Fashion Photography Lighting | Angel David Weatherston | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

24 Lessons (1h 51m)
    • 1. 1 Intro

      4:15
    • 2. 2 Intro Exposure Shutter Iso Aperture

      1:14
    • 3. 3 Aperture

      1:16
    • 4. 4 Shutter Speed

      3:59
    • 5. 5 ISO

      2:21
    • 6. 6 Warm and Cool Light

      5:16
    • 7. 7 Color Gels

      6:10
    • 8. 8 Camera Settings for Speedlights

      4:30
    • 9. 9 Types of Lights

      4:34
    • 10. 10 Soft vs Hard Light

      15:37
    • 11. 11 Shooting in Day, Cloudy, and Night Outside

      8:22
    • 12. 12 Types of Softboxes 2

      6:41
    • 13. 13 Octabox 2

      11:19
    • 14. 14 Rouge Flash Bender 3

      3:47
    • 15. 15 Softbox 2

      9:16
    • 16. 16 Speedlight Grid 2

      3:01
    • 17. 17 Beauty Dish 2

      6:34
    • 18. 18 Outdoor 2 Light

      1:21
    • 19. 19 Outdoor Bridge 2 Light

      1:28
    • 20. 20 Outdoor Bridge Standing 2 Light

      1:06
    • 21. 21 Outdoor Pool 3 Lights

      2:13
    • 22. 22 Outdoor 3 Light Set up

      2:13
    • 23. 23 Color Hallway 3 Lights 2 Color Gels

      1:53
    • 24. 24 Wall Picture

      2:54
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About This Class

ARE YOU AN ASPIRING FASHION PHOTOGRAPHER? DO YOU WANT TO GET BETTER AT LIGHTING FOR PHOTOSHOOTS? ARE YOU NEW TO USING SPEEDLIGHTS? THEN THIS CLASS IS FOR YOU!

You will learn how to use a speedlight also known as a flash for off camera lighting. You will learn how to use color gels to create interesting settings. You will learn about lighting modifiers that will make the lights look better.

Meet Your Teacher

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Angel David Weatherston

Helping Artists Grow

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Related Skills

Photography Creative

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Transcripts

1. 1 Intro: everybody. Welcome to my fashion photography lighting course. The reason this course is geared towards fashion photography rather than just in general, is because I'm mainly a fashion photographer and a lot of the light stuff are gonna matter Mawr towards fashion photography than anything else. Now, I'm not saying that from this course you can learn how to do lighting for just about every other genre off photography. But if you're mainly a fashion photographer, you're gonna get the most out of it. There is a lot of great content I'm gonna be going over that just useful, no matter what type of photographer you are. So if you like this intro and you like the previews, sign up for the course and check out everything I'm going to talk about. In this course, I'm gonna be talking about speed lights, mainly that versus strobes and natural light. The reason is because I used these off camera to do almost every picture I take. And once you can control the light and using speed lights, then you can do almost anything. Almost all amazing pictures are done with off camera lighting. And once you get good at that, you can shoot in a commercial type look for fashion, glamour, beauty and so on. Now, um, besides talking about speed lights, we're gonna be talking about triggers as well. And how to control that? What? You need to get to do that on me, talking about affordable lights vs expensive lights. And we're gonna be focusing mainly on the affordable ones so that you can get started with just a small budget. And then once you get better at it and have more money to invest in your photography, you get the more expensive stuff and the difference between the two. Mostly when we talking about light modifiers like soft boxes, Octa boxes, um, anything that you really attached to your camera to control, how the lights gonna come out and stuff like grids as well. It's also like modifier to control more of the direction of the light. Also in this chorus, we're gonna be talking about color gels, right, And with color gels, you can get the life to come out in any color you want. And with that, you get all these amazing pictures with all these cool colors did make you just look even cooler. More creative. We're also gonna be talking about warm and cool light. You know, you see that a lot Indoors. A lot of warm outdoor, sometimes a lot of cool, Um, And how to use that? Um, compared to daylight balance so that you get the picture looking just right based on the mood and everything. Thing we're gonna be talking about is batteries and special batteries that you use for for these lights and and why it matters to get certain types in. The last thing we're gonna be talking about is shooting outdoors when we have direct sunlight, cloudy days and night and which ones are better wishes or worse, and the pros and cons of each and you're going to see tips and tricks shooting in each one of those scenarios. And then once we talk about all those, I'm just going to add a bunch of lectures over time, behind the scenes of me shooting with a lot of people, my light setups, and you know, the thought behind the set up. You know why I'm using this modifier, and when we're using that modifier and then the end result and we're gonna, um, just talk about that. So you can see some examples in action as you can take pictures just like the pictures that I shoot so that you can get started in your journey as a fashion photographer or any type of photographer using, um, off camera lady. Anyway, thank you guys for watching. Hopefully you guys purchase. Of course. Um, if anything, check us out in the media photography dot com and see us. 2. 2 Intro Exposure Shutter Iso Aperture: okay, In this next section, we're gonna be talking about aperture I s O and shutter speed. These three things are the things you need to focus on when shooting in manual in your camera to get the right exposure. Exposure is how bright or dark, the pictures you want to just right. You don't want a too dark or too bright, and you don't have to get it perfect because and editing afterwards, you can bring it up a little or darken it up a little. But you want to be as close to perfect as you want. So you need to know how to mess with I s o shutter speed and aperture to get this just right. And I'm gonna talk about the difference between the three and how that effects and how that relates to lenses and different lighting situations. So I'm gonna be talking about mainly stuff that you might not know or hear about. Um, when just looking up aperture I s own shutter speed online. Besides the information I provide, you can look up the rest on the main details on I s o shutter speed and aperture. But I'm gonna give me a general over. Real off how it could relate to you as a fashion photographer or just a photography that you might encounter. Okay, so in the next section, we're gonna be talking about those three. 3. 3 Aperture: Now I'm gonna be talking about aperture. When it comes to aperture, you're gonna see a scale from one point to all the way to about 13 or 15. And the scales are red for aperture They go 1.21 point 41.8 two point. Oh, and so on. And these number skills is how you read aperture. You might see it as f stop when you hear about it online. I've stopped an aperture of the same thing. OK, so, um, the lower the aperture is, the brighter the picture is gonna be and the more blurry the backgrounds gonna be because of lower the aperture, the depth of field of focus is very thin. So you can be in focus and everything in the back. In the front of it, it's gonna be blurry, which means low aperture. It's really hard to shoot it and get the right thing and focus, but it causes beautiful pictures with blurry backgrounds. I don't really shoot in low apertures because of off camera lighting. And when I talk about my camera settings, you gonna end the scene. Why? But it's really cool. Be shooting with natural light and or in a dark situation. To shoot with that lo aperture also means brighter pictures 4. 4 Shutter Speed: Now we're gonna be talking about shutter speed shutter speed. Very, very, very easy to understand. OK, the faster the shutter speed is, the faster the picture is taken. Also, the darker the pictures to slower the shutter speed ISS, the slower the picture is taken, but it's still fast to us. But it's slow to the camera and the more light it takes it. If you do a low shutter speed, meaning is taking the picture very slowly, going to get a lot of light. But any movement that's done while the shutters being closed will come out blurry. So we were doing anything that involves movement. You want to shoot faster, Um, but sometimes it issued too fast, then the pictures too dark. So you needed to go lower. And that's the balance that you have to do when it comes to shutter speed. Now, the shutter speed that I use usually is around 160 um, 1 1/60 of a second, actually, is what I'm trying to say. 1 1/60 of a second. Now the reason is because that's within the range that I can shoot with with my speed lights and is high enough and is low enough that, um, I get enough light it. Certain situations will dictate that you have to go lower than 100. And going anywhere lower than 100 is a little risky because you might get a blurry picture because just the movement of your hand could cost a picture to go blurry. But if you're using a tripod or very steady hand and the person is not moving, you could go lower than 100 get more light in. And you might ask yourself, Why don't I just adjust my aperture and shutters and I s O. And sometimes you don't want to, because high rise so it looks uglier and lower shutters, and you're at that lowest aperture you can get. So you have to go lower shutter speed. The only other time you're gonna go really low shutter speed is they were doing something really cool with light painting and stuff like that, which is more complex. You can look it up. Those people shoot at a really, really slow shutter speed. No. Um, if you shoot really high shutter speeds and you're shooting low aperture, you can shoot blurry background pictures at a nice light because you just made the picture darker by raising the shutter speed as high as possible. You get sharp images. You get low aperture. You get some great pictures. The problem is that when you're using off camera speed lights does own except high shutter speeds, it just doesn't. If the picture goes too fast, it won't catch up with the light that's coming off from this flesh. You can Onley usually get to a certain amount. Ah, speed of shutter speed before the light just won't hit. And that's why you can really use, like, low aperture lenses get really blurry backgrounds of pictures too bright. Then you darken it by raising your shutter than you can't use your flesh. So it's a sacrifice. Not everything's perfect and easy, but, um, as long as you use the right shutter speed and you just stick to that, you're fine. And when I talk about my camera settings, you realize where you need to be. Shutter speed Weiss to shoot with off camera lights. Okay, that's all there is to know about shutter speeds of Maine over real. You want to know more, you can look up shutter speed online and you get all the details on that. Okay. Thank you, guys. 5. 5 ISO: Now I'm gonna be talking about I s O I suppose one of the easiest of the three parts from aperture shutter speed and I s O to understand when it comes to exposure, I s O breaks down as low as 100 or sometimes 50 all the way up to 6400 or sometimes a little bit higher based on the camera and all you really need to know It's a few simple things when it comes So I s o when you have low eyes So the pictures darker when you have high I s so the pictures brighter when you have high I s so the picture is grainy and the quality of the picture looks really bad when you're at the lowest end of the I s. So the picture is the highest quality possible and the least amount of green. But like I said, it's the darkest now They're certain rules of photographers follow to him where they want their, I suppose, to be in Nasser passed. Some people like to shoot just at 100 almost all the time. And that's good, right? You could just be at the lowest to be safe on the quality of the picture and just shoot that. But certain times you need to go a little bit higher. So I always try to go no more than 400. I s o right. So I should have 400 to 100 you were in there. I know the quality of the picture is gonna be good once I get to 800 Then I start to see some grain, and the quality of the picture starts to look bad. If I reached 1600 or higher, the picture is really bad. Now, if I'm shooting events and stuff like that, I don't care about shooting 1600 or 3200 because those types of pictures don't need the quality to look that good sometimes. And I can add it out, um, the green. But when it comes to fashion photography, I cannot have that type of picture come out of my camera. So I need to be a 400 or less as long as you stay with them there. You're fine. And it's pretty simple. Just do that and use shutter speed and aperture to make the picture brighter. If you have to, um, if you really have to shoot 800 do you do it? And that's it. Just edited out as best you can to green, um, in the picture and when you're editing the picture and that's it. Okay, So that's all you really need to know about I s o and thanks for watching. 6. 6 Warm and Cool Light: So now we're talking about warm and cool light and daylight balance Light. Okay, that's how I call it. A lot of people call. It's several different things, but I'm going to call it warm and cool and they like balanced. Now, warm light is most of the lights you have at home that yellowish reddish tint of light and the light bulbs that you have within your lamps. Um, the lights above you, Um, that's warm Light, cool lights Is that light that looks a little blue or white? Um, that you get a lot in cloudy days In cloudy days, you get this light that looks a little blue All your pictures look blue and when it's ah, sometimes sunny or sunsets sunrises you get reddish yellowish light that's warm, the warm and cool right You just like your thermometer. Warmest signified as red and cool signified as blue. Okay, so this is where matters and you need to focus on, and you got to pay attention to it because you don't get this part right. Gonna mess up the mood of a lot of your pictures. OK, so first things first, figure out if your picture is gonna be warm. Cool or daylight? Balance. Okay. When? I mean they like balances centered, Perfectly lit is not cool. Is now warm is right in the middle. Okay, so this is gonna be perfectly lit. Is not going to lead towards warm is not gonna lead to cool. Then make sure that all your lights reflect that. Okay, You're gonna have warmer picture, Then try to avoid having anything cool lit light in the picture. And if it's gonna be cool, make sure that you don't have warm in the picture. As long as you follow that, you should be fine. Now, let me talk about certain situations that I've ran into. Where I have that be an issue. Okay, Sometimes I'm shooting in a room and there's a lamp in the background. That lamp is warm and the rest of the pictures your daily balance Oh, are sometimes a little bit cool. That lamp, it really throws everything off. It looks really weird to have this warm light in the background. Right? So what I did to fix it is I took the more wolf and I replaced it with ah, daylight balanced bulb, and I was fine. that other bull was called tungsten, and you see that in your settings when you talk about white balance on your camera. Now let's talk about white balance for a very brief second. Okay, when it comes to white balance and your cameras to it, just for that, I was just shooting raw and JPEG and shoot an auto white balance and just leave it like that, Okay, should an auto white balance and wrong right look at your J peg. If it's good enough, added that if it's not good enough because of the color or the exposure, grab the raw file and added that and change your white balance to fit what you want. Because when you shoot it raw and it was too cool, you can switch it toe warm as if you have shot it. And warm setting white balance in your camera so raw allows you to not have to worry about the temperature of the light in the picture that you took and Justin just accordingly. So don't spend too much time worrying about that, at least for now. Once you get to an expert level or more into reading a level photography, you could do it off camera for now. Just shooting, Rob. Okay, so there we go with the settings. Now, when it comes to your picture and make sure you don't have two different types of lights because it's gonna be really hard. I just one make sure all the lights are the same color temperature, right? So you're flashes, shoot. They light balance. They're not cool there now, warm right in the middle, which is good. Now you can use color gels, right? You can use a red color yellow or a blue color Joe to get cool light or warm light in your picture based on the mood. You're trying to represent your shooting outside in the snowy. You want a cool picture you're shooting outside and it's early morning or you're in the beaches stuff you might want to shoot a warmer picture. So based on the situation that you're in, you're gonna decide you want to shoot Cool or warm. Warm seems to be a little bit more popular and fashion photography than cool, so keep that in mind. Sometimes it's really quota at just ah, read our warm color gel in the background, hitting the subject with warm light that looks really cool, mixing warm what they like balance. So just take into account that. Take a look at that and make sure that you're not mixing the two and a picture because it looks really bad. And that's it. That's all you really need to know about color temperature warm and cool, and they lay bounce, okay. 7. 7 Color Gels: Now we're gonna be talking about Color Joe's. Okay? And here's a brief overview on color gels and some things you want to know. And everyone more details on color gels. You'll see in some of the examples for me using color gels and, um, online almost everywhere. You can see more other people used in color, Gelson. But I'm gonna show you some basic over real in color. Just okay. First thing you need to know. ISS make sure you buy speed, light colored jobs, right? So you using your speed lights, they're going to give you one of every color and a packet like this, right? You have all these different color jails of every color imaginable, A little chart that shows all the colors you can get him from. Basically, every brand. It doesn't really matter. There's no one that's better than the other. They come with those little rubber band that goes inside this. Make sure you have these. If you lose these, you could put tape on them and take them on. And it looks like this. So basically, when you shoot light and you have a color gel on it, it comes out a different color comes out the color of the color job. Pretty straightforward. Sometimes you can put two color gels together and get yet another color that might have not come in your little packet Here. I make sure that I get the package would have many colors possible. So I have a mall. Um, and if I need like two reds, then you know I get two of these or make some of these or whatever. Okay, Now let's talk about some things you want to know when shooting with color gels. First thing you're gonna want to know is that, um how can you make a background a certain color using a colored? And this is what I've learned when you shoot in a white background or a very light background is not gonna change color because once you hit it with light, just becomes too bright and it looks white. If you shoot in a dark background with this Dan, it changes colors, right? Be careful sometimes of shooting in black because light won't reflect as much, and it will be too dark, so gray or something like that would be a good background to shoot this end But for the most part you're fine and shooting in almost anything and changing colors. Just try to avoid shooting and white, because it's gonna be way too hard for you to see it. The next thing that you want to know and avoid is shooting them towards each other. You shoot them towards each other, you get the color that makes us both of them together. So when you look at a color chart, whatever to Car Lear's. Whatever two colors mix into what If you shoot both lights of those colors together, you'll get that color. As a result in your picture, just may have a look out for that. Another thing is, you don't want to hit a subject with this in their face. Okay, the goal is not to change the color of their skin a different color. The goal is to change everything else of different color, so you might use this as a grim light around the edge from behind. Or you might use it as background light. So the backgrounds of different color or the scene you know in any any part of the scene. It's a different color. Um, sometimes you can use it as rim light with a warm color gel to make it seem like the sun is hitting them right. And it looks really nice like that. Um, so that's how you mainly use color. Just more vans, um, photography. They have some other cool or warm color jails as a main light, and then they're just the settings to their camera to match that color balance. And then it changes everything else in the scene that's too complex. I wouldn't focus on doing that, but you can't sometimes so like, let's say you're shooting outside and it's cloudy and it looks really ugly and blue and ugly. But you wanted to look warm, right? So you set your settings for the background to look warm, and by doing that, once of happening is that the skin becomes well. It changes is not correct. So then you put the right color gel on your light so that it when it hits your face, it is the they light balance correctly, but just a background and everything else is warmer. So that's what some people do it, um, that's too complex and so many things wrong with that. So I don't use that. So what I do a lot of times is I uses as rim lights or background lights, and I shoot the front of the subject with just regular daylight balance. No color gels on them, so I get nice color in the front and cool colors in the background. That's the main way that I use color Jeffs, right? Sometimes I mix to color gels like red and blue, and I hit them from the side and got red and blue on one side, and it looks really cool. I learned somewhere online that if you look at a color wheel and you look at opposite colors, the ones that are opposite from, um, where they're at in the color wheel. Those two colors look good together in a picture, but not colors that are too close together in the color wheel. So these two colors are together in the color wheel. Those won't look good as the ones that are opposite of each other. That's something that you just have to experiment and look at by I and get a feel for and play with different colors. When colors now working, switch it up. Um, and There you go. Um, that's the main overview with Color Joe's. Um, And go ahead, get some and play with them, okay? 8. 8 Camera Settings for Speedlights: Now we're gonna be talking about the camera settings that I use for off camera lighting. Either that main camera settings that I use for using speed lights and why use them? Okay, the three settings that you adjust, our aperture shutter speed. And I S O Okay, So first, let's talk about shutter speed. The shutters be I'm always at 1/60 of a second. Okay, 1 1/60 of a second. And the reason is this when you're shooting with speed, lights are off camera lighting. Um, if you shoot too fast, I say 300 of a 2nd 5 hundreds of a second, you just shoot way too fast. The light is coming into the picture from a speed light won't get there in time. And then you won't see it, or you'll see half of the light in half of the picture. You don't want that. So you gotta look up the specs on what? How high shutter speed you can give with your speed light and then sometimes even should just below that because you have multiple speed lights. So I believe with mine, you can get to 200 or 2 50 It so to be safe. Actually, that 1 60 it which is lower than that to make sure that I don't miss any of the light in the picture. And, um, you know, I'm shooting at the highest I can with my speed lights because I want everything to be and focus even if I move a little. So 1/60 of a second is where I'm at all the time. The only time I should lower than that is if I'm shooting a night outside or in a really dark setting. And I need something to show in the picture. You needed to be brighter. So shoot in lower than 1/60 of a second and I try my best not to move so that everything is in focus now when it comes to I s So I'm going in order from artist to easiest. It goes toe, I s So I move anywhere from 100 to 400 of us 400 Isil. I usually always start at 100 eyes. So and if the pictures too dark, I move my way up to 200 or 400 eyes. So I try to always never move past the um, 400 to 800 I straight between 104 100 so I don't get any grain and my picture, because if I'm on higher, I s so I'm gonna get grain and it's gonna look ugly. So very simple. 1 60 a shutter speed 100 I s O. And if it's too dark, go up to 400 and then we talk about aperture and it comes to aperture. I almost always shoot at 5.6. 5.6 is right in the middle of I'm using my standard kit lens. Um, I can get that no matter of I zoom in or not. And that's easy for all you guys to just be a 5.6. The times I shoot higher than 5.6 is when I'm outside in this too bright because I need the picture to go darker. So then you go to I s 0 100 Does the dark is You can get what I s so you can go higher shutter speed because of your flash. So now you raise your aperture as high as you need to for the exposure to be just right. I believe around eight aperture is enough for a shooting outside, but sometimes you might have to shoot a little bit higher if is just way too bright outside . Um, and sometimes I shoot lower than 5.6. If my lens allows it to get, um, Mawr and more light in the picture because I'm at 400 I s So I went low, my shutter speed. I don't want to go any lower, so I lower my aperture to get more light in the picture. Um, and try my best to get the focus just right, and that's it. So you can live off off 5.6 aperture, 1/60 of a second shutter speed and 100 to 400 I s O. And it's very, very easy setting. So leave it at, and all you do is just raised of brightness and darkness of the speed lights that you're shooting with. Raise the brightness of darkness of your main light rays, the darkness and brightness of your back lights and year set. Just do that for exposure in your good, very simple settings. I want you guys ought to try out and let me know what you think. Okay, Thanks. 9. 9 Types of Lights: Now I'm gonna be talking about the four main lights that you have. Any pictures? That is your main light. Your fill light your room light and your background light. Okay, First, we're gonna talk about your main light. Your main light is that baked light sources right in front of the subject or a little bit to the site that hits the subject usually in the face all the way to the rest of the body and is the main light that you use a lot of times you could issue, which is one main light that no other, no other light and be good and, you know, look really cool as long as you have one life and you have them. And that's your main light on the picture. You have this awesome picture. The second light is the fill light fill light is, ah, second light that fills in extra shadows in your picture that you couldn't feel what your main light. So if your main lights up here, but then from halfway to your body down, it's dark. You had a second light underneath the hitting where the shadow areas are in the opposite direction, filling up still away from the camera, so the camera doesn't see that light, and it fails in shadows. That's why it's called a Fail like because it fills in. The shadows would light so that it's not too dramatic and you get a nice light. The third light that I use is the remnant rim Light is a light that hits from behind at the subject along the edge. It's not supposed to hit the front at all. So has to be right behind um, in an angle, which it won't wrap around to the front because that's what the main lightning fill latest for. It's a back, and it creates is nice, ah, line of light around the edges of body that makes them stand out and and look and make them pop in the picture. It's really cool and mainly important to use if the backgrounds too dark so that they stand out more. Sometimes you don't need it that much. If the background is very bright, you're outside. You might not need a room like, but I try to use room lights as often as they can. Um, sometimes I don't need a fill light because the outside light is lit enough that it acts as a fill light. So I use use a main light in a room light. So based on the situation you determine you need, ah, fill light. If you need a rim light, you need just rim and mainline main and Phil. But those were the ones that you mainly focus on, and the four type of light and the one you use. The lease but you will need to use from time to time is a background light. Now if your main light does not hit the background enough in your backgrounds really dark or the subject is too far from the background in the background, really light or you're shooting in a backdrop. You know, paper backdrop, any professional backdrop, and you need the background to be very nicely lit. You have yet another light that just aims at the background and adds light to the background. Okay, now, sometimes now sometimes you're rim light can act as the background light as well. It hits a subject at an angle and hits a background as well. So I'm like it also be a background light because of the angle and the hits boat, right? Um, now, when talking about room lights and background light, sometimes you can have two of either one. You can have two room lights from both sides, hitting the subject on both sides and creating a line of light on both sides. Another way to create a cool room light. What are having to use two lights is putting the light right behind the subject, hitting them straight behind, which means when the lights breads, it creates a rim all around the body. But the main used for rim lights is to put him on the site and just hitting from one side. And when I use rim lights, I always make sure it's the opposite direction of the main light. So the main lights on this site, the rim lights on this site, main light Remlinger. But you can break that rule. Sometimes it just looks better like that, Um, background light. Same thing. You could have one light heading the background, but if you need multiple lights, you can have a second light hitting, so to fill in the hole background. So that's when you end of using a lot of lights on your set up, but as long as you focus on what each slights purposes, whether it's a main light of fill, light of rim light or a background light, then you know where to position them, how bright they have to be and everything. 10. 10 Soft vs Hard Light: So now in this section, we're gonna be talking about soft and hard light. This is the most important section, the whole course. Because if you don't get this right, you're gonna have some ugly pictures with shadows all over the place and you don't want that. That's the point of this course and getting the lighting just right. But in order to do that, you need to understand the difference between soft and hard light. Okay, Now, um, I put under that for soft light, being a big light source and hard light. Being a smart light source and reason is because a small light source classed a hard light when the light source is very small. Cast all these shadows because the light can wrap around to fill in those shadows with light. When you have a big life source, the light can wrap around and fell in all those shadows with light, causing it to become a soft heart, us off light source. So when we talk about soft and hard light is the same thing is talking about a big life source or a small light source, someone a reference both of them throughout this course now, Um, first, we're gonna be talking about heart light because it's the easiest to understand when it comes to hard light. In order to distinguish something as hard light, you gotta basically stare at the light and using your site, determine if the light source looks very swollen. Looks very big from where you're standing, where the light supposed to hit. So I'm the model, right? Or the model supposed be standing right here that can stand where they're standing at, look at the light source and point at it and determine if it's small or if it's big and spread out all all around. Um, that's basically how I used to teach people to determine if a light sources bigger smoke. One of the main light sources that are hard, light or small is a direct sun. The reason that the Rex son is a hard light or a a small light source is because when there's no clouds or anything, a hit covering the sun and the sun hits you directly from where you're standing and you look at the sun and you're not supposed to look at the sun. But if you were to look at the sun, you'll notice that it's just a little duct, right? It's just a little dot of light coming straight at you. It's not ah, light that the size of the whole sky coming down. It's just this little light source where your tiny source, even though the sun is huge if you're really close to it, it's a big life source because it's bigger than you for from really far away. It's just this tiny light source that doesn't spread out. Um, it wraps around now. That's a look confusing for people because, like thus spread out, it goes out like this. But what it doesn't do is it goes like this and in curbs, okay, like go straight. And in order for it to hit behind you has to bounce off of something else and then come back around you. So basically, and another way to tell of a light sources, small or hard, is to see the shadow when the direction hits you. If that the sun was right there and it came straight at me, it will cause this very strong shadow. There's very defined along this wall for this background. Very strong, hard shadow, meaning My whole body is perfectly drawn out on the background. If it was a softer, big light source, it was spread and wrap around, and then the shadow is almost like it almost disappears. Okay, at some point you can't even see the shadow. But when it's not that big, it it almost just like, looks blurry and faded out, which is really good. So that's the type of light that you want. Um, now direct Sun doesn't do that. It's a small light source when it hits you. The fine shadow looks really, really bad in most cases. Okay, now the next. How hard light that you're going to encounter way because of this course is direct flash. The recent direct flash is a hard life source. It's very easy. Um, when you look at the flash, it's on Lee this small from where you're looking at the camera from here, the flashes on Lee this small to you. It is very, very small. Now, if the flash was very close to you and it filled the whole screen, then it becomes a big light source because they wraps around, Um, and I'll tell you why them matters in a second. But direct flesh is always considered a small and hard light source. Um, especially since most of the time they're far away from the person. And when they look at it, it looks very small. It won't wrap around and fell in shadows. Is gonna class really hard shadows just like the direct sun. Now the next one is a light bulb. Lightbulbs, when in the picture, are used like if there's a lightbulb anywhere and it's heading the subject because that's a small life sources going to cast a shadow. There's gonna be many cases when that's gonna be a factor. And you're like, Man was that ugly shadow that no shadow where the nose does light sitting over here, the no shadows heading on this side of the face. Where is that coming from? A speak. It's a light pole, so you gotta take into account lightbulbs in many situations. And also the further the lightest, the harder the latest and basically like we using the example of the flesh if it's really, really, really far away, get smaller and smaller, smaller to you. If it gets closer and closer and closer to you becomes bigger and bigger. That's why light of the sun is very, very, very small light source because it's so far away. If the sun was right next to you, it would be the biggest light source ever. Because the sun is huge, wrap around you won't see any shadows behind you. So the further that lightest, the harder that light becomes. Which is why, even though you have a big, ah, soft box and stuff like that, if the soft boxes really far away, it almost becomes equivalent to the flash being closer. So you gotta take that into account. So if you want really soft light that wraps around and fells in shadows, you want to get the light closer to the subject. Next thing, it's soft light, one of the most common and my favorite soft light out there that I like the most is a cloudy day. When it's a cloudy day outside, um, the clouds become like a soft box. It's basically grabs a light and uses the whole, um, cloud as a spread out light that now the light source is the size of the cloud, and that cloud now wraps around the light and hits and fills in the shadows. That's why when it's a cloudy day outside and you go outside and you look down, you probably not going to see your shadow anywhere. That's because now the sun's hit all the clouds, things, classes, big diffuser over the sky and now the lights coming from everywhere. Wrapping around says, Coming from behind you in front of you left to right, and it's filling in every shadow imaginable. Um, and now shadows. Gone is the softest like possible. So when I shoot outside and I see a direct sun, it's a little scary, you know, because they're excellent cash, ugly shadows that I don't like when I see it's cloudy day. I know that I have more control, and I'm not have to worry about the sun or the light from the sky. That's just like fill in light that will fill in all the shadows for me. And then I use my flashes, how I want them to be my main light, my room light or whatever I want, which is awesome. The next one is soft boxes and all these light modifiers. We're gonna be talking about a little later. So, um you could get a soft box Octa box, whatever it ISS. But the bigger it ISS, the softer it's gonna be. It's much softer when you put any south box, um, then direct flash. And the reason is because when the flash hits the soft bucks now the soft box the size of the soft box becomes a new size of the light and the bigger the soft boxes for soft box or a lockbox, A bigger that light modifier is the bigger than life source becomes, the softer, the lightest. The more shadows are filled in by the light. Because the light's not coming from many directions is not just one little point. It's coming from the edges. It's coming from the whole side of the front of it, which is why even gets off boxes in the first place. We get soft boxes and Octa boxes and all these light modifiers to make the like soft or else we're just stuck with hard, like the cast ugly shadows that we don't like in pictures. All the most beautiful pictures has some sort of soft light hitting them for the most part , and that's the types of things that you need to master so that you can get better pictures . Um, the next one is bounced light, bounce light. You see that a lot in event photography. So, um, event photographers, wedding photographers and such, um, grab their flash on top of their camera, and instead of hitting directly, they policies straight up. And the reason they bounce it straight up is because once it hits the whole ceiling, assuming the ceiling is white and not that far away, um, the ceiling now becomes the size of the light because once it bounces off the whole ceiling and comes back down, that's the new direction of light. The light is not coming from above, and it's it is bouncing from the whole ceiling. However, fire was able to spread out. Hey, that's a new size of the light that will come back down, and I will fill in a lot of shadows and become this beautiful, beautiful light. The ceiling sounds bouncing off the light off the ceiling. It's equivalent to a cloudy day, and the reason it is because of cloudy days above you and the lights coming straight down and fell in all the shadows from a big life source. Bouncing the light off the ceiling does the same thing now. You don't always have to bounce the like just from the ceiling, and you can also bounce the light from a wall from the left and right side of you. Any wall will also work because if you hit it from the wall to the subject, that's right in front of you and there's a wall to the left and you hit the light from the wall. That whole wall becomes the light and now the lights coming from that direction and it's fell in and all the shadows nicely, so you can experiment with that as well and see what type of effect that does on your picture. And the next thing is obviously the closer, the lightest, the softer the light becomes. We talked about that a little a few seconds ago, but obviously, if you have a soft box and there's not that big, if you get closer to the subject, it becomes bigger to the subject because it's closer, causing it to become a bigger light source. The shadows start to go away, so if I lights really far away from me, and and I'm up against the wrong When you see a very defined shadow, if I bring the light closer and closer to shadow search to almost disappear. So now you're not just playing with the sizes of soft box and everything you're playing with the distance, the latest from the subject. I always my main like tryto put it as close as I can to the subject without it being in the frame of the picture. So that's a tip I like to give people. So I have some examples down here off how that that will come into play if you see them here, the hard light. If it's a direct flash, it comes straight out, and it can't wrap around because light goes straight and a cast big shadow behind in the subject. Now, in the other case, if you have ah, round Dr Park, that's really big and the lights going, spreading out long it along the surface off the octo box. Now the license becomes the size of the octo box, which is pretty big and says they can't come down like so it will make a smaller shadow behind it. So to summarize, soft light. It's a bigger light source is anything that can wrap around in Philly shadows. Hard light is the opposite of small light source that can fell in shadows. And you don't want very hard shadows in your picture because it looks really bad versus the opposite. And when you get soft light, there's certain pictures where you do one dramatic lady. But in most cases, you're not gonna want that. And the main shadows you're gonna want to look out for are the ones from your chin cast down to your neck and the ones from your nose that cast down to the side of your face. Which is why, um, it is recommended that the main light face, wherever the nose is facing so the nose is facing this way. The main like should be coming from this site. If the nose is facing this way, the main like should be coming from this site. If the mean lights coming from this side are now facing this way, it can't wrap around my nose, and it's gonna cast a shadow on this nose. So I'm taking the picture from over here, and she's gonna see shadow on this side of the face that looks really bad and ugly. So main thing is having a main light face. The subjects knows wherever their faces facing, and you don't have a better result when it comes to light in the face. You could also fix the problem of the main lights coming like this and the subjects facing this way with a second light or a fair light. So there you go. When it comes to soft light and highlight, I hope you understand it and practice it and see how your pictures improve by using more of soft light than hot light and just seeing the difference. Okay, Seaga's. 11. 11 Shooting in Day, Cloudy, and Night Outside: So now we're gonna be talking about shooting in some light, cloudy days or at night. Those three scenarios air completely different when it comes to light outside, and it needs to be approached very differently. First, we're gonna be talking about shooting in direct sunlight when you're shooting in the wreck , sunlight and I'm outside. What I'm always looking for areas that are shaded, anything that has a shaded area that's big enough. Or I could put my subject in, and I have no son heading. The subject I go towards because of direct sunlight cast a lot of ugly shadows that affect my picture. So I go wherever it is shaded, and I put my subject right in the middle. Um, and I use my speed lights to be the light so it looks like the sense actually hitting her, but in a nicer way than the actual son would be hitting her. So when I can, I go to an area that's shaded. Now let's say you're in the beach. There's no shade anywhere or any other scenario where there's not a single shape. The next tip I have when shooting in direct sunlight is make sure the sun is behind the subject. I know you can always have that be the case, but as much as you can make sure the sun is behind the subject. And that is for two reasons. One is the direct sunlight that hits a subject that's going to catch some really, really ugly shadows in the face and is going to be really hard. And it is going to make your son that your subject looked really, really ugly. The second reason is because when the sun is in front of the subject, um, people tend to squint. So they're like this because of Sinus hitting them and the cast for really ugly pictures. When you're telling your subject, open your eyes as much as you can and it's not natural, and I just can't take a good picture with the sun hitting them in their face. So those are two main reasons Now, if you have to, you can't be in the shade, and you have to be with the wreck, son, and you have to. The model has to face the sun. Another tip I have for you guys is if you have an assistant or anybody. Um grab a reflector, right or anything, An umbrella, anything that's big enough or even a person sometimes and have that thing, that person that reflect or whatever block the sun from hating the subject, at least in the face, right? So I have people with the reflectors like this, blocking the sun that's coming between the sun and the person. And then I hit the person with a flesh, and then the looks of weight better than if the sun hit them. So those are some tips Now. If the sun is behind the subject, right? Another thing you need to take into account is this thing called lens flare or this glare that comes from the light hitting your flesh. It causes a light causes of picture to look washed out. To fix that, you have tow block the sun from hitting your lens. And to do that, there's leads hoods that you could buy. That's what the hood is. Four. And if you don't know what that is, looking up the lens hood, and if you don't have one, where you can do is use your hand to block the sun from hitting in your flesh so you have the camera like so use your hand to block the sun from hitting it. And you can tell when you've achieved that by just looking at your view finder. So you looked through the camera, and then you see this glare this, um, in the picture, and then when you put your hand over it and you cover the sun, you see you go away, and that's when you take the picture. So that's another tip when the sun is facing, when the sun is facing the back of the subject that is facing you. Um and the next thing is, um if the sun is very low, right? Another tip is to make sure that the subject is blocking the sun. Right. So the sun is right here, and I'm the subject gonna create a glare, and the sun is gonna go over and block the lights. Gonna block her faces look really bad. So what you want to do is make sure that the sun is completely behind the subject so that it doesn't wrap around the face and cast really ugly light. So, um, those are some tips were working with the rec center now working with cloudy days. You're fine. You could shoot virtually anywhere. Use your speed lights to create nice lighting and you're good. So don't worry. With cloudy days, that's your best friend. Um, that's when I love to shoot. Um, whether the cloudy day makes the outside look bad, you can make up for it with your pictures. So don't worry about how it looks outside in person. Just know that in your pictures you can just your white balance to make a look like it was a nice day out. And you have this beautiful, um, lighting now a nighttime ihsaa hardest the hardest from them all. And the reason is, because anything you don't hit with your speed lights goes completely black in the picture . So that's problem Number one. Your background is all black, right? So you can get a lot of the background now Avery shooting where there's a lot of street lights and stuff like that going on in the background. Now you have to shoot a very low apertures or very slow shutter speeds to get that light to show. And, um, it's just very, very hard to do. And the other thing that you're gonna struggle with is focusing the auto focus in your camera, looks at light on the subject and focuses on it. If it's too dark, you're not gonna get any. Be ableto autofocus on the subject. Now you do. Manual focus once up happening is that you move even a little bit and then you're out of focus. So you can't do manual focus almost ever and photography unless you're in a tripod in the subjects not moving. And sometimes you might have to resort to that when shooting at night. I've had my camera on a tripod, the subject in the perfect position. I put a lot of light on them, using like, um, lights from our phones. I let my camera auto focus on them. Then I switch it to manual focus of the focuses and move, and then I could take as many pictures of that one. But now I can't move my camera on the subject can move. It's a lot of hassle. So using a tripod, my come in handy when shooting at nights, um, having some sort of flashlight or something so that you could hit the subject and it can focus will come in handy if you used to flat at the, um, the flashlight. You might want to turn it off before you take the picture. Or you might realize that those in get affected at all by it because your flashes air going off if you want to shoot with your speed lights when shooting at night because, um, it was very dark, and you need a light on the subject. But if you get this all right, you know, realizing that a night you takes a beautiful, beautiful pictures doesn't some tips for shooting a night, which is just make sure you got your focus right by using a separate light or a tripod and subject that movie, make sure that your shutter speed and aperture is low enough to get some of the ambient out in the background. If you wanted in your picture to show and if you can use as many speed lights, it's possible to hit as many things in the background that you want so that, um, you have a lot of the scene little. So there you go, shooting a night and cloudy day in day time. See you guys 12. 12 Types of Softboxes 2: Now I want to talk to you guys about the different types of light modifiers you're gonna find online when you're shopping for them. And I'm talking about May need these big round, um, Octa boxes and the soft boxes or a strip box. So any round modifier, any square rectangular modifier, you're going to see different set up systems that they have for attaching your speed lights to the okay. And I'm gonna talk about the three main ones that I see I own all three and the pros and cons of each one. Okay, so the 1st 1 I'm gonna talk about the easy is one the one you might start off with is this umbrella type, um, set up the way. This is, um, relative set up is, is that it closes like an umbrella. You can store it very easily, Take it, open it up, attach it to one of the stands and set it up like that. The good thing about it is is a fastest probably to set up, um, than all the other ones. No easy to store, take places and everything. Problem I have with him is that since the light is right in the center of it. When you added the Fuser panel in front of it, you can adjust the settings on the light without taking the diffuser pan off and moving it . Also, I have issues adjusting. Uh um, angle off them because all of it is inside, and that sometimes gets in the way. But if you get it just right, that one seems to be the easiest and most versatile one that you could get. I really like that. The other issue to is, you know, you have to rely on this extra adapter, um, to set up the lighting, but that's that's not that big a deal. The next thing, the next one you're gonna find are ones that look like this. Okay, now, this is a two part system. One is this piece right here. It's just ah, bracket. And one is the soft box. Now, this stores Somehow, by twisting this, this is one way to store it. Um, it actually becomes uneven, smaller square that you can put in a bag that how this came in. It twists and turns and goes into a bag. The thing is that all the reviews and everybody's talking about. It says it is very hard twists and turn in a store back away that and also by doing out too many times they break. So a lot of people say when you have these, just set it up and leave a set up. But I don't want to do that because I want to take it places and set up with such a big soft box like this one. You see, just by bending at one time, it's already, um, not staying and, uh, perfect square position that I want. It's slowly trying to bent, so I know that if I do that too many times, it's going to not fall into that perfect, um, square that I want all the time. The umbrella once don't seem to have that issue, because, um, it just doesn't those when you bend them too many times, they don't fall perfectly into that position. Now, um, if you don't mind that and you still want to bend them to store him and taking places these air equally as easy to set up as those and because all you have is a simple bracket that you put on right here and you attach a flash to it, Um, you can adjust the angle in which this shoots. You can adjust the brightness of the light from the back because it's not inside like the umbrella one. And it's really good one to have, right? So you might in the wanting to use this one and that one, the last one you're gonna find is this one that has a bracket late this one and rods attached to it. If it's a soft box that has four rods, and then if it's ah Octa box, it has eight rods. Now, the way it works is you grabbed a soft box, you stretch it out, you put each rod into place and then is set up. Now, the problem with that is that it is extremely hard to put together extremely hard to take apart by the time you're putting the last few rods have to stretch it out very, very hard, and you almost need to people to set it up. You Those were the first ones I had and they were a pain. And I think I got rid of almost all of them and now mainly use this umbrella one. And this system right here. So, um, all I can say is that now, the good thing about the Rod one dope is that is a most durable one. Okay, it's heavier. It's harder. And it's not gonna break like this one. Or maybe even this one. Um, but it still might not be worth to set up time and taking it apart. So you might just want to stick with this and this one. So those are the three main types off like modifiers that you're going to see when we're talking about the way they're designed. So you can use Of what? Your speed. Late. Okay. Thanks for watch. 13. 13 Octabox 2: For now, I'm gonna be talking about the octopus box, octo bank and parabolic stuff modifiers. So when it comes to these round modifiers, um, you might see it on the different names all around. Ah, cell fix Octa. Meaning eight sided or just parabolic meaning round. And let me show it to you. Right now. I have haven't set it up because I want to show you how easy it is to set up this particular one that I have. Okay, this particular one opens up like an umbrella. The tools you need are just your lights stand and this little umbrella adapter that allows you to swivel it up and down so you can search the angle of it and allows you to put ah, umbrella right through this and attached speed light right on top. Okay, so the first thing I do is I attach this to the light stand right? Then I grabbed my umbrella right here. I open this up, it opens up like so and then right here, there's a sipper in which I but this through Then I attached it right in here. Locked this in. Probably lift this up a little higher close this and I have this set up easily. No, I I used to different ones. And let me tell you the difference between the two that I have. I have this one right here, which opens up like an umbrella and stored really easily and is very versatile. And I can take it anywhere and portable. I have another one. The uses these, um, rods and this frame where I can shoot through and the rods attached to the edge So they'll be one rot to eight rods all around, and the centre is open and I can put the speed light behind it and shoot through it. No, The good thing about the other one is that because of shooting right through and the way and since this bracket is behind it, I can angle it easily. And I feel like a shooting with more power output because this one, in orderto work, has to shoot the light back to the back and bounce back around. And because of how this lightest position, the light ends up being on top and shooting mainly from the top to the bottom. So it might be a little brighter in the top 10 on the bottom. Besides that. Oh, and because of how this is set up with this umbrella when I tilt it, I seem to only be able to tell you this much. Wow, the other one. I can tell to even more and be able to go further down and like, almost shoot straight down. Now, am I saying you should get the other one instead? Well, the problem I'm having with the rod ones that I have to like set up is that I set this up and maybe a minute. The other one takes me 15 minutes, 20 minutes, sometimes to set up because the rods really hard to put on, and it's really, really hard to take apart. It's so hard that I just leave it put on and leave it like that the whole time. This I can just take apart and put together and take anywhere. It's much lighter than the other one and is the main reason I even bought this one after having the other one. And I really like it. The angles that can shoot and its most of the English. I'm shooting in any way. So this one, um might be just enough for us. Now, when it comes to using this, um, you put a speed light on the top. You put this bead light on top here, he lock it in place, you have it right there pointing at the back. What will happen is that it will shoot this and bounce around and come out now. This also comes with this diffuser. Did you just put on? And it covers the whole area of it. And like the soft box by having this spread so light out evenly from top to bottom more and it creates a softer light. If you take it off, you get a harder light and it, but it still works. You just got it. Test out both and see what you like. Better that also, the thing about this fun versus the one with the rods is that once I put the diffuser on top, you will not be able to control any other manual settings unless you take the diffuser off and adjust it. You won't be able to rotate in either with the diffuser pan on the other one. You would, because it's all behind it. And you can just adjust it and tilt it. This one you can't But the other one, Like I said, it's much harder to set up. So I personally think this one is the one you should get just so you can store easily and and try and take and take two different places and just practice on it is more affordable than the other one as well. Okay, now, let me talk to you guys a possum components about having a round large light modifier late this one versus having a soft box. Okay, you might say it looks like there's the same thing. Now, here's the thing. When I get these, I get larger ones. I don't get smaller ones. The reason I get larger ones is because this is good for getting light on a bigger area. Dan the soft books because it's bigger also because of the shape of it s spread out more and fills in more of the shadows. So you get a better life with this. Some of the instances when I use this is when I'm shooting two people or when I'm shooting like, straight down full body. Like sometimes I shoot people laying down I point this straight down and I shoot the full body. And I know I got even light all around because the whole bodies is an importance, not just the face. Um, so there certain instances where this comes in handy, other instances when it's not and when it doesn't come in handy is when you don't have space to use such a big light modifier like this one. Now the thing is, you might think, it's How do I put this in front of the model and me and shoot it. So you know, normally you would put something like this and you shoot behind it. But if I shoot behind this, it's blocking me completely. So how would I do that? The creating a lot of photographers. Lewis is how they do it. They raise this up. Hi. If they can. The models right here they kneel down and they shoot and that's it. Now you're saying, Well, aren't you blocking the light? But the thing about this big one and it's not the same with the soft bucks you could almost Onley do this with a large light like this one That's around. Is that the latest coming from so many different directions and it wraps around, you can stand in front of it partly not full body all around, but just like this, much of it. And they'll still wrap around and do what you need. You need it to do without casting a shadow from you on the person. So a lot of photographers shoe with such a big light source like this, they stand in front of it and let this wrap around and hit the subject. Now, maybe the bottoms a little dark. You can add a second light right here in front of you bouncing back up to s and Phil. But it's still really cool to be able to shoot in front of a light and, um, get all the light that you need. So this is really cool. Like to have a use, um, for your photo shoots. I really like this one. Um, so it's not that expensive? Neither. Um, I sent. I seem to be using it a lot. Like I was shooting, um, dancers. And they were, like, jump up and down and do all the school dance moves. And I just had one of these up and aimed it at an angle and a shot all around and didn't miss them. And I got their full body dancing and everything, and I Sometimes I felt like I couldn't do that with a soft box or any other light modifier . So this was a really good one to have. Okay, Thank you guys for watching CS. 14. 14 Rouge Flash Bender 3: So the next light modifier I'm gonna be talking about is this rogue flash bender. They have two sizes. A smaller one, which is about this size and the bigger one. I use the bigger one because I like Bakelite sources to spread out and fill in the shadows . Which is why I'm not shooting bare flash shooting straight on. I'm using something like this. Now, the great thing about this is you attached to your speed light very easily in, like, five seconds. And then you can move this around and put this in anywhere you want. So our position, and like this is gonna hit me and Phil all around and create a nice light. This is also my go to when I'm shooting outside, right, I attach this would a stand or I have somebody help me. Just hold this in place where I want it. Tell them moving a little bit over, turn it everything, and I get light hitting the model right where I want It is very good when I don't need two on the, um get like, I don't want to get this big soft box and set it up outside. So this is my go to one. I really like it. I think everybody should have a list at least one the other way. I use this. Besides, on the go and setting it up is I use is a lot for fill light. So when I'm doing my beauty work or I'm doing some sort of close up shot and I have my main light hitting at this angle, right? Sometimes as it goes down, it gets darker down here. But if I position this like this, pointing down and up are just, like angled towards the bottom half, I can get this to just get a little bit of extra light going from here up to fill in the shadows, which is really good. So there's my go to for fill light. This is my go to for on the go location shooting. Um, you can even have this on top of your camera. So here's your camera. You put this on top and you have this, and if for some reason you just don't want you just want something very simple off camera light, but you don't want it to be positioned like just point straight at the subject. you can put this and you get this nice light in a position where you might want it anyway. Now, if it doesn't work on top of the camera sometimes what I do is I have my camera with one hand and I have this with the other hand. And I could just move this like so and get it right where I need it to be. This is really, really, really cool. Really versatile. So I love using this life modifier. Okay, Now, you know, it's very easy to set up. Just strap this on, but this year, strap it on and it's set very easy, right? It's it looks like this. Okay, So basically no life can come from the Bacchus is dark on the back. So by this pointing straight up and the top also being covered, the only where the light can go is straight over along the edge of this border, right here. So bosses from the back and come forward and bouncers from the top and comes back out. And it only comes out from here. And size of this is almost like having a soft box. You put this close enough to the model is the same as having a medium sized soft books. So this is really good to have, um, for portability, Ease of use, light modifiers. Okay. Thank you guys for watching. 15. 15 Softbox 2: Okay, so now we're gonna be talking about the soft box. This is probably one of the first light modifiers you're gonna get. Once you get your flashes your speed light system, which your triggers and your life stance, you're gonna want to probably get a soft books. This is one of the several light modifiers I use. Have soft boxes, flash benders, grids. Um, and the soft box seems to be one of the most versatile, most commonly used, like modifiers. Now there's several things to think about when getting your soft box. Okay, the 1st 1 is the size. This was a pretty big one, but it's still it still could be bigger, right. But, um, when it comes to versatility, this one seems to be a really good size, because with this size soft box, I can have a full body, 3/4 or close up shot and having really nicely lit. Now, the problems having something this big sometimes could be that taking a places shooting outside um, just fitting it in tight spots could get in the way, so it's not good for every situation. The other thing is, if I'm trying to do more dramatic lighting, more narrow lighting. Um, this is pretty big and it's gonna wrap around and like, more than I need to Now, when it comes to soft boxes and one of the main things you want to focus on is this. If user panel, this thing strips on very easily. And with this you can, um, get even lighting spread out along the whole area of the front of the soft box. Now, let me explain what I mean by that. When I add a speed light back here, right, I put a speed light here, and it shoots out. Wen's up happening is that most of the brightness of the light is near the center and it spreads out, and it's less light towards the edges. Okay, so you'll see in your picture that a lot of lightest near the center, the brightness, and then it spreads out and it won't be as bright all around. But when you added the feezer panel, you're gonna really you're gonna see the somehow this if either panel makes it so that it spreads out all the way to the top and bottom left and right, and is more even all around, which is good because you don't want it to be very bright near the center and very dark towards the edge. You wanted to be equally bright all around. So that's the good thing about this diffuser panel. That's very useful. Now, if you go the extra step and spend a few extra bucks when you get this and you get a grid on it, this is what it looks like. It's something like this, Okay? And it is very simple, you know, this comes off and then you put this on along the edge like so and then you have a great Now was very interesting about the grid. And you can see it in this video is you see right here the silver and the inside of it. But if I turn it over, it goes dark. Okay, that's the same ass. You're gonna see the light. When you turned this over to the side like so and the lights coming out straight, it, um, won't spread out on the side. I would just shoot straight. Was she straight out in this direction? Wherever you're pointing at now, if you do it the other way with the diffuser panel is going to spread out all around and the purpose of having a grid for your soft box ISS for two reasons. One is two point the direction of the life straight onto something specifically a subject. Let's say a person, right? So I would put this right here like this and hit me. And then I get light all around me. But it won't go out and hit the wall because there's only pointing at me, and it's not going sideways and hitting the wall behind me. Just hit me on the site. That's great if I want at a rim light all around the edge of my body. The other second reason you want a grid ISS if it's on the side so it doesn't create a lens flare. Um, life layer on the picture. What a flare Dust, Um, a glare, flare glare, Whatever. What that does is it causes of picture to look like lights, really hitting it? And it's like very glare e and the picture. But with this having a grid and the lightning hitting the lens one's up happening is that you only see the light on the person and not straight at you making the picture look like foggy and glare e in the front. So I use it to avoid glare, and I use it to avoid it, heading something else like the background. So and it creates really dramatic pictures that looked very interesting in certain shuts. If the shots too bright and all around it is bright and there's no focus on the subject, you can add a grid, and then the light only hits the subject, and it looks really nice. So those were the, um So you have the diffuser panel to make the light very soft that spread out. You have the great, which makes them more dramatic and straight on, and you can even just take all both of them off and see how it looks. I personally think that the best way to do this is to experiment, see which one looks better at that time. You can start without anything on it. Take the picture. You're like, Ah, it's not working. You try the diffuser panel, okay? It's better you try the great Do you like it the most? You keep it like that. Um, Now the specific soft boxes that I use all have a bracket in the back so that I can attach Great on them. Okay. Now, this one I bought from Amazon. Their party, Their song from different makes and models all you really need us any that work with a speed light. Okay, this one that allows me to put my speed light like this. Lock it in and it shoots on street. And there you go. That's all there is to know about this. Now, the last thing I want to talk about. Soft boxes. ISS If you were to own a smaller soft bucks, the good thing about owning a smaller soft box is the versatility of it. There's gonna be certain situations where you're gonna be shooting too close, like we're the lane is to be. And this blocks you from because it's so big from the camera where you want to be If you want the labor here, the camera here and then the latest so big that it blocks you. But if you had a smaller one and won't do that and if you're closer is big to the subject because the closer you are, the bigger the light sources further you are and look smaller and more dramatic, so you can get a smaller one fitted in closer and it won't get in the way. And it's easy when you're shooting outside to just have a small one, like right above you, pointing at the subject. And it's easy if you have an assistant toe, hold that and move it around up in the air in any position very easily. Um, so that's why you might want a smaller one on top of the big one. So there you go, and another, lasting is mainly used the soft boxes as my main light. I don't really use a soft box as my rim light or even as my background light. Um, sometimes I might use it for fill light, but I mainly use it as my main, like the light that hits the whole subject because it's a very big So that's the That's a soft box And thanks for watching 16. 16 Speedlight Grid 2: the next light modifier when we're talking about is the speed light grid. Okay, you just look up speed, light and grid on Amazon, and you find many of these just buy the cheapest one. They're all good. Some of them have tighter small little circles, which means that is more narrow. Some are whiter. Um, I think there's only like, two different sizes. I would get both and you end up seen that like, let's say I shoot this straight at the wall, Right one's up happening is that, um as you saw that in the video it on Lee shoots a circle around. Now if I didn't have the grid, it was chute and fell the whole war with light. So that's what's really cool about this. Now, the two different sizes cause it for that circle of light that shoots to become bigger or smaller. Now, I don't know, I would get the bigger one of the two rather in the small one. I don't know how many times you gonna need to shoot a very thin line of light, right? Just as big, um, straight light. It's good enough for me. Um, my main goal with this is to create a nice rim light around the subject, you know, usually from top all the way to the bottom. I don't want it to be so narrow that it stops here and doesn't hit the rest of the body. So the bigger one of the two ISS is the one I use. And I pointed right behind the subject, like so and hits them. It creates rim light all around. I didn't have the great right. Well, what happened as a light will bounce and hit the camera and they will create a glare. And it looks really ugly, kind of the same as when the sun hits you, Um, to the lens creates is ugly. Clear Now. The next thing is, I also wanted to hit the wall right and create some unnecessary ugly brightness on the wall . So the grid allows me to just point out what I wanted to shoot and shoot that. Now, if I want this to shoot the subject and the wall, but not that you can take this off, pointed at the back and just have something blocking the site so it doesn't go in the side of where the cameras, right? I like to attach in business cards to the site of this or a credit card or your driver's license or whatever right on the side of this. And it won't hit the the camera and create a glare. Hit the subject, but also hit the background if I need it to do that. So that's the grid. Um, very easy to set up. You take this off. It looks just like this. This little rubber band and, uh, do you this it? Thanks. 17. 17 Beauty Dish 2: the next light modifier I'm gonna be talking about is the beauty dish. Now, many of you guys don't really new beauty dishes if you're gonna be doing fashion photography, beauty work and so plus these costs a little bit more than the other ones. The reason I have it is because I'm also a beauty photographer. Have you been a transition and beauty photography? Definitely gonna need one of these. I really don't recommend using soft boxes for this or anything else. Beauty dishes are, ah, perfect size shape, um, light modifier That is mainly focused to getting those close ups Headshots. That light up well, just like every close up had shocked beauty picture that you see in magazines Beauty photography is those close up shots that focus mainly on makeup on the face, which means that he's really nice lighting. If you look into pictures and you zoom into their eyes to see the catch light, which is a little white part in their eyes, it shows the shape of the light, and you're gonna see many times that it was a beauty dish. It was around light like this. Now beauty dishes are positioned usually right above like this. The cameras right here. It shoots at this angle, cast almost little to no shadow. And it looks beautiful. Now, this is how the beauty dish looks okay back here, I can put a speed lights and they'll shoot right through there. And there you go. Now, once you're growing your fashion photography, and you started getting closer to closer shots and medium shots and had shots, and you're starting to shoot more something that looks more like beauty, you're gonna want to get one of these. Now you can shoot a bear like this and get ah, hard light or the to other variations that you can use include a diffuser like this one, right? You put this on top very easily, like so. And what this does is it spreads out the light evenly all around the area of the front of this and increase a nice shadow less, um, light that fills in all the shadows and looks beautiful most of the time. I'm using this. If user on this light the second variation that you can use, I guess 3rd 11 being without a second into the future that their variation you could use is this script writes No great thing about grids and I can show you in this video is that it shoots straight on light and from an angle. You can't see it in the late one. Travel there. So like so you can still see me if pointed straight. If I turned this at an angle, I disappear, right? Same thing with light. All I do is position this right here. And there you go. Now a script. You can't see the light because it's at an angle. If I turn it towards you, you can see the light. Turn it a little bit. You can't see the light anymore. It is great because you get this nice straight on light hit straight on and it doesn't go to the background. So, for example, if I'm shooting myself up against this wall here, right, and I should like this with the grid on was gonna happen as it's going to shoot this life. They go around here in a circle, and then the rest will go black, right? If I take this off, it'll spread out. Right? So with the great I get more straight on light and darkness all around without the grid. I get light almost evenly all around. So that's a cool thing about using beauty dishes. Now many of the shots that you're gonna be doing a fashion photography. You can replace this for a soft box. You can replace this for almost just a normal round light modifier. Now, if you get a soft box, it is round right like a small Octa box. You might ask yourself, What's the difference between an octo box and a beauty? This that's up to debate. But the beauty dishes because of the finish on on at the size of it, the fact that this equally round it gives you more like 100% perfect shape. Light for beauty shut. The octave box probably gives you 80% or 90% because it's not the right size, not the right shape. It's It's even the fact that this has a center console, which makes it bounds and go all around. It makes us us even light all around vs octopus box of the same size, which won't have the center thing. We'll just shoot straight and cost less light spread all around it, and it won't look as's good as this. Now I'm sure there's more information on the different between this and on October box Soft box on the Internet. But for now, all I all you need to really know is that you want true beauty Light for beauty shots. Really close ups. Get a beauty This If you can't afford a beauty dish in, you have a knocked the box use that get something of this shape, round and close and that's it. You get this nice light. So there you go. This is the other light modifier. I used it. I recommend a view really? Taking your photography to the next level. I wouldn't get this first. I would go with the soft boxes, the big octo boxes, the flash benders. Okay, There you go. Thank you, guys. 18. 18 Outdoor 2 Light: Okay, so we're here with this, um, awesome door with magical door here that we found. We have, ah, one light set up right here with a rope flash bender pointing at her. Another one down here because this one's really high up. So I get a little bit extra light on the legs. Just a little bit of power. And, yeah, we're shooting these awesome pictures here goes to get most of the zoomed out. But you can also get some close ups. Um, yeah, Just to light set up. Very simple to do. 19. 19 Outdoor Bridge 2 Light: wearing this bridge by the water way have one light here facing her face is gonna light up half her body. We have enough light outside so that I can almost I just need a little bit of light in their face. Her face will spot a little. And then I added a second life back here with orange color Joe. And what this is gonna do, it creates the illusion of the sun hitting her from behind because it's the same color temperature of the sun. So that life from behind is gonna create like a let's player from the sun Just a bit of light back there. And this is the main light, which is gonna make just her face stand out a little more in her stick out from the background, okay? 20. 20 Outdoor Bridge Standing 2 Light: this picture right here. Two lights, main light heading towards her face so that she's lit up from the top half and sticking out a little. This one's a little bit lower, so I get a little bit of fill light the areas and a little bit dark from this side and the backgrounds air pretty bright compared to her. So I can dark in the image and my camera settings raise my aperture so it's darker, making her go almost dark. But the lights will add the light towards the picture. You can see the behind before and after with the lights. 21. 21 Outdoor Pool 3 Lights: Okay, so for this set up right here, I have both of the guys by the pool. I'm gonna be shooting with three lights. One light. It's gonna be shooting over there. Look, over here. This right here is a green background like other set that I have. This was gonna be hit by one light and have another. That light right there is hitting them from behind with an orange jail, which is just gonna create a certain mood. And then I have one other life in front of them that is hitting them in the front. That's my main life. And I machine from across the pool. Just face them. Okay. You guys ready? Like before? Yeah. Just lean on the one year. No need. How you had Robert your face lightly over way, Harry. Okay. You see in that in the picture way have the the orange in the background, which really creates a nice move. You have the light hitting the background. You have them live. Well, main lights. So that's a three light set up using a color jealous background in the poor. Okay, Thanks. 22. 22 Outdoor 3 Light Set up: So for this life set up by three lights going on, we're shooting behind this green leaves background way have one light right here, bare flash heading the background so that the backgrounds lit. And it's also pointing slightly towards him so that he gets rim light and then the other one have added a color Joe and orange so that that's mainly pointing at him. But a little bit of the background that's gonna add a little sense off. Different mood does not just bear bright, kind of like if it was daytime, even though we're shooting at night, then we have the main light with this rope flash bender. So it makes it a little bit softer light and hits the rest of his body. I'm shooting from kind of far away so that I can zoom in and make the whole background look bigger. And unless he had, this comes up. No way. What you see in the picture way have that orange behind them, plus a second room light on his way 23. 23 Color Hallway 3 Lights 2 Color Gels: So for this light set up, we're shooting to blue lights behind him. And then one main life right here, bouncing off the ceiling like I talked about earlier. By bouncing this off to ceiling, you creating a big soft light all around him, she lights up this old body casting no shadow spiritually, anywhere. The blue in the background is representative off them. Being called Blue Line is anything with the thing. You're so having a blue background, a significant for them, and it makes the hallway looking more interesting than this ugly like that we have here. Um, now I have him on the sides met all the way. So he's not in the frame and he has to be close to him. So the light bouncing off the ceiling will come straight down. So position yourself. Are you wearing it? Okay. Says you see in the picture, Get this night. Nice blue background. You haven't lived perfectly open now, and you can see how the ceiling became a big lake modifier. Coffee is nice, beautiful little over his body. And that's how you use ceiling, light modifier and blue colors over 24. 24 Wall Picture: Okay, so for this set up right here, I have a soft locks up against the wall and I'm only shooting one light. The reason I only should have one light is because if you had a room light to the back of her because of the wall, you're gonna add an extra shadow that's gonna come at a bad angle and make it official. Now, the shadow that comes from my light hitting her it's gonna be straight on along the edge of a global, and that's a nice shadow have in fashion. But when you're up against the wall, you have just a line that's the shape of the body of the wall That looks really professional. Now, when you get two or three shadows because of two or three other lights that are giving model from different angles, that becomes we're because it doesn't look natural, and it just looks really bad. So when I shoot somebody up against the wall, I usually just use one light and try to make it a big light modifier. Now, this stop bucks is pretty big. So shoot some hurt. Her whole body only gonna be shooting from out 3/4 of her body and backgrounds gonna be the Redwall and shooting straight up. He goes to shoot this Bagnoli and you put the late in the different position you can shoot street now. The light is not completely straight on site. It is at an angle face angrily going towards her. That way, the front of her face lit up from the site in which her nose or anything, My cast a shadow on the side of purpose. Oh, so that's where our position main light. No second life. Simply this one. Like I have a diffuser in front of no. Great. So spreads out nicely. Makes us to wrap around, even pass a light off walls. I had a great on it. Make the background reading can ever had something like that. So there we go on our mission. Okay? Yeah, that's perfect. Your face. So that's how you shoot up against the wall. Use one main light, usually a big life source of soft, and it wraps around. If you saw the picture, you had the light shadow up against the wall. You