulders bring that hand other further out that's it that's it and rest more of your body weight on that arm looks much better and I love posing to that's a different course okay let's take a look at this lois power on the feel light the main life stays the same. Okay? If I was shooting for g q magazine or something like this this would be the look that you would probably want to get okay now the last one we don't have another pro photo light right okay let's let me switch gears quickly here uh problem so let's put that light behind so illuminates the back of his head on dh I'll I'll actually throw ah let's get the diffuser and he's put the diffuser on this side and we use that as the field yeah we're gonna get that out of the shot right there and pointed toe took his head what I'm doing now is creating a separation between the subject and the background something that a lot of photographers don't think about here you have a black jacket with a gray paper that's too monochromatic look at the way it looks okay so we're going to the local shot right so we're going to just keep this but we're going to put light on the background sounds good alright try that uh we need to raise that light on we need to angle a more towards his head remember you you finance the lighting right this is going to illuminate pretty much his shoulder and everything I'm trying to just create separation on his head in the background so we're going to raise this the light's going tto him here and it's going to create more separation between the head I don't want mr lee care aboutthe shoulder I went ahead so that should be pointed right at his hair okay put the diffuser really close to him on dh what's gonna happen to the light of hits the diffuser it's, some of it will go away and summary will bounce. I really don't want it to go away, so we have to put the reflector behind it and used that technique I did on this one second, too. Okay, let's, try this again. Oh, uh, super cool, let's. Get the reflector police. Thank you. You guys see that. Now see that separation of light right there. That's, that's, tough finessing that gives your work that sophistication. When people see that they think you know what you're doing instead of just somebody landing with a black background that looks weird is like somebody's face floating in a black space. Let's, turn up the power of that light meant to three on because I want the light, softer, let's, put it a little closer to him. That's it good. Ok, reflector right there. The future in front of the reflector on dh one teo three boom on that it's, how you do it, okay.

Class Materials

Bonus Materials with Purchase

10 Elements to Look For at a Location

Ratings and Reviews


Im sitting in my office listening to Roberto with my earplugs on and I know I have already left 2 reviews but he's so funny…. my family comes into the office asking me "whats so funny" Roberto makes me laugh out loud with his jokes but at the same time, he is SO great at teaching. Im watching for second time to make sure all his good info is ingrained. HIGHLY recommend you take his workshop on Picture Perfect Lighting if you truly want to take your photography to the next level! WOW thats 3 reviews now…can you tell I am impressed

Maureen T.

I'm taking a portrait photography course at NYIP online. one of the mentors there recommended the posing book by Roberto. I ended up ordering at the library the posing and the perfect practice book. I fell in love with both books...ended up buying them and signing up here for the year membership just so I can take all of his photos courses. I spent most of my weekend doing perfect lighting course here I am in love with the way that he teaches! He makes something so difficult and challenging for me make sense. I also like that he challenges us photographers to be true professionals. I am thrilled to have discovered Roberto and already noticed my photography is better in the short time that I've been studying him.


Roberto has the personaliyy and gift to relate to others.He is honest and shared some of rhe disaters that occurred, even with high paying and important clients when he failed to follow his proven and tested approaches. He has shared from his extensive knowledge developed by hard work and effort to master his craft. His dedication in attacking his weaknesses and making them a strength is inspiring. I have purchased many CL classes and all have worth the investment so I hesitated to purchase this course because I didn't think there was much new information. However the clear teaching and extensive knowledge shared by Roberto in his unique style caused me to purchase it gladly and believe it is an exceptional value. Roberto has shared his extensive tools, but you will never be the master of the craft without putting in the hard work and testing that roberto testified to. Thanks again CL for bringing the best to us and Thank you Roberto for taking the time and preparation to achive excellance in in this class.

Student Work