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Speedlites: High Speed Sync

Lesson 22 from: Picture Perfect Lighting

Roberto Valenzuela

Speedlites: High Speed Sync

Lesson 22 from: Picture Perfect Lighting

Roberto Valenzuela

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Lesson Info

22. Speedlites: High Speed Sync


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

Speedlites: High Speed Sync

The first segment, uh, it's really kind of like a power go through off some of the most important flash features that the speed lights half ok, it takes a long time to explain each feature in detail, but I figured if you're gonna buy this course, you're gonna practice each one. You can practice each of these techniques separately, for example, you can practise techniques, and why would you use the zoom feature off your flash? You can go to your next reception and soon the flash head and shoot a wide angle lens and you can see the spotlight look that I was telling you about, or you can use the zoom feature in order to assume outer zoom in in order to control when a surface, if not straight. When a service goes like this, like a curtain expand, making the zoom feature wide angle allows you to have more probability of angles hitting your kid in the person properly. Those air something these people don't even think about, like if you have a flat surface, then you can keep your flash on ott...

o zoom for the zoom feature, but if the service you're bouncing the light off off that's kind of a weird thing off its re pally. Then you need to think my flash can actually spread light further, which means it can bounce against the current it can hit mohr angles on more angles will hit your subject in better waste if you don't think about that and you flash the fight, you let the flash zoom automatically and you have a rippling surface. You're going to get results that are on satisfactory to you, and then you're going to say, I hate flash, I'm going to be a natural life photographer. It's true, that recent is you hey, flash, maybe we don't know how to use the flash, you know what I mean? But if you know those features that I'm telling you, you practise them, you will see how quickly you can gain control of that flash very quickly. All right, um, we spoke about manual in tl we spoke about how you can rotate the head, you can rotate it up if you wrote it up. We talked about the white card coming out and being ableto bend the white card so you can control the flow of light. If you're on the charms, you're probably thinking, what about those rogue flash bender send those crazy things that you can put over your flash, those were great personally for me. That looks a little funny having this huge like cardboard thing over your flash when I'm shooting high and when it just looks a little funny but it works great so I don't do that I just bend a little white card out um actually this is funny I do have a piece of paper on me on my on my pants all the time because if I don't need more power of my flash, I pulled out the piece of paper and this actually controls the flash out put us well, so for example, if I do this and I pull the white car out, sometimes I just slip you can slip this and tape it here, and that gives you a little bit more but that's, as far as I go, I probably won't do anything more than that or I just bend this little card, okay? We talked about we talked about we finished with a quick overview of what first gordon sink iss and I said that if you're shooting a pretty fast shutter speeds like one hundred one, twenty one, eighty, two hundred any of that, um I use first corn sink because obviously you have enough light and you can make it work if you drop below eighty or sixty and you want to get the ambience toby present in your photo, you don't want to flatten it then you need to slow down your shutter speed to let the ambient light in when you achieve that your flash has to freeze the people otherwise you're going to blur them if they're moving this is a slow shutter so second car in sync we'll freeze them at the very last second and you get both the ambience on frozen subjects which is what you want not frozen like in temperature frozen in not blurry so those are pretty heavy topics but it's up to you to re watch this course and kind of experiment with them one by one now we're going to discuss what high speed sync iss on it's important because we're going to go outside after this segment we're gonna be using high speed saying pretty much the entire time so you need to really know that one we're going to talk about optical and radio transmissions what that means we're going to finish with groups and channels and they were going to show you something applications that I have used in my own work in real life photo shoots and how I apply all of these things in my pictures um so let's begin with high speed sync so do this here okay high speed think it's a feature that I use I would say eighty percent of the time it's I'm on high speed think the reason is I understand high speed think very well and I know how to balance the ambience with my flash by I don't want to limit my shutter speed so I just go to a high speed think and aiken I cannot free range of my shutters all the way from the slowest the fastest let me explain these cameras have a shutter the shutter opens and then the flash fires and any closest in order for the flash in order for the flash to be received by the censor the shorter has to be open all the way then the flash fires and then when the flash fires into a totally open shutter that shorter than closest giving you the full power of the flash that you wanted but when your shutters but he's so fast like in this canon camera is one eighty and if you have some sort of two hundred and if you use can't nikon is two fifty two fifty a second when you're shooting this fast lester you're shooting at two thousand shutter speed the shutter opens and then it closes at one two thousands off a second that is you're simply not enough time for the flash to react and to try to get the light through that tiny little opening it doesn't work so what happens is as the flash if you want to shoot a two thousand shutter speed and still use a flash you gotta push the little high speed sync on your flash in canon it's called high speed sync and he has a little like a lightning bolt on it if you used nightgown is called focal plane it's called f d so you put you put f pee on it and that means focal plane flash, which means you could show that you can should be yawned the shutter speed that that the camera can handle. However, if you are a two thousand shutter speed, what happens is the flash starts to open the exposure start the shorter starts to open the flash says look, I don't have time to wait for the for the shutter to be all the way open because it's happening so fast that if I wait it'll be too late so what he does instead, he says, forget that as soon as the shorter starts to open to make the exposure, the flash starts to fire rapidly as the shutter opens on it just keeps firing as the shutter opens it just a way for the first curtain to go up okay, so what that means is that before you were getting the full opening of the shutter and the full flash goes right through the opening rites that's the full power of this when you go to high speed sync, you're only getting little slits off light as a shutter opens makes sense you're getting as the shutter stores to open and the second currencies too close the flashes going up, little slit. Fire up little slit fire little slit fire so you're getting tiny little fractions of what you were getting before. That means that your flash lucious, loses a lot of light. So if you're in manual flash or your urine, whatever and you think you're a you think one you think full power can reach someone this far away as soon as you put it on high speed thing. It's like psych. Now the flashes, you lose more than fifty percent of its power. Okay, because it's giving you a little slates off light instead of the full blast or whatever. Okay, so that's high speed. Think if you are shooting outdoors outdoors is going to require you to shoot that shutter speeds faster than two hundred, you're gonna be shooting out five hundred seven, eight hundred one thousand. So you gotta put that on high speed sink immediately. Here's a warning. A big warning with high speed think canon doesn't give you a warning if you are in high speed sync. Sorry, if you are. If you're in high speed sync on a bride let's, say you shooting a wedding on the brightest hours to walk out of the aisle sorry if your camera, if your flashes off. And you're shooting the bride getting married or whatever and then she's walking out of the aisle she's like everyone saying congrats and she's walking out on you turn on the flash because she's moving towards you so you want a freezer, right? You turn on the flash if your shutter speed was at two thousand shutter speed when you were shooting the bride if let's say it's an outdoor wedding and then you turn on the flash your flash is going to go to the sink speed that the shutter speed will automatically drop from two thousand two hundred, giving you totally overexposed images. Okay, uh, that's bad. So if you turn on the flash, if you have a a shutter off to three thousand and then you turn on the flash, you gotta turn it on and quickly push the second that quickly pushed the high speed seen button. Otherwise the camera would say, hey, you didn't tell me you want a high speed sync, so I'm going to I'm going to drop the shutter to my maximum so it's just two hundred and I'm going to fire them and then you're gonna go is going to be like alaska all over again, okay, I did that at a wedding, I missed everything you've shot, I didn't look at my screen, I was tryingto jim put whatever's called because that was super cool lt's okay I'm not gonna change and then I lost every single picture thank god I had a second shooter I got got him all right. Okay maybe he should be teaching the class just get nikon crisis singled focal plane ft on there's this feature in aiken flashes called out o f p which means that if you are shooting at eightieth of a second with flash they will fire normally but if you draw if you bring your shutter speed two two thousand all of a sudden the flash will automatically going toa high speed sync mode like you don't have to push a button it would just automatically do it for you kanan you have to push the button, nikon it will do it for you if you select out o f b mode. Okay um when you are shooting in high speed sync it is great outdoors because you can then balance how much of the ambience you want with how much of the flash output that you want so that's why you do it if you're shooting outside and it's sunny two hundred shutter speed it would just be too slow it will just be overexposed the whole time so another thing is if you want to take a photo of your subject and you want to make them you want to make the background out of focus you have to shoot at apertures of two point eight or something like this. Well, two pointed apertura is a really big hole, so you need to compensate with a fast shutter speeds, so it doesn't like overexposure image. Well, they're sure to speed a two point. If you're outdoors on a sunny day, it's gonna be like three thousand. So then your flash it's going, the light's coming from above, giving your raccoon eyes, and then you try to fix it with flash, and you can't, because you're a two hundred shutter, speed is over, exposing, so you just simply say, hold on, high speed, think you lose power, but at least you have flash now. Alicia can fill in the shadows that high shutter speeds.

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