Live Shoot: High Speed Sync Lighting Set Up
Lesson 29 from: Build your Lighting KnowledgePeter Hurley
Live Shoot: High Speed Sync Lighting Set Up
Lesson 29 from: Build your Lighting KnowledgePeter Hurley
Lesson Info
29. Live Shoot: High Speed Sync Lighting Set Up
Lessons
Class Introduction
10:34 2Natural Light Overview
30:31 3Live Shoot: Maximizing Window Light
15:51 4Live Shoot: Use Reflector to Enhance Natural Light
22:12 5Live Shoot: Back Light Your Subject
19:59 6Live Shoot: Back Lit Subject with V Flats
19:26 7Live Shoot: Utilize ProBoard with Natural Light
23:27 8Continuous Lighting Overview
21:45Peter Hurley Signature Lighting Overview
07:11 10Live Shoot: Continuous Square Light Set-Up for Women
22:18 11Live Shoot: Continuous Triangle Light Set-Up for Women
20:39 12Lighting for Men Overview
11:57 13Live Shoot: Continuous Three Light Set-Up for Men
09:29 14Live Shoot: Continuous Two Light Vertical Set-Up for Men
24:21 15Live Shoot: Working with Shadows for Men
19:43 16Live Shoot: Shadow, Kick & Fill for Men
24:28 17Live Shoot: Clear Glare in Glasses
23:53 18Live Shoot: Signature Set Up with Speed Lights for Women
15:25 19Live Shoot: Signature Set Up with Speed Lights for Men
07:52 20Live Shoot: Remove Big Pupils from Subjects
15:32 21Live Shoot: Through the Lens Metering Lock
05:06 22Live Shoot: Signature Set Up with Strobe
11:40 23Live Shoot: Perfect the White Background
32:24 24Peter's Journey with Strobes
23:00 25Dissecting the Face
09:44 26Live Shoot: Big, Bold & Beautiful Light
32:17 27Live Shoot: Large Umbrella Light Set Up
21:04 28Live Shoot: Feathering the Light
15:20 29Live Shoot: High Speed Sync Lighting Set Up
09:51 30Live Shoot: Interesting Light with Grids
16:50 31Live Shoot: Using Grids to Light Your Subject
22:08 32Live Shoot: Working in Hard & Soft Light
17:06Lesson Info
Live Shoot: High Speed Sync Lighting Set Up
So guys there's this... For years, when I shot film, I shot a, you're never gonna believe this, I shot a Pentax 67, the flash sync on the Pentax 67, are you ready? 1/125th of a second. That's nuts! That's crazy. So, there was a lens that had a leaf shutter in it that allowed me to get up to, I believe it was 1/800th or something? I don't re- It was a long time ago, so when I went medium format, leaf shutters allowed me to get further up in my shutter speed. For situations where I wanna like the foreground, but I want the background to go darker, or I want the background to go out of focus, I really wanna open up my aperture, but I wanna still hit my subject with a lot of light. So that's what we're gonna do, we're gonna use this high speed sync mode on Profoto's B1, and we're gonna play with it to show ... I'm opening the garage to get a little bit of the sky and see what's going on out there and see if we can get some color out of the sky, unless it's gone already, so we better hurry ...
up cause it's going away. Cameron, you ready? Stand over here. Let me see. Let's open that sucker. There we go. Turn around, right there. Hold that. There we go guys. Okay, I got it set up, I'm into capture one. I got some blue out there, I got a cool looking sky, I got a cool looking model, I'm gonna look for my sky and see what I want. I'm using the Profoto OCF Beauty Dish white, guys. Bare, there's nothing in it. I like when I do really simple stuff a lot of photographers do this, you put it on a boom, you stick it in right their face. Just straight on 'em. There's nothing fancy going on here, simple light rules, right? This is what it is. Simple light. So I'm gonna look at the way ... Let me turn on the modeling light and see if it gives me anything. Oh it's giving me a little bit, I got a little bit of modeling light. Cameron, look straight ahead. Stop fooling around, what are you doing? Hold that. Turn a little bit this way, jam your forehead out, yeah stay just like that. Give me the squinched little brow pressure stuff, that's it. Good. Relax your nostrils. Come on. He knows me by now, he knows I'm just mess- you have one hair that's going a little nuts right there. So guys, let's do this. I'm in TTL mode on an ISO 100. Alright, you can see outside that the sun is gone, it's kinda getting late in the day, but we've got these streaks of clouds and some blue, I wanna bring the saturation of the blue out, how am I gonna do it? And I don't wanna see the clouds really in focus, so I'm gonna go 2.8 on this bad boy, actually I'm gonna go in TTL and see- And I'm gonna go high speed sync 100ISO, and I'm at 2000th of a second, you ready? Everybody's shaking their head, they're ready. Okay, let's try this. Let's see, I'm getting low, I'm gonna get higher, I wanna get some ... that's it, hold that right there, let's just see what we got. We're going 2.8 so we can open this, we're gonna give him some moves. Jam your forehead out towards me a little bit, that's cool. Hold that right there, let's see what this does. Now that's just TTL, oh my gosh guys, look at that. Look at that, are you with me? How cool is that? So the beauty light is low, but is creating a strong shadow under the chin, so I can actually raise that shadow by lowering the light, and I'm low of him so I'm not gonna see it, and there we go, let's see it. Let's just do some moves and see if I can get that shadow under the chin up a little bit. There it is, that's pretty cool See how I got that saturation of the blue out? I darken the sky using that higher, faster shutter speed, and now I'm making moves. Look at that. Cameron, what do you think, see? Tethering, show the model. Get the model fired up, what do you think? Can you do something with your face that would be beneficial for this picture? Sure. (audience laughs) He's actually doing really well. That's such a cool shot. Right? So, let's see. Let me see what I can do. I am gonna go, and I'm gonna change lenses, the 70-200. I'm really gonna get those clouds to get milky, we're gonna try this. Give me that 70-200. Yep. I put my sweater on cause it's cold out there. Okay, here we go. Now I gotta go F4 guys, you know this. This is the situation I'm in. But I wanna get rid of some of those buildings and stuff, let's see what we can do. I wanna go pure sky. I'm gonna go low, and not totally pure sky, but I'll go half-way there. And I'm gonna try this. Hold on, he looked good. Wow. Look how cool that is. That's pretty cool, now there's a light post going through your head. Holy smokes. Let me change that. Go this way, hold that, let me see. I'm flexible, I got this, I got moves. Turn towards me a little bit? There you go stay right there, hold that, let me try something here that's a little bit different. Look at me? Tilt the head this way a little bit. No, stay that way, look over here. Hold that. Let's just try messing around with the light, this is what we can do because we can do it. We have the technology. That's it. I can raise it a little bit. I'm almost thinking about just getting off my tripod just because I'm getting cold. Tilt the head this way, I want this to go faster. Keep your face like that, your eyes to me. Good. Hint of a smile, less squinch, don't squinch too much, don't go crazy, chin down a little bit, good, that's it. Let's try it. Wow. Do you see what that does? You see how I got the clouds to totally blur out? I brought the sky a little darker, and I was able to do it. Turn, let's see how your other side of your face is, work your nose that way and gaze off into the distance. There's a wall there, that you're gazing at (laughs). Nah nah nah, I don't think that's gonna work, I don't like that side of your face I think you're a righty. Let's try one more, let me look and see what I got this way. Step back a little bit. Step over here. We'll get you way back there, stay right like that. Let me use this to my advantage. Put this like this. Let's use the nose to light scenario, bring your nose- look into the light like that. Jam that forehead out and up. There you go, good. Hold that. Just your eyes to me, keep your face at that angle. (cough) excuse me guys. Don't over squinch it. That's cool. The level of coolness just rose. Cameron, I like that shot, dude! Come see this. (Cameron laughs) that's pretty cool. Now I want that same energy, that same shot, and I wanna see more so I'm gonna bring more of the background into it. Do you like it? Yeah. Keep that chin up in there, go. I'm going to 70, that's it. Hold that. Actually, give me the 24-70 again. Where'd it go? Right there. What are you doing, running lenses off on me? You just taking my lenses? Let's go, let's give 'em a little bit more of a scenario. Good, I like this. I like this, I'm even gonna go a little closer to him, hold that chin down, just a touch, nose back to me this way, hold that, keep your chin up in there, I meant stay positive. You gotta keep your eyes open, dude, go down with the chin a little, it's a little hot on the face. It went back to manual, let's try it like this, let's try it. Go on, squinch your eyes, like a little bit, let's try this. There we go. Don't over squinch it though. I like where we're going here, don't flex your knuckles like that, change your hands put your thumbs in your pockets. Hold that smile, there you go, good, jam your forehead out a little bit. Hold that, okay, guys, now, I'm gonna take it off high speed sync mode, I'm gonna go into manual and I'm gonna show you the difference. See what we can get. Cause I'm not gonna be able to ... If I take it off high speed sync, I'm gonna have to go to 1/160th of a second, right? And immediately, I got a lot of power, I'm gonna go TTL. I don't think it'll stay at 2.8, what's it gonna do? Yeah, cause that's a 10. Let's see what it's gonna do, it's at 10 but it's a TTL. I don't know. Let's give it a shot guys, this is Profoto at it's best, doing it live. That's it, let's see what we got. Look at the difference, are you with me? Are you with me? You with me? Yeah! Okay, huge difference in what you can do with that one feature
Class Materials
Bonus Materials with RSVP
Bonus Materials with Purchase
Ratings and Reviews
Hannah Walker
I truly enjoyed this amazing lighting class. Peter Hurley shows you how he achieves his signature look using all forms of light shaping tools from natural light, to speelites and high end strobes. Seeing first hand how the placement of the subject to the light source and your lightning set up is so important to avoiding the hazards of flat light and haze. He teaches you his unique methods and secrets on how to make eyes pop and get the best color contrast without harsh shadows. You will leave this class energized to hone your own creative vision with light and shadows using the methods taught by Peter. It was a privilege to learn from a master like Peter Hurley. Thank you Creative Live for another amazing class!
pete hopkins
Peter Hurley is the real deal. Not only does he know and share a ton of really practical knowledge of studio lighting for headshots and fashion, but he cuts through the crap and tells it like it is. He is very encouraging and serious at the same time. He had our attention from Day 1. and never lost it. *Bonus Gold - You've got to check out his Hurely-isms. They are priceless! Aside from the new bag of industry tools to work from, Peter gave me a real, sober perspective on what it takes to be PROFESSIONAL fashion photographer! And CreativeLive provided the perfect setting as well. The whole CL staff were warm and inviting and the food was great! I highly recommend CL and P. Hurley to anyone who wants to learn from the best of the best! I can't wait to start shooting with my new skill set. Sign up for CreativeLive! Take advantage of all that they have to offer! Build a foundation, own your light, and Shebang!!! You'll be at the top of your game in no time!
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