Color Gels Speedlight Photography | Angel David Weatherston | Skillshare

Color Gels Speedlight Photography

Angel David Weatherston, Helping Artists Grow

Color Gels Speedlight Photography

Angel David Weatherston, Helping Artists Grow

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
20 Lessons (1h 8m)
    • 1. Introduction

    • 2. 1 What is a Color Gel

    • 3. 2 Getting Started with Color Gels

    • 4. 3 Saturation

    • 5. 4 Test them out

    • 6. Color Gels

    • 7. Studio Gels 3D

    • 8. 5 Color Correction

    • 9. 6 Orange Color Gel

    • 10. 6 Light Set Up

    • 11. 7 Buying Color Gels

    • 12. 8 Color Wheel

    • 13. 9 Light Modifiers

    • 14. 10 Picking a Color

    • 15. 11 Color Background

    • 16. 12 Location

    • 17. 13 Picture Style

    • 18. Background Scene Different Colors

    • 19. Color Skin 2

    • 20. Color Skin

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class we will be learning how to use color gels effectively with your speedlights to take amazing pictures. We will talk about how to get better saturation, picking colors to use, different ways to use a color gel, and live shoots of light set ups with color gels. This course is taught to help you take better portraits but the same principles can be applied in any type of photography. Color Gels will really make your portfolio pop and make taking pictures very exciting. Most pro photographers out there have already added color gels to their gear list, its your turn to do so as well.

Meet Your Teacher

Teacher Profile Image

Angel David Weatherston

Helping Artists Grow


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction : Welcome to my color gels, photography course, and this course we're gonna be talking about color gels for speed lights. If you're brand new to flash photography, wanna have more creative lights or even if you use tropes, this course is for you. The reason you want to use color joke is a variety of different effects that you could get You can use color does to fix the color in a picture because the color is a certain color. You wanted some color to appear. Color. Correct. Do the white balance. You could use color gels to get creative lighting to appear. You can use color jokes just to have a certain color background. There's many uses to only color. Just gonna talk about almost all of them. And we're also going to show you live examples of shoots and different variations of using color jobs. So you have a lot of examples. Hannity. So when you get started using colored else, you already know what to do. So if you're ready to studies in color gels and your photography to get some creative lighting, sign up for this course today and I'll see you in the class 2. 1 What is a Color Gel: So what is the color job? A color gel is a thin piece of color transparent material that you placed in top of your lights to make them come out a different color. We'll talk about all the different uses with these color gels, but I just wanted to show you what a color Joe looks like and what it basically is. A lot of these color jails were originally made to fix color errors with lights because all the lights shoot in the late balance. So in order to get a certain white balance or certain color to fit the scene or mood, so in the next section we're talking more about these. So that's it. When it comes to what is the color job Now we're gonna move on to the next section. 3. 2 Getting Started with Color Gels: So when you first purchase your color gels, you're gonna be offered also ways to attach your color gels to your light. In this section, we're gonna be talking about using color gels, especially for the first time and things you need to look out for now. When you use your flash, you would attach your color Joe like so to cover the whole life. There's certain things you need to talk we need to talk about. The first thing is how you're gonna attach the color job to your flesh. Sometimes there's a Velcro adapter that you can attach to your light, which you will easily just put your color Joe's on. And then it will hold your color gels in place. If you don't have this piece for your speed light, another thing you can use is a rubber band. I would attach a rubber band or a hair tie to this and then just have this color Joe attached on the light and I'm set. Another thing you can do very simply is have a roll off tape with you and then just take the sun. So all those different ways airways that I used to attach the Color Joe's to the speed lights. The easiest way to go because you can lose everything else, is to just have tape, always have tape with you. And if you lose all the other things to attach this, you could just tape it up, and that's it when it comes attaching it. The next thing we want I want to talk about is called light spillage. So, basically, if you don't attach this correctly, if there's a big gap between this and the light, or you attach away with some of the top showing on this light, you're gonna get some of that white light or daylight balanced, like showing up in the picture next to the red light. You want to make sure that this if I'm using this red color Joe that it covers the whole light than none of it is building over, and none of the light is showing up in the picture, so make sure that you don't have any spillage of light that's not colored. Show up, then the last thing I want to talk about is called light output. Basically, when you add some of these color gels are very dark in color like this, dark red or dark blue or dark anything. Or if you start adding multiple of these and we'll talk about why you might want to have more than one, then what's gonna happen is that less light is going to show up in this flesh than what you're used to for the light output. So let's say you have this on manual. You have it 1/2 power, and you should the subject and they're perfectly exposed, and then you have a color gel to it and you shoot with that same light output, a little bit less light will come up. So you have to raise the power of this because this color Joe, it's stopping some of the life from coming out. So that means you need to think about because you might get confused, why it looks darker. And that is because this color Joe is blocking some of the light. So that's a when you first get started using color just and now we're gonna move on to the next section 4. 3 Saturation: next thing I want to talk about is a saturation that you're going to see when using color jobs. You can raise the color Jill up. See, that is a nice green. And think that the pictures will have this exact green in the image. And many factors of affect saturation in your image, your settings in your camera. If you have your settings in a certain setting, you can end up seeing last saturation in your color of the light. You can adjust your saturation and your camera. You can add saturation later post production. But if Green is not showing enough in the final image, you try to Adam or Green. Chances are he's not gonna look would you want to do is make sure straight from camera you have the closest green amount that you can coming out of those lights, that is, that we're using Green of the saturation when I mean my saturation is saturation is how much of that color shows. If it's not that saturated or is not, the saturation is all the way. Lois, you get black and white. If is that the highest, you have the greenest screen you can get so to give more saturation there certain tricks you can do. The first thing is you can add multiple color gels on top of each other, so this light green is different than this darker green. The darker green has more saturation of green than this later green. When you attach this to the light, if you don't have this darker green, you only have his lighter one. You can attach another color, joe this darker and get this darker shade by adding multiple stacks of color jails, top of each other, stacking up Color Joe's Together, you get more of that saturation to show up in the image. That is the biggest trick I can at all the Green wants together. And then I have the darkest green possible by adding more Color Joe's. Together, I get less light. Outputs are to add more to it. The other thing is on my camera. I can change my picture style to wherever the saturation setting ISS and make sure that raise the saturation there, and then I get more of those colors showing up in the picture. The other thing is, I make sure that whatever I'm pointing this color lights at. I don't have any things that whoa show white in it. So if I shoot this in a white background, color will disappear. If I shoot this in a darker background, the color will show up more so things like that are things to be aware of when you want the color, really the show and pop in your image. So take that into account and make sure that it's looking as close to that color as you want in your image. So that's it when it comes to saturation, and now we're gonna move on to the next section. 5. 4 Test them out: and this actually going to be talking about getting started with color gels? When you first purchase your first set of color gels, you quickly gonna attach them to your lights are using them, but the best thing to use them and really see how they interact, which your photography is to go into a dark room, grab a subject and start taking pictures using simply the color Joe's in your lights and then serve, mixing them. Having one B one might have a color job, one. Not have a color job and then have to lights. Have two different color Joe's and just there shooting at the background at the subject and see how the light really changes and it looks in your picture. If you shoot in a setting that's too bright, the color will almost disappear. But if you shoot in a darker setting where the Onley light is your speed lights, then you're really gonna be able to see the color, so to get started. My recommendation is I guess I got in a dark room and start playing with these Color Joe's . So that is the first tip. I have what I want to show you some examples on where I did that. And I used to different colors. That is my life examples that I did and later on in this course, so you could see how these lights look like when you're first getting started. So that's it. When it comes to getting started with color just now, we're gonna move on to the next section. 6. Color Gels: everybody in this section right here. I'm gonna show you how to just gels to change the color of some of your speed lights to make the picture look more interesting right here in my living room. I have nothing really of interest in the background to make the picture look interesting. But by adding to speed lights with color gels on them, I can make the picture look more dramatic and interesting than if I were to just use regular lights. So what I've done here in this image is I've added to color jails of different colors to two lights. They're gonna be hitting me from behind from both sides. And basically, what it's gonna do is create a line off light that comes from the edge of my face all the way across from one side and then one from the other side of two different colors. The colors that I chose were red and blue because red and blue look good in pictures when you use them together as two different color gels. So I have one on one side with red and one in the other side would blue. So to position these lights, what I do is I make sure that they're behind me and diagonally facing me and hitting me straight in the back of the head. Now, in your images, you might see some of the light hit the front of your face. And if that is the case, what you want to do is push them closer together and like behind you but also away from where the cameras being the pictures being taken. You don't want the flashes to appear in the images because it creates a big glare that looks very distracting in the edges of your image. So you want them away and aiming behind you. But to be in an angle in which the light doesn't hit the front of your face and then for the main light, I don't have a color gel on it. I have this flash bender, which acts kind of like a soft box. It is right in front of the camera, and it is a nice size to Onley really focus on my face and not spread out as much at kind of light up the whole room. I also didn't want direct flash because the cast really hurt hard shadows so this being a little bit bigger than a direct flash will cause it to be softer in my face and then to take these pictures because I'm doing this by myself. I am using the WiFi on the camera would a self timer of 10 seconds. So I first sync it up to my phone, the WiFi. Then I open the app and then from the app, I can see that, um where Matt in the image. And then I take the picture. It will start to beat for 10 seconds and the search to be faster towards the end to tell me that the picture is about to be taken and then it's gonna take the picture and all the flashes will go off. And then I have ah, final image where I can see how the picture looked like with the three lights. The other thing to note is, when you're setting your settings for your camera, you're setting this in manual settings. You don't want to be setting this an automatic because you have all these lights on manual settings and the way that I set up my settings and my camera waas that I had my 2.8 aperture because I'm using a zoom lense and I want a somewhat blurry background. If I was using a prime lens, I would have shot this at the lowest at the highest aperture. But right now the 2.8 is as high as that can go, and then to make the background blurry. Also, what I did was I had my shutter speed at 2 50 and I picked the highest so that the whole room looks really dark. And then I put my eyes so at 100 because I also wanted it to be really dark. So my eyes so that 100 which is the darkest setting, my shutter speeds up to 50 which is the highest shutter speed I can use with these flashes without doing high speed sink. And right now, I'm not in position to do high speed sick because this is just an introductory speed like course. And then I am using the Lotus lowest shutter aperture, highest temperature so that I have shallow up the field, which makes the image brighter. But it's not bright enough because this room is pretty dark. Tacitus. So I'm going to show you. Ah, picture without any of the flashes that I'm gonna show you a picture with just the main light. And then I'm gonna show you a picture with just the two ones in the background. And then I'm gonna show you a new image with all of them. And then I'm gonna show you a new image with some fill light, and I'm gonna tell you that about that in the end. So right now I'm connecting to my phone. When you connect to the phone, you have to find the WiFi signal that you've set up in your camera for this camera. My WiFi signals call six d. So I connected a wife I call six D, and then it's sink to that. Then I opened the cannon app. Now, um, it sets. So now I'm gonna stand right here. I'm right underneath this flash bender, So this is gonna hit me right in the face, and these two are gonna him behind. But before I used the speed lights, I'm gonna take a picture without any of these. So to do that, I'm just gonna turn off my receiver for my speed light system and then I'm just gonna take a picture of myself. So right now, counting down with the beeps for 10 seconds so you can see how dark the image looks. So it took the picture, and this is what the picture looks like. As you see in the picture, it is almost completely dark. You only see a little bit of light from the outside windows. But besides that, the image is very dark. And that's how I want it. Because I want most of the light for it to just come from the flashes. So now I'm gonna use this top left, so I'm going to turn on my lights and I turn these two anyone off and turning the other. So the setting that used for my flash was 18 power. I tested it out early earlier, and it was a right amount of power that I wanted for this set up. So I want eight of a power with this'll Flash bender as my light modifier is what I'm gonna be using. I'm gonna show you what that looks like. Okay, Says cutting down now. So there's one light set up and you can see right here it looks pretty good. I have nice lighting on my face, but you see shadows on the side of my face and underneath, and it looks kind of boring If I just take this picture in the living room, it looks pretty boring, but I'm gonna be using the other to speed lights with gels of different colors to make this Inishmore interesting. So now I'm gonna turn off this top light and just use the other two so you can see what it's doing to the picture. So the setting that I've chosen for those two lights were 1/16 power, which is half the power off the main light. Now, the main light has, uh, light modifier, which kind of lowers the amount of power because it's not direct flesh and the other tour direct flesh. And I tested it out in a Came on nice. You can play with the power settings to see what's better raising it up and lowering it. But at 1 16 it was perfect, and I make sure that both of them were the same setting. So now I'm gonna take a picture with just those two light so you can see what it does. So as you see in the picture, you do. You have these two lights of red and blue behind me. The front of my face goes completely dark, and you can kind of see where the flashes coming from from behind, because they're really close to the edges of the picture. But it looks really cool in this setting. And you could try it out like this where you have Ah, just the edge of the flash in the corner so that you can see that blue and the red glare in the image, which looks really cool. And now I'm gonna put all three together so you could see what it looks like. I kicked it. Okay. Okay. All three together. And here goes there. This This is what that looks like. As you see in the picture. It looks awesome. You have this red and blue. You have the light on me. It looks really, really cool. Now to take this another level, Um, sometimes I would add a fort light for fill light because as you see under my chin, the shadows really, really hard. So it's really dark under my chin and a little bit under my nose because, um, it's directional pointing straight down and no lights getting underneath my chip so I could add another light underneath hitting up with something soft, so soft light at the very lowest setting or I can add a reflector. A reflector will bounce that main like down and up into the shadow area. So when I'm gonna be using for a reflector, is this top been? This is a top of ah contain have been that I have and is white and white reflects really well, So I'm just gonna be holding this like this, and it's gonna bounce off with this and come straight up. This is a kind of standard reflector underneath when you're doing beauty photography, because you get all these shadows and to fill in the shadows instead of adding another light. Some people you just use a reflector, something like this or an actual reflector, Um, and we'll see what it looks like. So here goes. I'm gonna take the picture, Then I'm gonna hold us up. So now it's counting down for 10 seconds and then I'm gonna hold this up is away from the camera. There we go. and that's my final image. As you see there, I have ah, before and after right here so you can see how the shadow area is gone. So that's kind of what I would do. And then I will go into editing and, like, at some more contrast, fix some of the blemishes. Little things like that. But that's how you do this. Three lights set up. What a reflector. Optional. You don't need to do the reflector. You could do something as simple asked lower the main like down and make it more like it's hitting straight. Now here's the thing. If you put it down and hit a straight someone, the lace gonna hit more of the background and the background. One look as a dark, but you could stand further away from the background and do stuff like that. So that's that when it comes to this, like set up with gels. Hopefully you guys learn from it, and now we're gonna move on to the next section. 7. Studio Gels 3D: So now I'm gonna be showing you the A studio three D diagram off the lights set up in case you want to do it in a studio setting and to get a better view of what I just showed you in the last section. So this software here allows me, Teoh place lights and diagrams to replicate everything I did in a shoot. So in the shoot before I was using a 24 to 70 millimeter lens with a 2.8 aperture. So I have that here. I s so 100 shutter speed to 50. I had to speed lights behind, as you can see here, both of them pointing at the back of the head and away from the picture right here on the right side. You can see that the lights aren't shown in the image. So I'm assumed in at around 54. Focal linked to my focal length was have 54 millimeters. That's where I was zoomed in in the images from the last section. That picture I took, I had two gels. One was, ah, red one and one was the blue one. And then I was using a flash Bender, which is equivalent to this little soft box here and again, The purpose of this little soft box or a flash bender that I use eso is a little bit of softer light. I never like to hit a face with direct flash. I don't mind the back being direct flash. Um, but I don't like the main light to be direct flash because they cast really hard and ugly shadows. Um, so I use either flash bender a soft box of beauty dish knocked the box. There's so many different light modifies you can use precise, direct flash that will make the light a little bit softer. Basically, what makes a life softer is the shape of it and the size so being that it is bigger than direct flash. So this size here is bigger than this little size here, the front of the flash. Um, the light hitting the face is a little bit softer. And then I had my camera on a tripod and the last piece to make it all complete is this reflector. So this is a foam board in this example. You can use any reflector and it will bounce the light straight up, or you can use another flash, um, with, like, a soft box at low settings down here pointing straight up or on the side. Um, it could be like on this left side here. So, for example, um, this light could have been here, and that could have been the fill light hitting her from there. Um, anyway, this is just a little light diagram so that you can see. Um, you could do this in a studio setting with a black background, a gray background. It's not really gonna work that well with a white background. And the reason is because you're not really hitting light into the white background, So the white backgrounds gonna look really ugly. The what makes a white background look good is if you hit it with a lot of light. Um, and then if you hit it with a lot of light, what ends up happening is that these two gel lights won't show the color that well in the subject. In order for these two color jails to pop, the background has to be dark. So in the example, before I make sure that the a picture I took without any lights was completely dark. And then when I added, the flash is, um you could barely see the background. It was it was kind of dark, and all the light came from my flashes. So, um ah, great background. Ah, black background or a wall or anything that's dark will work. Um, for this set up right here. So another thing I want to show you guys is, um and a set up that I use with these two lights that I've done in another image. Um, so basically, the set up looked like this. So this is a set up by hat. It was two lights pointing straight at the model with the same amount of power hitting them in red and blue. Now, the way to get this right and it looking better is for the light not to spill to the background. So, you see, in the background, you get some of the blue and some other red on the opposite sites. What I ended up doing, which looked a lot better, was I added a grid. What a grid thus is it makes it go the light go straight and not spread out. Um, so for this software in order to get that replica, I am going to use this accent, too, so we're gonna go back here. Okay, so this is a set of right here it is. Two lights that have basically agreed on them in this case is a snoot. What its new does that makes the light go straight and not spread out and hit the background. Um, so that's a set up that I had, um, and that I like to you do and that. So I have two lights on Lee hitting the subject. They don't hit the background, and then it basically looks like this. It is rat and blue. Um, so that looks really cool, too. If you want to do an image full body, I'm gonna give you some samples. And now what that looks like. So that's Ah, two different setups you can do with red and blue gels, Um, in a studio setting. Um, so, basically, for gels, you want to have the gel be kind of like rim light, light hitting in the back of the model, um, like, in the back of the head. And then usually your main light. Um, your main life being so usually one in the back like this and your main light not having the gel. That's usually how people use speed lights in a studio setting. The other way is that, like I said, you hit them on Lee with the gels, and then you put grids on them so it doesn't blend with the other lights. And and then if you want to play what it's, the more you can do some three light color set up like this with one color in the front, one in the back, Um, another one also in the back hitting her. And then you have green, blue and pink. Um, basically, there's so much you can do in the studio with color gels. Um, this is how that looks like. So, um, the only advice is I make sure that you don't hit the background with, like, two colored lights because you could end up would like some weird looking, um, backgrounds and mix the colors, and it didn't mix really well. Um, the other thing is, um, try out using grids so that the light doesn't spread out and mix in with the other lights, so that the lights, hitting directly at the model and play with different colors. You never know what colors look good together. Um, so, you know, try different colors to see what looks good. So this is a light last light set up. I wanted to show you guys, hopefully, you guys to learn a lot about using color gels, make sure that you are using a dark background when using color gels. And it's not too bright because if it's too bright, you don't really see the colors that well. So that's it. When it comes to using color gels. Now we're gonna move on to the next section. 8. 5 Color Correction: in this section, we're gonna be talking about using color gels to color. Correct your images, and what I mean by that is what I'm talking about. White balance. If you have to adjust your white balance in your picture so you go to your settings and you just you're white balance. The reason you're doing it is because the scene is either too warm or too cool. So if everything in your environment what's called the ambient light is too warm, then you're going to start adding something like tungsten light into your white balance to make it look cooler and make it look more natural. So they like balance. Now when you're using color gels, if you want your speed lights to match, that use was called a C T o color down, which means color temperature, orange and the color temperature. Orange US colored l looks like this, and then the opposite of it is a C T B. A color temperature, blue color jobs, which is this one. So these are the two main ones that people used to color correct their lights to match the ambient light. If if the whole room miss shooting in this warm orange tone and my speed lights or shooting daylight ballots. Either my speed lights are gonna look too cool or I am your life Look to warm based on how I said my white balance. So then I have to make sure that my speed lights match What the room ISS. So the room is warm. I have to make my street lights be warm. If the environments to cool. I got to make sure that my speed lights are cool. Whatever my ambient light is, I want to make sure my speed lights match that so that all the lights are consistent. So when I send my white balance, none of the life look out of place. So that's a little introduction to using color correction, color Joe's. The reason I even mentioned C T o N C T B is because you're gonna hear those terms from time to time. And when purchasing, you're going to see that they're gonna mention see teal C T. B. I want you to know what does the abbreviations mean and why those are the color jail to seem to matter the most to people. So that's it when it comes to color corrected using your color jobs. Now we're gonna will watch the next section 9. 6 Orange Color Gel: in this section. I'm gonna talk about one of the main uses for myself in my photography for the orange color job. So whenever I'm taking pictures outside on, I have either a cloudy day or anything that looks mutual. And I'm shooting a subject that my speed lights, everything looks light up perfectly. Everything's daylight balance. Everything looks great, but I don't have the mood that I want for that image when I'm shooting outside a date time . What looks really nice ISS a orange light, something that looks like the sun, something that looks warm and sunny and represents summer. So in order to do that with one of my lights, I add a orange color job. The orange color job usually goes in the light that's attached behind the subject. So my rim life, my hair light, whatever light I have pointed to the back off the subject is the light that I attached my orange color job, too. Whenever I do that, I have this beautiful orange glow that comes around the subject that kind of looks like the sun is hitting them from behind, and it's nice and a summer day. So whenever you start getting started in photography and you start taking pictures. If you want to really make the image look better, try using our orange color gel in your background. You gonna see the difference when you don't use an orange color when you do, and they might start using this more often. So that's it when you talking about the orange color jail to represent the sun, and now we're gonna move on to the next section. 10. 6 Light Set Up: Okay, so for this set up right here, we're gonna be using color gels to make the background turned into several different colors . So what I've used is I have three speed lights in the back with three different random colors that we picked. We later they shouted out colors. It was green, purple and orange, and I put them together and kind of forming like a little triangle. So once pointing at the bottom, right, one at the bottom left one in the top middle as best as I could. And then from there I what I did to get this just right. Waas I raised my color profile. I created a picture style user to find one. I raised my saturation all the way up. Just I can see what it would be like if I raise saturation in editing because I really need those colors to pop. And they came out really good even when I was shooting her and made her a little orange. But it is fine. I rather de saturate heard than have to saturate background. That's map doesn't look like a color, so I have my background looking really nice the way I got it just right. Waas. I raised my aperture all the way to F 11 raise the power of my flash and kept shooting the background until I could get the most saturated. Another way to get the saturation in the background is to stack multiple color gels together that will have more color to the background. So some of these have multiple color gels together so they can get more of that color to show up. Once I had the background just right, I put the model in front of the soft box and I could get really nice light that hits most of her body. This is a really big soft box with a diffuser, so it gives beautiful light on her in the front. Then the last finishing touch were to Speed Light's, hitting her diagonally from both sides from behind her to create to rim lights from along the edges of both sides of her body. So one on her right side and one on the left side and is kind of bright. And in order for no glare to show up in the picture, I added business cards on both sides, so some of the light doesn't hit the wallets and some of the leg won't hit the camera so I can get nice like this, just hitting her and it's not reflecting on my lens. So that was my set up. And this is what the picture looks like. I'm shooting 3/4 body somewhere, a little bit over the nieces where I shoot all the way up. So here we go. There you go. You have this beautiful shot. The background has all these different colors. She's lived really well, and we have these two rooms of light on her left and right side. Some of it hit her face, but that's fine. I can turn this a little bit, so I turned us a little bit less. You that again? There you go. Now you don't have much of it in the in the face, and it looks just perfect. I really like this in postproduction. Gonna show you afterwards. When I added this, I'm going to make that background pop even more of those colors and that's it. So this is how you do a complex three lights set up six light set up main like to rim lights and three in the background. What? I'm to make this possible. I have three lights that were a little bit more expensive. Three there were cheaper. And no matter how much you spend for the light, lightest like you could make them all work. The cheap ones were triggered by seeing the lights. So I haven't in the setting where if a cease light they will go off and then doing of them are set by radio. So my trigger is controlling those three. And those are when they go off, triggering the other. And then all six of them go off at the same time. So that's a when my six life set up, you seeing color gels, and now we're gonna move on to the next section. 11. 7 Buying Color Gels: in this section, we wouldn't be talking about buying color. Just so as you're taking this course, you're probably excited. You don't own color Joe's. You're gonna go to Amazon or your local camera store and buy a set of these. My personal recommendation ISS. By multiple sets of these and as many colors as possible, I have about 45 sets of color gels. I've tried to put them all in these bags, and the reason I have so many is because I'm using multiple speed lights, and sometimes one said we only have one for one color. And then if I want to light to be the same color, I need multiple sets so that boat speed lights are that color. The other reason. I have multiple sets as because I want variety of colors and make sure that all the sets that are mine are different in the color sense. For some reason, every color said I get has different shades of orange, different shades of green, and you never know which one works. So by having almost every shade of color of every color, then you have good options when using color in your photography. The other reason by multiple sets is because sometimes I'm stacking these color just together, and I would need three or four different ones that are all green to make it really, really saturated. And having all the sets will come together and make that green really agree. And then the last in a big reason why you might want to have multiple sets, is you could lose a very important color. And if that is the Onley orange one you have with that is the only red. When you have that, the only blue when you have you're done. But if you have three or four different blue ones three or four different orange once you could lose one and be fine. The other day is you could actually burn through these. If they're right on the flesh and you shoot very quickly, the light could actually start creating a little hole near the center. And then that color isn't as good as it was when you first churches it so the light can actually burn through these color Joe's. They don't burn us often. You don't really have to worry about that, but if you use it ah lot of lot than maybe you can't. And having multiples is very important. Also, when it comes to the price point of these, you're gonna see that some are very cheap, some more expensive. I would oft out of getting the more expensive ones because I've never really seen how the more expensive ones act better than these, the cheaper ones. I would just get a lot of the cheaper once, and if I have to put two of them together, I will do that. So that's it when it comes to buying color just and now we're gonna move on to the next section. 12. 8 Color Wheel: and this actually wouldn't be talking about the color wheel. It is very, very important to know your color wheel. And what I mean by the color wheel is this circle that basically tells you which two colors make what color. It also tells you what colors are. Complementary Colors are opposite on the color wheel, are complementary and tend to look good when used together in a picture. Colors are too close together in the color wheel. Don't tend to look good in a picture, so you tend to want to use complementary colors in it color wheel. If you're gonna be using those colors in your picture, which are lights, the other reason you want to know your color wheel or have one handy is because sometimes you're gonna want a certain color that you don't have what your color Joe's. And by knowing your color wheel, you know which two colors you can put in a flash together to make a certain color. So if you add these two colors together, you can get this middle color, and that could be the one that you're looking for so you can add multiple color just together. Stack up together, and then that's the color that's gonna come out. What your light. So mixing color gels and having colors that look good together A. Your picture is the main reason why you want to learn the color wheel or have one handy when you're using color. Just so that's it when it comes to the color wheel. Now we're gonna move on to the next section. 13. 9 Light Modifiers: in this action will be talking about light modifiers and color Joe's. A lot of people think that the the only way you can use a color jail on your speed light is to not touch anything else to the spiel it. But most of the time, I'm actually attaching something else to my speed light on top of the Color Joe to get the right light to appear in the image and it be that color. So let's am using a soft box. I will attach to color jail on the speed light and then the soft box on top of it. The soft boxes and any other light modifier don't change the color of your light so you don't have to worry about you adding a orange light modifier and then adding a soft box. And then the light not coming out orange. The soft boxes just gonna shape the light, but the color will be whatever you touch on originally, some like modifiers, going to get in the way of your attaching your color Joe's so you gotta get very creative on how you can get the color Jonah still be attached while having your life. My light modifier. On top of it, One of the main light modifiers that I use with the color Joe is a grid. And the reason I have the grid is to make sure that the light doesn't spill all over the place. And it goes straight on and exactly where I want it. Sometimes it could be a spotlight of a color or just hitting the back of the subject without it spilling over and going to the front of the face. So I use a grid on top off my color job so that just some things I wanted to go over when it comes to using light modifiers and your color gels, use them together and you're gonna see that you get a nice shape of light and nice colors. So that's it when it comes to light modifiers and color, Joseph. Now we're gonna move on to the next section. 14. 10 Picking a Color: when using color Joe's one of the most intimidating parts of it is picking the right color . And let me tell you that something. I don't think there is a right color for most situations. I have found a very creative ways to coming up with colors for pictures. I can either do colors and Macha subjects outfit. I could do colors that are really out there and make my perform. You'll pop because sometimes I can go with a certain set of images. And if I feel like I had used Green too much in one, my portfolio pop, I will at some of the other colors that I really used, much like yellow and green and just to make, like the variety of colors and my portfolio pop and I have a good variety, so you can use it for a variety. You can use it to match an outfit. You can use it simply because of the subjects favorite color. I will ask some of the models that I shoot would colored you like for the background, and then they would pick and then we'll shoot with it and our tough let's try two or three your second or third option, and then we'll try those colors and then we will compare. Figure out what we like the best. My best recommendation is to experiment. Don't just stick to one color. Try other colors because you never know when a certain color that you weren't even thinking about could come out to be an amazing picture. You don't really no one to play with the color, so experiment and really try out as many colors as you can. So that is a little some tips and advice to using color gels and figuring out what color to use. Just experiment. Use anything that you could match with use variety, and you will be ableto really take advantage off all the different colors available, which are set of color. Just so that's it with the section now we're gonna move on to the next one. 15. 11 Color Background: one of my favorite uses for color gels. And one of the reasons I really take color gels with me places is to make a background a certain color. I can go to a wall and think that that walk is the ugliest color, but I can make that wall almost any color. I want thanks to color, just sometimes one speed like this, enough off that color to make that background. Fill my picture. Sometimes I need two or three speed light's hitting different corners to fill that hole wall a certain color. It show up in my picture that whole background that color. But regardless of that, just note that one of the best uses for these color Joe's is to get a different colored background. So instead of having to purchase backdrops of certain colors, you could just point adding wall and change the color. All that walked whatever color you want. And now you have all these different backgrounds in your picture. It's a really good use for color gels, and I want to recommend everybody Trying out is just experiment, getting the background to be a certain color and having all these different colored backgrounds when shooting subjects in your photography. The main thing that you need to know when doing this is make sure none of the color spills over to the subject, so you could be pointing at the background and the subject. Be right in front of the wall, a couple steps forward and the like. It hit the subject on the site, and then the site of that subject is that color. And then it doesn't look like the background was that color. Now it's more obvious that the light was that color. Certain ways to avoid that spillage is to add something blocking that light from going over to the side. One of the main things I use is business cars. I would attach a business card to the side of my speed light, and I would touch take to it, and that side is the side of the subjects. So if I have a light coming this way, hitting the wall and the subjects right here, I will have a business card blocking the light that goes over and hits the subject because the light goes out this way. And if I don't want it to go this way, because that's where the subjects that I added business card to block that light. If I don't have a business card and I'm on the going, I'm working really quick, but I have somebody else to help me. I have them put their hand to block the light, going over to that side. So this is that some things you need to know that I think about when trying to have a certain background of a color, and now we're gonna move on to the next section. 16. 12 Location: So one of the things you want to note when using color jails is where is your location and how much light is available If you're outside and brought, they lit and you see something that you want a different color and you hit that with your speed later. The Color Joe Chances are you're barely going to get any color change, and the reason is because the sun is so bright that you are raising your aperture, making the image so dark that the color of your light will barely show. So my recommendation, as if you really want these colors to pop, is to go to the darkest settings. That's why most people used color gels in a studio location with shooting indoors for home studio or your own photography studio. That's where these color Joe's gonna pop. If you go outside in the park, chances are this color Joe's are barely gonna be noticeable, so just note how much light is in the environment of shooting it before deciding name. You're going to use a color gel or not, and they try it out and see if the color shows. And if it's not showing that just discard the color gels and just use it for another location. So that's it Won't talk about locations and Color Joe's, and now we're gonna move on to the next section. 17. 13 Picture Style: and this. Actually, you were talking about picture style in your camera sayings for using color. Just so sometimes you're playing what color jails, and you have all these different colors in effect, and then you take the picture and some of the colors are very de saturated, and you want those colors to pop. You would think that all you will have to do is grab that image put into Photoshopped races saturation in your fun. The problem with doing that is that if you raise the saturation and there was not enough saturation in the original image is not gonna pick up what that color waas. So for green looks very, very light, and I tried to raise it. I'm not going to get enough of that green by raising the picture saturation and photo shop because there was not enough green in the image. I need enough green in the image to show up in order to raise the saturation, and I don't mind reaching the saturation in my camera and it affecting skin tones, because then I can lower the saturation off orange or whatever the skin tone iss and fix that so I can get rid of color, but I can add color. So I want to make sure all the color shows up in the picture, which is why I messed with the picture style setting in my camera. So let's talk about picture style settings in your camera. There is just setting in your camera. It's called picture stuff. Did the fall picture style tends to be a little de saturated If you go to the pictures style section of your camera and you got a custom picture style and you said all the other settings to what the default is and you just raise your saturation a stopper to or whatever looks best with your picture, you're gonna see that everything looks good and our just a color pops more. I raise it as high as I need to to make that certain color in that picture really show. And then I fixed the other colors and post production, but I know that I have enough color to really play with it in editing. If the color is not shown, then I can't fix it or make it better. So that's that when it comes to picture style and your photography. Now we're gonna move on to the next section 18. Background Scene Different Colors: So in this set of right here, I have the model in three different lights set up inside against evil, which is kind of dark. I said my aperture to 5.6, my Isoda 100 my shutter speed to 2/50 which is the highest setting I can sink all my lights to my camera with it makes the image looked kind of dark. So I'm gonna take a picture right now with none of the lights on, so you can see how dark everything looks. So Okay, so the hitters, that picture and as you see in the picture, it is like, completely dark. You can't see anything. So that's what I do first, if I'm gonna be using my my lights as the main light for the whole scene. So now I'm gonna take a picture with just a main light right here. You see my motto over here. And if you come over here, you can see I have this big soft box right here. I'm using this soft box because I want the light to be very soft. I'm placing that as close to in front of her without blocking me. So I'm gonna be standing right here, and it's right next to me and by shooting almost straight on it cast less shadows. And if I were to push it to the side, so being right here almost straight on at her makes this so it's a really nice soft light on her and the fact that this is pretty big, I can feel the whole body with almost even lighting. I have this set up at full power, and now we're gonna see how this looks like with just one light. So I'm going to go here and turn it on. Okay, I just one light set up, and now you see here that looks one light. Pretty nice. She looks perfectly lit. The problem having here is that, um the background looks kind of boring. The top Aceval part is gray, and that gray looks really ugly in the picture. But the first thing I focus on is adding a second light, which kind of separates her because it is pretty dark back there, and the sides of her are going really dark. So to really make her look separate from the background, I add a second lights. So if you follow me over here. This is my second life right here. This light, it's that would a grid what the grid thus is it makes the light go straight and not spread out. If it's too spread out, it's gonna like the table is gonna like the ground. And I don't want that light in the whole image. I only want the light to hit her. So with this, greatest just gonna point straight at her and not spread out so much. So I had the second light that we're gonna see what two lights does to this picture. So I had this second light set up at 1/4 power. Okay, so here we go. So right there, it looks better lit. She has some light in her hair on the side on their arm and is really separating her from the background a little bit better. You got a little bit of the light hitting the table too. So it looks a lot better with two lights over one. So now the third thing I'm gonna do is at another light hitting that gets even with the top part. So if you come over here, I have my light here with this, uh, gel is ah, blue jail and it's gonna make the deceive on the top look blue. So it's pointing straight up at the top ceiling. So I have that one set at full power. When you added jail like that, it kind of cuts down on the power. So full power could be like half or quarter power. So I'm setting it to full powers. I get the most light and I really want to light up that top to make that could see Well, top part Look a little better. Here we go. All three lights and there we go. Here's the final image. As you see, the top looks blue. We have nice lighting on her Everything looks perfect. So that's my three lights set up using gel Now, just for fun we're gonna add a different color to see how it looks like. So the color I'm gonna addis uh red We have blue and the and the other end We have red just to see how red looks like So I go here into my patches of different color gels and I pull out a red one So now we go back and we do this. Three lights set up again. And this time we have the red one hitting up to see how that looks like. There we go. Now we have this nice red ceiling, and that looks awesome. So that said, my three lights set up with a color gel. Try it out in any scene. You can use that color. Want to change the background? Anything. You can do this indoor in the house. You can do this in like an alleyway. And I'm dizzy like this. Anything that you could make the background really dark. And you can light something like the ceiling or the wall with a color. So that's it. With this three life set up now, we're gonna move on to the next section. 19. Color Skin 2: so for this out of right here I am doing color gels. But this time, what I'm gonna be doing is three different colors. We have one for one room light on one side, one for one room, light on the other and one for the main light and says I'm getting really tight shot. We're doing a beauty dish because beauty dishes do really well for really tight, beautiful beauty shots. So I have my beauty. They said here with a blue job. So instead of the teal, like the shot before we're doing blue this time One side we have purple on the other side, we have orange. It's just three different colors that I would chosen. That looks really good as rim, light and main light. So her skin is gonna turn all blue and then we're gonna have orange and red in the edges of her body. She's also gonna turn her body her shoulders back a little, which is gonna cost the orange light toe also hit her chest, and it's gonna cost orange to spill over. So the blue is mainly going to be part of the face for the light. So I have these All 3 to 3 of these together. I'm shooting at 5.6 aperture I s 0 100 shutter speed at one one. Idiot. And my white balance is said that they liked if I said it, toe auto is gonna be all over the place because it's too dark and it doesn't know what color it needs to be. My background is the black background. It's from before some other, like my hit the background and turn it into a slightly different color. But that's fine. And my lights are set to one half power for the main light and 18 for the other two. So here we go. I'm shooting that 70 millimeters zoom, then all the way. You hear this? There you go. Says you see, here we have this beautiful light blue the hits your face, it looks really nice. And I need you to put your shoulders back a little very good. As you see there you have some of the orange hitting her. Um, so put your turn over a little dairy. There we go. So I had a Turner face of the orange doesn't hit her nose, as in this other picture. And so it's just blew in her face orange and her test. And we had We see the tint of purple on her left side. So that's it with three colors that you want to do something that looks like a beauty. She picture really close and using this three colors. So that's it for that. Now, we're gonna move on to the next section. 20. Color Skin: for this set of right here I have this three light set up. What we're doing is they're all ingrates is very directional point straight into the spot I want I don't want the light to spread out. I don't want any glare. My camera. I don't want any light to hit the background, so I have my main light pointing straight down into the model. So I have nice dramatic lighting hitting straight down. There's only shadows underneath your chin and straight down, and I'm using all color. Just so I have red color gels for my to rim lights. And then I have this teal color Joe for my main light, and it's gonna turn her skin into the teal color and the background on the edges of her skin, and some of the shadows are gonna be filled in with that red. And then my background is black. I have a background in black is my rift selector, my really big one that I've set up on the stand so I can have a nice black background. As long as no light hits that it goes completely black in the image that looks really nice . Now she's we're in kind of like a dark outfits so that it no light really gets absorbed by her outfit and like, makes it bright. I want the focus really on her skin. So she has her sleeps up so her her arms and her face are the only ones that really being affected by this teal color. So you got play with these colors so that whenever you're gonna change the color of their skin, you don't have something really weird. So certain colors on look good and skin, but a teal like this one doesn't look that bad. So after playing around, I found that teal looks really good and complementary to that is something like a red for the background. So those two colors look really good in this image. So right now I'm going to set this up so you can see how it ISS I have. Whenever you're shooting with grits, you want a raise the power a little bit. So I have my main light at half power and my rim lights at eight of power, and both of them are pointing the Agnelli to both sides of her from behind. So I'm getting a nice edge of red on both sides of her body and in her hair. And then just the main light hits or face right in the centre straight down. So I have set up over here and take the switch. My settings that I'm shooting at our 2.8, 200 eyes so and 180 it shutter speed. You know those There we go. So, as you see in this picture, she's lit up in blue. It looks really nice. And we have the red and the edge in the background goes all black. This is a kind of a close up. I can shoot one a little bit further back and it looks like this says, you see, in this picture here, you get some of the body as you go further down. It gets darker because of the rim light. It doesn't spread out as much, but that's it. Very simple. Three life set up. Now we're gonna move on to the next section