Seeing and Using Your Own Light: Practical, Hands On, Light Hearted | Brendan Mariani | Skillshare

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Seeing and Using Your Own Light: Practical, Hands On, Light Hearted

teacher avatar Brendan Mariani

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (1h 33m)
    • 1. Introduction

    • 2. Light Overview

    • 3. Equipment Overview

    • 4. Light Quality

    • 5. Modifier Overview

    • 6. Something to Think About

    • 7. One Light Positions

    • 8. Photo Analysis 1 (3 lights)

    • 9. Photo Analysis 2 (3-5 lights)

    • 10. Photo Analysis 3 (4-5 lights)

    • 11. Photo Analysis 4 (1-3 lights/Dragging the Shutter)

    • 12. One Light Photo Analysis

    • 13. Two Light Photo Analysis

    • 14. Class Project

    • 15. Natural Light

    • 16. The End

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About This Class

This course is about understanding and using light. What it is, how it works, and the ways it can be controlled and shaped. Although the examples are mainly portraits, the information contained within can be used in all creative areas. 

If you've never used your own lighting before, thats no problem. Understanding the concepts discussed and participating in the class project can help you take a step towards using your own lights.

I want to share the insights that I've developed over the years of doing portrait photography, and I want to do it in a fun way. This course tells the stories and process behind photos I've taken.

We also take a look at the equipment that was used, so that all the elements and techniques become familiar as the class progresses. 

I've tried to make this course both educational and entertaining. My aim is to demystify/simplify advanced lighting, because as a great photographer I got to assist with repeatedly told me, its not rocket science. 

Not every lighting possibility is discussed, nor every light and modifier. That would be too much for one course! Instead you get to see how a handful of tools have been used and combined to create different works. 

If you have any questions, feel free to ask, and I hope you enjoy this course! 

Meet Your Teacher

Hi there, I'm Brendan. While getting a jazz drum degree in Toronto Canada, I started to take photos of the musicians and artists I was surrounded with. I learnt that concepts can be moved across categories, and that the lessons, mindsets, and approaches I was learning from music applied to photography just as well. I think that understanding yourself is one of the most important things you can do as an artist, and that once a concept is clear to you, it can act like a far off goal post that directs you through the murky landscape of using a tool to express yourself (speaking another language). I now live in Dublin Ireland, and will stay there for the foreseeable future. 

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1. Introduction: Lighting is not everything. But, you know, if the whole video was like this, you know, are you going to watch that? No. No, you give me the light. It's like a big part of everything. Everything that your camera sees is light. Okay, So let's talk about light. In this course, we're going to be talking about light and what it is, how it works, and how we can use it to achieve a vision. The vision is really the most important thing. Light is just a tool, but it's also a language and it's really worth learning about. Okay, I'm going to be using example photos that I've taken and deconstructing them. We're going to be talking about Hard Light, soft lights. We're going to be talking about using gels, which is like the colored lights. We're going to talk about strobes, modifiers, all of that stuff. And before we get into that, let's play a game. How many lights are being used right now? You can pause the video if you like. Okay. I'm, I'm gonna I'm gonna tell you there's four. All right. Now obviously there's the one that you saw me turn off before, which was this overhead, right? One of them's blue, which I'm sure you picked up on. And then there's two more ones behind me. Flashlight I was point moving it while I was speaking. Oh, boy. And then the other ones the other ones down there, you can actually look into my, my eyes. It might not be as much on this side, but mostly this eye. And you're going to see that there's a little, a little light, that's a catch light. Okay, that's, that's one of the really nice things about using strobes as well. There's something to keep in mind is to get a catch light in the eye. It really brings it alive, right? And then anyways, so we have the bottom one down there, that is this guy. And just have it down there. Then we have the one that is behind me. I think I said that. Yeah, I did. And that is that is here. Flashlight. Then we have the blue one over to the side. And then the top one that I turned off before, unless you miss your excuse anymore. It's the elephant in the room. Excuse me, on the Julian. He wants to know if we're going to talk about natural light is you don't have been into me on the join? Yeah. Yeah. Yeah. Yeah. We're gonna talk with natural light to set me off the exit to settle fundamental law. Thanks. The light bulb. 2. Light Overview: Light is energy. More specifically, it's electromagnetic radiation. Now it travels in miniature bundles called photons, alright? And it's invisible until it has something to hit. Okay, so here's a light. Alright. There's light we got, so this is the light we're dealing with. Alright, that's going to be, that's how everything works. This is what we got, This is what we're dealing with. All right, so whenever I'm looking at this light, I'll first talk about that first. It's invisible until it has something to hit. So obviously you see the light source that's on because it's directly going to the camera, even though it's facing this way, it's still in the view. And these little bits like anything that you see, it's, you're getting direct light, okay? Then you're also seeing this this is going to be causing a bit of a rim light. All right. And that's that's that's what you would call this. Anyways. It's coming from behind it. It's just lighting the edges, right? But everything in the middle, you can't actually see it's invisible until it has something to hit. So if I put my hand up here, right there you go. Yeah. Now you can see it. So this right away makes me think of haze and fog and smoke, things like that. Missed in the morning dust. You know, you have a tractor driving and then it's creating all this dust. There's a reason that it makes the light looks so cool. And it's because all of a sudden you have all these little particles in the air that are still transparent. You can still see through them. But when you shine light through them, it lights up the beam that you see the actual, what would you say, the trajectory of the light you see, you see the path of the light illuminated. And it's really cool to just know that because for example, there was the photo that I showed and that I do want to talk about and it's with a disco ball in it. In that photo. I was thinking, cool disco ball beams of light. How do we get some cool kind of disco ball effect? So what we had to do was actually use Hayes because we want it to be able to see the beams of light. And then we had to also do what's called modifying a light. Okay, So I have this right now. This wouldn't be the best example because it's just a bare light and I'm always thinking about angles. So remember how even though it's not facing you right now, you could still Yeah, Yeah. You could still see it. Alright. So it's the same thing with say you have a haze doubt room, and now you use a light like this. It's just going to be firing out all over the place. It's not very definite or defined. It's just a big blob of light that's coming out. So what you have to do is modify the light now above me, which is what I didn't show in the intro segment. There is, you can see here this is a light, right? And it's just like this light here. And then there's an attachment on it. Alright, so that's what that big thing is. It's an octave bank. It's not a soft box, It's an octave bank. There's eight sides to it, so it's, it's rounded and I like that because of the catch lights that it gives. You could see here it's not the square lines. If you want to have the square lines in the catch lights, you can do something like what I'm gonna do right now. I'm going to reflect the light and look, I'll put my head down so you can see more shadows. And then I'm going to put this under me. And you should see that it's reflected light, right? You should. And then, and then if it's reflecting the light, which it should be, I'll even come closer to the light. You should also be able to see the square or the hard line in my eyes from the catch light. So hopefully that worked there anyways. So there's a lot of things you can do to light, to start to mess around with it. And the question really starts to become, it's like, well, okay, there's all these options. Which one do I take? 3. Equipment Overview: Okay, Let's talk about equipment. Now. I'll say right away that in the sections where I'm using example photos and then I actually break down each part, each light. What's, what's happening in the photo? That's where you're really going to start to see how all of these things are used. And that's like strobe lights, continuous light modifiers. That's where you're going to see all of the uses explained, right? So for now, I'm just going to take a look at each of these things and tell you what they do. Now, I want to try to keep this simple. So another thing to remember is that all of these things just let out light. That's it. Great. They just let out light the lenses actually, they let in late, right? But that's all they do. They let out light. So what it starts to become about is how do you want the light to look and how do you make that happen? All right. That's kind of it. All right. Whenever you start getting into the more numbers of lights and everything, it's, it's all the same principles that apply except maybe you start to, you know, just light specific parts of an image, right? So you want to light the person and then maybe you want to light the background so you put a separate light back there, right. That's kinda what happens. Or you want to get this rim light, but all of a sudden there's all this spill. You're getting this reflection on the table. So it's like, Oh, you use a modifier so that all of a sudden you get that rim light, but you're not firing light all over the place. Now, another thing you might be noticing is this actual streak of light that you're seeing in the image here. This is because of the type of lens that I'm using. This is an anamorphic lens. So this lens flare is characteristic of anamorphic lenses. If you were to be using a spherical lens like this guy, Hello. This is the kind of flare you would be getting. Okay? So that's just a little thing to think about. Okay. So I do have the flashlight in my hand. This is really handy because it's small, it's portable. It's so good just for everyday use. Oh my goodness. I bring it all over the place, right? And then it has this little, little clip so you can actually attach it into things. Anyways, one thing that this light does not do is change colors. So maybe we want to change the color of the light while what do we do? Okay, you could actually point it at something like my shirt here and maybe that's going to kind of reflect yellow light. Yeah. You see you see on the table here, right? So that's like one thing or you can use something like this. This is a gel. So right. And these come in all different colors and stuff. So that's one option that we have. Now let's talk about some of these other lights here. These, this is an RGB light, so this one can actually change color on its own RA, and it even has like these, these effects, right? But anyways, this is sort of a normal light. It can go from colder light down to sorry, this is called their light. And then you can make the light warmer, right? So colder light is like white light, right? Warmer light is like the orange light, right? Okay. So then we have the other continuous light as well. This one's not an RGB, but it also goes from warm to cold, right? And then it has, obviously, you can change the like how powerful it is. Okay. Now, continuous lights, like the ones I just showed you and also the one that's above with the Okta bank modifier on it, which I'll explain more in detail a little bit after. Continuous lights are great for video. So all of these have been handy for me to use and talk about it and flashed around because it's a video, so it's actually quite helpful. It's also very good for learning with continuous lights because you can always see the light. That's one thing I would recommend is always try to imagine the light, imagined the path that it's on. Imagine the, the beam that you can always see it. Because when you're using things like these, right? This is a speed light, right? It's just a flash and it's kinda like these guys except it's just, it's smaller and less powerful. Let's off just an instantaneous burst of light. So when I'm aiming it, I can't actually see where, where it's like what it's really doing. So I have to sort of use the mind's eye to imagine how it's going to be and that, that develops over time, right? And it's just always thinking about angles. Angles, angles, which, what angle is the light going in, right? So anyways, that's just something to think about. Then you've got these big guys over here. Now, the thing I like about these is first of all, first of all, well, there's a couple of things. One is they're portable, right. So you don't see any cables attached. This is the battery right here. Right. And then the other one has the battery just on here that comes off. Right. So they're portable. That's a great thing. That means you can throw it in a backpack and then really do lighting anywhere you want. And you can guess because of the size of them, that they're going to be a lot more powerful. Right now. There we go. These do have continuous lights on them, but these are what's called modelling lights. This is really only so you can get an idea of where you're aiming or what it's gonna look like. That's something that this guy doesn't have, right? So that's another advantage of these guys. But, you know, this is the brightest, I believe. Yeah, 23, that's the brightest. But even if you get this flashlight way stronger and this isn't even as strong as some of the proper continuous lights that you can give that you can get. So anyways, what this one does again is, you know, pop of light and you can change, you can change the power. I'll put it to the most powerful. Hear hear that. Yeah. So this is actually going to recharge faster than something like this would as well. So that's another advantage of the strokes, right? And another advantage of the strobes is that you can fit the modifiers directly on them, right? So this has these little, little bit. And you can go up, up, up, up. And then now you have a modifier and you have a light that's serving a particular job, it's doing a specific thing. This is literally, this was what was used to light the disco ball in that shot where you see the little beam of light coming out and then all the other beam's hitting it's because it was used with this with this attachment. Okay. Okay. Put that over here. So yeah, that's just a look at them like here, this one too. We can turn this one on. This one turns on like that. Right now it's on, it has the modeling light as well, but this one has a warm modelling late well, that one has a colder one, right? And then you have the flashes. Okay. So same, same sort of idea. Okay. I think that's mostly it really. The other thing is, is these guys, okay? And what are these? These are triggers, transmitters, right? Basically what you do is one that I've marked off with, with tape here. This goes on the camera into the hot shoe or cold you whichever one you call it, that's where it goes. And then the other one attaches to the light where maybe it's a little cable like this. Goes, goes, goes into it and then the other one pops into it, into the stroke, right? Or if you're using a speed light, then this little spot down here, oops, here. This little spot down here, this would just slide right in. Okay. And now when you have this on your camera and this attached to one of your lights, it doesn't have to be on the camera for it to fire, right? Like you can have it anywhere and then you can, it starts giving you more control about where the light can be. Okay. That's really it. Okay. That's, that's, that's everything. And I think next we will talk about the actual different modifiers, what they do and how they change the light. But I just wanted to pick some of these things up, talk about them, and just just show you them as well. Because one of the things for me that I really get like I learn a lot from is what I just watch people do things whenever I watch them, pick the things up and talk about it and fire this off and whatever it might be that's I like to learn like that anyway. So those are those things. There they are. And now I guess we'll talk about the modifiers. And then after that we can show you how they'd been put together to create certain images. Cool. 4. Light Quality : So we're going to be talking about modifiers now. And one of the things that I want to clear up before we get into that topic is the difference between a hard light and soft light. So I'll start by saying there's a thing called Hard Light and there's a thing called soft light. Alright, That could also be called the quality of the light. Oh, subtle soft light source like the one that I'm using above me, right? Anyways, look, I'll just, I'll just show you. So what I'm gonna do is I'm going to turn on this, this GoPro here. And we're going to start by talking about soft light. There we go. That's my hand. All right. There it is. Now, when you're looking at it, you can see it's lit obviously. And then you can see there's a shadow on the table. Now, it's a really soft shadow. And that means that the edges on it aren't very clearly defined. That's because you have light hitting my hand from this big, big light source, the big octave bank that we are going to talk about in the modifier section, right? And what that means is, even though I'm getting this light from right above, it's also hitting from all these different angles, really wide set out, right? And, and it's filling in all of these shadows. So I'm not getting a very hard and define shadow. I'm not getting a very hard and defined highlight which is the brightest parts at, or the mid-tone, which is the little middle ground right before between the highlight and the shadow. Okay, but now I'm going to turn this buddy on. There we go. Look there. You can see it there. Now. Look at the shadows that it's cold and I'm going to, I'm going to make it actually like a little too bright on purpose. Okay. Now look at the shadow on my, on my hand or on the table from my hand, you see how defined it is. That's because this light source is a very small light source. It's also pretty direct, like you can see, it's making this circle of light like it's, it's focused, right? So look what's happening to my hand and the shadows. Now all of a sudden you're not getting this smooth transition from highlight to midtone to shadow underneath there, right? It's just really intense and contrasty and extreme. And there's uses for all of these things. All right, but another thing to think about is that if you are using this on this head torch, which is a small light source because it's very small light. If you were using this to light an ends and you're like, You're like right there are lighting the ends. You have your, you have the light really close to the aunt. The size of the ant and the size of this are actually going to make this a pretty soft light source, okay? Because this is going to be really big in comparison with said aunt or a. And that means that the light is not just going to be coming from this one specific direction. It's going to be bigger than the source itself, which means that It's going to be coming in and filling in the shadows and coming from all different directions. That's like what's happening with how do I turn this off on? Okay. Nope, nope, nope. Okay. So that's what's happening when you have this big modifier on top over here because it's five feet, right? It's, it's quite, quite big that you're getting this light from all different directions, right? I just I just hit the microphone there. You're getting this light from all different directions. And that's, that's making really smooth transition from high light to shadow because everything's getting just a little touch of light from all these different directions basically. Okay? So anyways, look, that's hard and small light. The bigger the light source, the softer the light source, the smaller the light source, the harder the light source. Okay, that's an important thing to know. It's just, it's a really helpful thing to know. Because when you know that you can start making small differences, for example, if you move closer to a light source, it's going to get bigger, right? It's like this right now. If I put this over here, now it's like bigger than if I put it over there. Beryllium. Anyways, let's talk about modifiers now and what they do. 5. Modifier Overview: We are going to talk about modifiers. So you may have heard of a soft box before. Alright, now think about what we were just talking about. Hard light and soft light. Soft light is big light, hard light is small light. So a soft box is really, it's something that you would attach onto a light, something like these. And it's shaped like a box and it gives soft light because it's going to be a bigger light source, right? So I've never owned a soft box in my life. I have instead owned different versions of Okta banks, which is, you know, it's like Okta Box. You could call it a box with eight sides. It's round eight octa, right? So here's, here's, here's a little octave bank. This is two feet, two feet. That's, that's how, that's the distance from here to here. All right, and now all literally just show that example. You've got hard light. I'm going to turn this on hard light, small light source. And then we're going to move it to soft light, which is a bigger light source. Right? Okay. All right. Okay. Hey, there we go. All right. Let me show you the inside of this. Or actually what I'll say is look, one thing you'll notice is that it gives like a direction. You know, you're not seeing the light. You're not seeing the light come out here. This is blocking the light. So this is another way that the light is being modified. It's being given direction because if you had it just here, it's got an ISI. It's late in my face. And now it's just letting whatever is up there. All right, so that's one of the things that these modifiers do is they give the latest certain kind of direction by telling it where not to go. And then, and then when it's firing out over here, that's small light source is being diffused on the inside. I'm going to show you here with the GoPro. I'm going to turn this on. Yep. Nope, nope. Okay. What's okay. So anyways, when we're talking about the inside of this guy, now you actually have an inner layer of diffusion material. You see this, that I'm kind of moving around here. This is what the light first hits. And then when it hits this inside inner baffle, you would call it this inner layer of diffusion. That then makes that smaller light source start to spread out as it moves through the diffusion. And then at it, as it spreads out, then it hits the second layer of diffusion. And what this does is this eliminates the hotspot. So the hotspot is like that one middle area of the light that's a lot brighter. Now, something like this modifier on here, this is going to still have that hotspot, right? Because you can actually see the bulb. Now this thing right here, I can take it and I can slide it off, right? You saw what this might look like before. It was just flat, but now it has this modifier on it. And you see it's that same silver kinda metal material with these little etchings in it. And it's all, all made to take the light that's coming out of the main strobe and amplify it, you know, it reflects it right out, right. So this would be this is called a Zoom reflector. I believe this is called a magnum. Yeah, this is an OCF magnum reflector. Some people call them spill kills. I just call it like a reflector anyway. So look at what if we turn this is on already here so we can see what this is like here. All right. You see how there's still the hotspot, right? There's still the actual middle area that's a lot brighter. Now I'll move it out. I'll move it into. This is another thing to notice too, is the closer a light is, the brighter it is. Also the software, but the brighter it is. But you see how it's not really getting lots of spread here. As I move the light out, it becomes less powerful, but it gets more spread. So these are all things to start to just pay attention to because they all find their place in your workflow when you're taking photos of if you want to lay out a whole background, you know, you're going to be and you have this, then it's like maybe you got to move this really far back so that the beam has time to spread out and hit everything, right? But then it becomes an issue about space where maybe you're in a small space and you have to have that happen. And if you look, it's just All things to take note of anyways, like we're talking about the reflector here. Now this, this reflector here, It's really, really cool because, because you get this really, you see how like, you know, obviously this side is lit and then over here it's dark, right? So that can be kinda cool. If you're taking a photo of someone, it's not a very big one, as you can see, right? It's not like the, the, the, the octave bank that I had there, which is, which is two feet, right? So this is going to be generally a harder light source, right? But anyways, and I'll show you, Here's a picture that I took with this. And here's another picture that I took with. With this, right? So it's really cool because you can get this. You could start to use that hot spot and you could use that dramatic fall off from the smaller modifier. And basically you can get the subject lit where you want them and then there can be this just, it just falls right off. So I think that's really cool. Now, speaking of hotspots, what we'll do is we're going to talk about the beauty dish, right? And the way the beauty dish works, as you can see here, there's this little inner, inner part. This is a very inexpensive beauty dish, Which I have two things to say about it. One is like cool, inexpensive, you can get it and then there you go. You technically have a beauty dish that works too, is don't get inexpensive things if you can avoid it. Because after getting this, it's just like these things start kinda fallen apart. It's not even a perfect circle. The way that it's lit isn't really consistent. Things start breaking on them and just over time, you end up having to buy another one. And it's like it just costs more. Where if you got a proper one, like a good quality one from the beginning, like I did with the bank, I'd still be using it. I've had the octave bank like maybe three times as long or four times as long as I've had this and this thing's already falling apart, not the point though. The whole point is how it works. So you'll see that you have this little opening where my hand is, that's where the light will be put in, right? And then what it does is it actually hits, it hits this little thing in here. It has this little inside attachment and that stops the hotspot. Right? Because all of a sudden the very middle of the light is hitting the back of this and then it's being reflected out all around here and then that's all being projected out outwards, right? So one of the things that people say whenever they're talking about light modifiers as well. In an example I've heard used is a bucket of water, right? So imagine you have your bucket of water and it's throwing out the light, right? And that's kind of something you can think about here. So it's actually reflecting it and then it's shooting it out. Now, a thing about beauty dishes as well is that you'll notice in the catch lights there'll be like this little dark circle because that's generally being blocked by the light or like the light's not going through there. So that's like a little tell-tale. But these are really good for it's called a beauty dish. So you know, like beauty shots rate like portraits. It's not really good for lighting more than two people. Really like it's best for lighting one person, but it also works best whenever it's pretty close to the person, you know, as close as you can get it, right, because that's when you're really going to get the most benefit out of it as you start to move it back and back and it kind of spreads out. It loses the sort of beauty dish quality. Right? Now. I'll just say that the beauty dish and the octave bank that I have, I've taken photos with them like side-by-side. And really like It's not huge differences. You're going to be getting a little bit more raw light, if you will, because it's just being reflected off of this middle part and then shot out. It's not going through all these layers of diffusion. But if you want, you can take something like this. Look at this on all crumbled up. Oh my goodness. She's you can take something like this. And basically as you put this around, it becomes a little bit softer because you're going to have another layer of diffusion that the light has to go through, like looking at, okay, I didn't put this on very well, but it doesn't matter. It's the same kind of idea. If you put this on, then all of a sudden, whatever light was going to be coming out of here is also going to travel through this diffusion. Another thing to keep in mind is when it travels through the diffusion, it takes away a little bit of the lights power. Okay, so that's why this one over here, that's, you're just getting the raw light, right, and it's being amplified and put in a little more directional. This is actually going to increase the light output. You're even getting more light because of just how, how this thing is designed. Where if you were to use the Octave bank, either the one that I'm using above me are the one that I showed you before. You'll be losing a little bit of light. So those are things that you just kind of finesse. Okay? So I guess I have this here and this is a lens and we're talking about modifiers. So I still wanted to talk about this because it's an attachment that goes on something and it can change the way the light looks. So basically what I have is, is on here it's a little filter. So if you have this attachment, There's lots of different versions of this, but this is the one that I use. So there's basically this little thing that you can put through here, okay? And that changes the light that's actually going into the camera and you can see it's like sunglasses, right. This one's actually a polarizer that I have in here. But you can, in that block certain waves of light, like reflections from, you know, like the water or off of windows and some things from the sky. It's certain waves of light that it blocks out. And it also just kinda brings the whole image down like a, like a, like a pair of sunglasses, right? And that's what an ND filter does. And ND filters is not the same as a polarizer. The ND filter keeps the image exactly as it is, except it just brings down the exposure really like a pair of sunglasses. Okay. So anyways, that's what that attachment is. Now we have for the speed light. All right. This is like the smaller flash, this thing just, this just straps onto it. Okay, and then this little top here actually pops out, right? If you wanted there you can see the flash, but I, you know, I'll just put this in. And what this does is it does make the speed light a little bit of a bigger light source. But you can also see it acts like a light bulb or like a little lamp. Okay. Because even whenever I'm twisting it around, like you're still getting this on my face upwards around. So this is good for like event photography and it's just, it has its place wherever you might find it, right? And what it does is whenever you're taking the photo, maybe it's going to be hitting the walls, which if they're white walls or a white ceiling, then it bounces more of that light down because light bounces and reflects and things like that. So that's what this is good for. I use this a lot whenever I was doing Club Photography and I'll still use it for chutes as well. I like taping like a little bit of like the gel over it, so it's like a colored light and then maybe I can put it somewhere and then you just get this little highlight, another color in the shot. Okay? Now this one over here, this one's really, really cool. And that's, I believe it's called a snoop projector. So you saw the Snoop before, right? Which is the thing that can make the light very directional, right? And it even has these little grids and it, these honeycomb grids. Now watch what happens. Whenever I just shift to the side. I believe it's there that now you can't actually see the you see how it's blocking out the light. Right? So whenever you have this, even though it's to the side facing this way, you can still see anything you can still see that would still be hitting your going out in that direction. So that's where you get grids that that helped. But anyways, anyways, I'm going all over the place here. This light over here is like a snoop except like I snoop on acid or like, I don't know, steroids or whatever example is best there. And what it actually does is it lets you attach a lens to it. Right? So I have like, it has a EF, um, which is like Canon lens mount. So you put it on there and that lets you actually change the focus on the lens itself, which changes the beam of light. And then you have these little things called Go bows. Now a gobo is something that you put in front of the light to kinda like blocket. So if I were to like put like a big card or a sheet or something in front of me. And it can make like a shadow that would, that would be a gobo. So here's examples. This is the thing that you actually slide into here. Like it slides in, and then in here you have shapes. So it's like this is like a window. These are just kinda like shades. There's just a straight line. And then what you can also do is take sin a foil, which is, which is that material, which is this material that can be kinda shaped around to help you shape the light. You can cut out little pieces of silver foil and, and make your own shapes. And then you can slide them in. So it's just, it's a really, I don't know what this one was, but alright. So it's really, really neat because what this lets you do is put very, very specific. And I would almost say surgical splashes, not even a splash because it's so surgical installations of light. It lets you basically put like very specific hard lines with shapes of light. And that's such a cool of facts like that's what I used here. And that's what I used here. And if you don't have something like this and you still want those kind of shapes. You can think about using other things as go bows that block the lights, like curtains or not curtains, sorry. Blinds. The blinds that go out. This photo I took. And that was just in my bedroom in Canada and the light was coming in through the windows, the blinds. I just took that photo and if you actually look at it as well, there's a little bit of reflected light on the back and it's, it's like a warm color because I used this golds reflecting thing to just give a little bit more on there. And I don't think it was necessary at all, but it's in the picture because that's what I tried to do at the time, so yeah. Anyways, way, way, way. Oh, wait, wait, wait, wait. One thing one thing I forgot. My voice is almost don't even worry about it looked one thing I forgot is that if you're using speed lights and you want to be using like all these other modifiers. It's like, you know, what do you do, right? Well, what you can do is you can get something like this. And this is pretty cool because it actually attaches onto the speed layer. You just screw this, I like that. And look now you have this and this goes on the light stand, right? And then on here. And you can actually, you can put your modifiers. So that's this exists. Okay, Back to where we were at in the video. 6. Something to Think About : There's too much information, like there's all the information, it's all out there, right? For the most part. And what you wanna do is find clues to what you should look at or what you should emulate, right? Because everything's imitation, then it's internalization, and then it's innovation. Okay? So how do you find the things that you want to imitate if you're looking to start lighting, right? Look at the things that you like. Okay. Look at the photos that you like, the videos that you like, whatever that might be. And inside of the things that you like are clues about yourself. Because not everybody is going to like the same thing. Again, if we're talking about music. If you play a song or like say an album or whatever it might be, and you show that to 30 people, okay, and each of them go and pick out their favorite part. There are all chances are they're all going to pick different parts. Okay. It's because different parts speak to different people. So when you're trying to find out, like, how do you even get started with lighting? If that's where you're at, then a big clue or a hint or recommendation I would have is to look at what you like. And then inside of that is going to contain the information that you're looking for really. And then, and then you can really work backwards. So again, you imitate, you start by imitating, you find out the sort of techniques, the ways people are doing things, then it's internalization. That's where now you have a grip on it and you're able to kinda pull that out and do that whenever, whenever you want and have a basic understanding that's backed in actual experience. And then from there you have innovation. That's where this thing that you learn starts to get mixed with. This thing that you learn starts to get mixed with your personality and personalities are a whole thing and you should learn about personalities too, because there is a dimension, a set of dimensions that people fit on as well. And that can be actually a clue to a lot of the things about yourself that you might not even know, it's really worth finding out. But anyways, this thing that you learned gets mixed with, this thing that you learned gets misses with your interests, mix width, blah, blah, blah. And you actually use all of these things and you put them together and then you put something out into the, into the world. Okay. And that's sort of the process. And that would be my answer to, you know, what do you choose to to light or how do you start? And we also have a friend over here that's not ready for the camera just yet. That's why it's covered with this light case that's in here. It's so creepy. Like, it's like, okay, we're going to use a mannequin to do like lighting examples. And that hasn't happened yet in the video. So in real life, either, which means I just had this mannequin head sitting around the house. And God, it's so creepy, walk up to it and you're like, I forgot that was there. So gotta start using this thing so I can put it away in an attic or something, which is going to be even worse because then you're just going to know that it's in the attic. Anyways, not the point. 7. One Light Positions : Okay, So we are here with our friend, Uthman. It can or a mannequin, depending on how you pronounce it. And what we're going to be doing is showing you one light setups and giving you the names for them. Okay. So for each of these one light setup, so I'll tell you what they are. There is flat lighting, there is butterfly lighting, there is loop lighting, there is Rembrandt lighting, split lighting, and backlighting. So that's six. Alright? And each of these examples, we're going to be using different modifiers. Okay, So we'll start with just a, even a really small flash. Then we'll be doing it with just a bare bulb. Then we'll be doing it with the Zoom reflector, right? So like the OCF magnum, right. Then the two-foot octave bank, and then the five-foot Okta bag. So you'll be able to see what the differences between all of these things. And we're going to be doing that with photos. So let's, let's get into that null. Just explain while we're looking at them times. The funny thing isn't it? Okay, So what we have behind us and actually in front of us is some of these different lighting example. So let's jump right into it. Okay, So the first one that we have in front of us, this is flat lighting. Okay, so let's just go through this. This is what the small head torch. Now we get with the bare bulb of the pro photo. Now with the magnum. Now at the two-foot Okta. Now at the five-foot Okta. Now you can already notice the difference that these different modifiers are giving. So that's just something that you can pay attention through all of these, but I'll just tell you what flat lighting is. Flat lighting is where you're just like like right? Right on like right on the face. If if the camera's right here, the light is just coming right at me, right? So just flat on. The next one we're gonna do is butterfly lighting, which is also like you could call that paramount lighting. It was used in a lot of the old Hollywood movies. So that's where instead of being right flat on like this, It's just up a bit and you start to get this little shadow under, under the nose. That's almost like half of a butterfly wing. Okay, so let's get over to there. And now we're starting again with a small headlight. Now you see here just how sharp this line is from this small light. Anyways, this is the butterfly, so that's what the head torch. Now we got with the bare bulb. Now we've got the magnum. It's just getting a little bit softer and softer each time. Now the two-foot, this is really getting soft. And now we have this one over here. Okay, And that's what the five-foot. All right, Let's move over to the next slide. An example. This is loop lighting. This is where it now you'd say you had the light like this and the butterfly from above. Oof, okay. Now you're moving it to the side. And when you move it to the side, you're gonna get the shadow that starts to form on the nose, right? And that's, that's where we're getting that loop. So if we look over here, this is that loop over here. All right, so that's what the little torch. Okay. Well, I'm OK. Now with the bare bulb with the magnum, two-foot Okta and then five-foot Okta. Now the five-foot Okta, it's going to look a little weird there. The five-foot octave bank, I let those ones from actually the other side and all of these examples. But the thing is, they all looked really similar to because this isn't a huge space and it's such a big modifier that a lot of these different examples I was doing with just the five-foot Octa, like they were kind of looking similar because even if you try to position it one way, so it's coming from this side, like it's so big that you're still just getting light all over the place. But anyways, now we move over to the next type of lighting, and this is Rembrandt lighting. All right, That's what the smaller head torch. Now at the bare bulb, the magnum two-foot Okta, and the five-foot octo, which is again from the other side, but it's not really telling a huge difference. Now Rembrandt lighting, this is actually, here's a picture from from the last Skillshare course I did. And you can see over here that there's this triangle of light. All right, that's characteristic of Rembrandt lighting. Rembrandt out he was, he was a painter. And you know what If you look up Rembrandt lighting, There's going to be all kinds of stuff that you can find on it. And he's as a particular kind of look in a lot of it was this lighting that he was always using, right. So it's usually up from like a 45 degree angle going down so that the shadow from the nose starts to connect with the shadow on the cheek. And then it makes this triangle of light, and that's what we can see over here. Okay? After that we have split lighting. This is where it's like split right down the middle. Okay. It is just coming directly from one side. This is the smaller head torch. And I think this actually looks really cool. If you look at it, it looks, I like how this looks. Okay, now with the bare bulb, now, I'm just actually going to go back one. Do you see the difference here? Do you see how this one almost has a green look? And also it That's just because of the type of light. It's like it's not meant for like photos and videos. So the light hasn't been calibrated to like have just a specific look to it. It's what's got this a green tint and that's a problem you can run into if you're using light that aren't really meant for like photos and videos, but at the same time, you can use all kinds of different stuff and there's ways to work around it, right? So just something to pay attention to. Anyways, here's what the bare bulb now, next one I'm going to go with the magnum. All right. Then you've got the two-foot Okta. It's actually creeping in the shot just a little bit there, right. And five-foot oxides from the other side here. But you can still see with the really big light source, very, very smooth transition from light to shadow. Now, this is backlight, all right? And this is whenever the light is coming directly from behind, so you can't even see anything here. That's what the smaller head torch and then luck there. There it is again with the head torch just like raised above, even though it's in the back. So really you're not getting much here. Now here is with the actual bare bulb on the strobe, you're getting a bit more power here and it's going off on the shoulder too. There's just more light being kinda thrown around. It's less directional than that, that little head torch. Okay, now with with the magnum, I have this down further so you can't actually see the whole reflector, but that's how that looks. Now with the two-foot Okta. And you could now it really becomes easy to see. Basically, there it is right behind you. And with the five-foot, and this is one of the ways that the five-foot octave bank is fantastic, great modifier because, because of the size, you can actually just put it behind a subject. Like if I lowered the light a little bit in this photo, you wouldn't see these edges, but that's, that's okay, that you can see them right now. But it just shows it's something you can use to get like a whole background that's lit up and it starts to light like the sides of the cheeks and everything's really, really cool. And if you turn down the exposure, then all of a sudden you can get this silhouette effect with it that we have here. Okay? And I think that's I think that's it. Oh, I have for here I have overhead lighting as well and that's where the light is just right above like like what's happening right now. And this was with this was with, I believe, a bare bulb. And then this one was with the two-foot Okta and then this one was with the five-foot Okta. Right. So you can already it's Whenever went smaller than that, you wouldn't really even start to see any details like on the shoulders and stuff, it was just hitting the top of the hat. So I don't have those images in here, but basically like you couldn't see it because of the size. But here it is, bare bulb. Then the two-foot octo, then the five-foot Okta. All right. Now what we have is this is just extra and this is actually with the optical SN2 projector. Okay. Now the optical snoop projectory, that's the moment the lens on it that they can focus. So here for this shot, this is just right out of the camera. And you can see that there's a little bit of a smooth transition here from where it goes completely dark to the image itself. That's because I defocus to the lens on the optical SN2 projector. But look what happens whenever I focused the lens. This looks like I've actually cut it out in a software, but this is actually how the light looked just out of the camera. Right? So it's that's why I was saying before. It's very surgical right here's just another angle. There's another angle like that looks kinda cool. Like maybe, maybe if I zoom this in, it kinda looks like cool beside me. Doesn't cool. Okay. All right. I think that's the last one. There's one more thing that I forgot and it is in the split lighting. Where is the split lighting? Here's the split lighting. Okay. Now, one thing I want to mention is whenever you're using these setups, there's ways that you can add color to the photos. Okay, so I just have this little light setup over here, right? And that's, as you can see, is putting lots of just this colored light on our mannequin friend. Okay? And what happens is now I use this. This is just split lighting, right? I lit from the side with a different light. And even though that that colored light is in the same position, you can see that half of it is sort of disappearing and it's getting lit up with the, with the white light that's hitting it from the side. And this is something to take note of if you're going to be using colors and if you want to be using gels, Then basically the colors are easily going to go into areas where there's shadow, right? That's where you're really going to be able to see the color because as soon as there's other light that leaks in, if that's brighter than the shadow, sorry, if it's brighter than the colored light, it's going to start washing out the colored lights. So a good way to start introducing color is just to know that everything else in the image where that color would be, would be normally dark. If you didn't have the colored light there, right? Color will show up more in the shadows are darker areas, right? Or and if you have other lights that are sort of drowning out or washing out over the whole image. You might not see the code like come out as much. So that's why it's nice to put colored lights like in, in areas where they're shadow. So that's just that's just something to think about. Look, I even moved it over there too. And this is kinda neat because then you get you get the color on this side, then you get a little bit of this dark space and then you get the light from the side. So it's, you know, that's just a little extra something to think about. Okay, That's those examples. I wanted to try to go through them quickly because all of this does take time and you'll be able to actually just go sort through all of them and see small differences. If you go and, you know, you can just see what they all look like with the different modifiers. So I'd like to actually now take some photos that I've taken in deconstruct them and we'll just talk about everything that's in them because there's going to be lots of lessons inside of there too, so okay, Great. Thanks. 8. Photo Analysis 1 (3 lights): Well, hello there you saucy human. We are going to be talking about basically like a photo breakdown of light. And let's start with, let's start with the Bush in my back garden. That is right over here. All right, As look, when I put this on my head, it's kinda, you know, basically whenever I did a photo shoot and I put this on the model's head, he was thinking what the heck is going on, right? And I said Just just wait a second because there's a whole point behind it. So what we see right over here, this is actually what the finished result was. Okay, but let's take a couple of steps back. All right, There's the beginning. So there's our friendly model with the big bush on his head and he's thinking what the heck is going on. I had one light that was firing at them pretty much like that. And then I was like, Okay, you know, what, if we want, if we put a little color on that, right? So the actual modifier on the light, by the way, was the OCF magnum. Okay. So it was like a Zoom reflector. Now, that's where we get to this photo, right. So all of a sudden this kind of yeah. Can you see it? Yeah. This is coming through. Just fire and write on them. And then what we did was I added an overhead light and that would've been the two-foot Okta and I've put a blue light on it or Cyan, right? So that was just coming from above. So what I was thinking was you're going to have this light coming from over top going down and that's going to be lighting certain parts of the sticks. And then you also have this purple light coming right on. And that's going to be lighting parts of the sticks and his face. And then we added the optical snoop projector over to the side. Really focused, right? So look first, that's with now you have the overhead light, right? And if you actually zoom in and you see on the eyes, you can see this is the the OCF magnum right there, just straight on, right on them. And then over there this little one That's the optical snoop projector to the side. And then overhead, we have the blue lights. And because those two colored lights are coming from different directions, they're going to be lading different parts of the images. They're going to be hitting different spots, right? And then that's where we have this image. And this is right out of the camera. This is the like the raw file, no editing, no nothing. It's just how it was taken, right? And for me, I think that's really, really cool because generally, if you just pick up your camera and just snap a photo of something, it's not going to look so crazy. Well, you know, who knows, right? Maybe you take a photo of a crazy person. But, but anyways, back to the point is, you can actually see in this photo, you have the blue touching the bush, right? And that's because it's coming from the overhead. And then on the model's face you have the purple. And then because of the optical snoop rejector being really focused just to the side, you actually have these little hits of light just hit in the face there and then catching a bit of the eyes. And that's just how that came together. And that was purely an experiment. It was like, I have this bush, I want to put it on your head and less mess about with lights and see what we get. And literally, you know, the first 10 minutes or something, I was like, Do you get what I'm doing? And he's going like, I don't know, but alright, we'll go. And then at the end he was going like, cool. So that's one of the big important things I think you should take away is like, Don't stop. What happens at the beginning of a shoot. Always for me it's like I'll take a photo and, you know, it's just like dark or it's nothing special and that's completely okay. And it's because I've gotten to see like really great photographers work and other creative people. And it's like it starts off like fine. And then what happens is you just start tweaking things. So I think just having an understanding of thinking about light and how it can act with the environment and react and everything. It's like it just gives you the, it gives you a canvas to start to mess about with. And it's like if you're not getting what you like, just kinda keep going and keep tweaking things, keep experimenting. And it might just be shifting something over just, just a little bit, or maybe even shifting your own view. Because you can see from here, I'm not shooting right in front of the face. I was shooting from the side and then that's where that came from. So anyway, so that's that image. Let's take a look at more. 9. Photo Analysis 2 (3-5 lights): Okay, so we have this photo right over here. And let's see what we got. Look, There we go. First off, That's Taylor over there. Taylor kicks butt. And then we have Lucas over here at Lucas kicks, but he's a makeup artist and you'll notice he's actually holding the optical snoop projector. Okay. I came from a background in jazz. I got a degree in jazz drums. And I really like whenever I'm doing something creative, I really like an aspect of performance or improvisation. Especially when you're dealing with say like lighting. Because when you have other people sort of throwing in their own little mix or their own little spice into the, into the recipe. You're going to end up with stuff that you could have never thought of on your own. And that's actually like that's one of the photos we're going to talk about, but luck, we'll talk about that next. So look in here, you see it's got the optical snoop projector firing a circle into the background, right? I have the beauty dish over to the left and that's going to be giving, if you look at her face here, That's giving just a little bit of this kind of rim on the edge, right. And then you have the actual main light, which is the two-foot Okta that was up there going down. So that's three lights there and then that's what that is. Now this thing here. Never never said anything about that. What happened was we were just trying different things. We were just in a kind of flow and moving, trying different poses, faces, expressions like an organic thing. And this one just came together and I was like All it really fits well at some nighttime or some praying thing or something, you know, when you have this halo of late around. So I just thought that worked. But anyways, that's the lighting setup for that. Okay. And that look, it's in the same room, is like literally right here. And you can see right now how different this looks. So it's really neat that like even though you're in the same spot, just by changing things around it can, it can drastically change the photos and the content. So anyways, let's go to this photo here. This one I think is really, really cool and let's break this down. First off, that's a chair that she's sitting on. And it's just like we're like, what do we do with the chair? Or like let's put fabric over it. So we put the fabric and the fabric actually goes with the colors. This was one thing I didn't realize until afterwards. We have red, yellow, green. All of these things kind of go together, like red and yellow look really nice together like McDonald's. Anyways. This is the lighting setup for that. Okay. Now, I'll say first off, I don't think this little light over here was really doing much in this photo. So it might not have even been used because this one isn't as powerful as all these other ones. So that might have been something I just moved out of the way. But anyways, you can see what was going on there and you'll notice how close I have it. And that's just because, because it's not as powerful, you can move it closer, which brings up the brightness, right? So it's just working within the limitations that you have. You can see on this guy over here that there's a grid, right? And then there's also the barn doors and that's just a stoplight from spilling, but the grids the grid's pretty much doing that anyways. And then up here you can see that I have a pink gel in the light and that's where I just tape it right on the light inside of the modifier and there's a grid on there as well, and that's to stop the light from spilling and this other in the background and other places. And then you have the optical snoop projector and that's firing this pattern onto the background. Again, it was hand-held, so this was just another one of those things that I wouldn't have thought up on my own. It was it was a collaborative thing which I love. And then there's one more life that you're not actually seeing in this. And that's because it was behind where I was. So for example, like where you are now technically, you know, or for me where the camera is right now, That's about where I had the five-foot Okta and it was just over to the side of it and that was just acting as a fill light that was just adding in an extra layer of light to kind of lift up everything. And then I use the overhead with the colors and, and then decide one with the color. Like I started using all of those just to add these little accents and piece together the photo, right? And that's where you get this photo. So if you look at this, you have the blue on the side, right? And that's from the light that was off to the side. They're often camera left on top you have this pink and same with the hand and that's because of the overhead. So she actually tilted her head up. You still have a little bit of just white light and that's from the big five-foot Okta. And then you can also see on her leg there as well, you're getting the pink and that's still because of the Okta going right down. So whenever you start using multiple lights and say you're using grids just to keep them in certain little spots. It's really cool what can happen? Because if the model or subject just moves, all of a sudden, maybe a different arm is going to be catching one beam of light that's coming out from this way or another one coming from this way and you start getting results that you couldn't have really planned. It's just, it's a really organic process. So again, that's what that looks like. Do I have one without the background now? If that's okay. So that's what that is. All right. So yeah, and I hope that's helpful. Again, I think it's like, I think there was a game a long time ago called Guitar Hero, right? And you know, you could start off by playing the beginner where it's like the very, you know, just clicking the things. I would always just go straight to the advanced one and I wouldn't understand most of it like at all. I would just be sitting there going trying to hit all the buttons. But like because of that and because of putting myself in a situation where I was being exposed to like, the harder things, I made the connections quicker, something like that. And then all of a sudden when you go to the normal levels, it seems just a lot more simple. And then from there then you go back to the more advanced things and then it makes even more sense. And so that's a, I think that you don't have to learn just as one step by this other little step, by this other little step. Okay, so let's talk about the next image. 10. Photo Analysis 3 (4-5 lights): Let's talk about this image here. Okay, so I'm going to, I'm going to start back near the beginning. All right. This is how it started because in the image of lindsay Adler, she basically had this sort of effect. It was a different thing. It was a close-up on the face. There was a couple of things that were not exactly the same, but on both sides of the model, there was green, there was this blue cast to everything. And then there was also a bit of white light that kind of cut through it. And I was like, that's really cool. And I think I actually understand how that might work, right? So the first thing is you figure out, okay, well, where are you going to get green light on both sides. Right. So I was like, okay, I can use the zoom reflector with a grid on one side and then just put a green gel in it. And then I have that small LED light that can be green as well. And I just put that really close, right? And that's what this is. Okay. So it's like, alright, we got the first little bit and you can tell even there's the difference because with the Zoom reflector, if it was hitting more and that's why you get some of the shoulders but with the smaller LED, it wasn't doing that because it's a smaller light and I had to bring it closer right. Anyways, the next step was getting that kind of blue lights look on everything else. So I took a light and I basically put a blue gel on it and that was the two-foot Okta and I just had that firing down. And that's what this is. So not a huge difference, right? But you see how now you can see the model's face. This is a different person by the way, this was when we were setting up the shot. So we are testing the light, right. This is the first one with the two lights on the side, green, nice and focused. And then we added just a little bit of that blue fill. And then from there we needed that streak of light, which was this one. So it's this, these were just tests. But basically it got the job done right. And we're like, Okay, we're in the ballpark now. We have the general look. Now we can get our actual subject in and start taking photos and then we just tweak, right? And then that resulted in like this one. There was actually a lot from the shoot, but this one, again, straight out of camera, and that's how this looks. Now you're actually getting a little bit more of a light background here. And that's because we were using a white background and we must have moved just a little bit closer to it, right. So if you have a light like look, right now, this is just hitting me and not the background, right? But if I move back here, now it's hitting the background as well. I'm going to blind myself with these lights. But you see how, right. But if if you move away or if you move the light, it's not hitting the background anymore, right? Just a little thing for you to pick up on. Okay. So that's why we have this kind of look. We got the green, we've got the green. We have the general blue overcast all over, and then we have the streak of light. And that was sort of the ingredients and the photo that I was trying to emulate. And then I changed it up a bit and I just changed the colors and the shapes. So look, we took, we took the green grid off of the Zoom reflector, and that's why now you just have the white light, right? Then we made this other one, the little small LED would just turn that kind of purple and magenta pinky, right? We still had the blue. And then we put the optical snoop projector with a different cut out, a different gobo so it's around. So now you have this shape and you still have this blue part, right? And then in the back, then we just added like a little flash. Okay. So that's without the light in the back, the little flash, and then that's width and you see how it just adds a little glow. So yeah, that's sort of how the photo was constructed and that's how you could think about piecing together photos. It's not that like already all at once. You just have all these things together. It's you look at a photo that you like and you start you start picking it apart and you go, well, how is that happening? How is that happening? What's, what's going on there? And if you don't know the answer even better, because that means you now have a thing that's a clearly defined goal to figure out. And then you start like turning on the part of your brain that reacts to those things and you'll learn all kinds of lessons like that. Okay, let's get to the next one. 11. Photo Analysis 4 (1-3 lights/Dragging the Shutter): Okay, so now this photo here. Let's start over there. Okay? Okay. So now we're going to look at just a couple more things here. This one's really, really quick. It's very, very simple. It's one night and it's just aimed at a background, right? Like we've seen a couple of times said throughout this course with a red gel on it. So look if you zoom in here, you can see it's the speed light. It's attached to this little connector that would let me put a modifier on it, but I didn't have a modifier on it. I was just using it so I could put the light on this stamped, right. And then I put a gel on it. Now you see all these like bits of tape. I have tape on my lights, I have tape on like all over the place basically because it's just so head you can just take things, gels, tape them on. There's always a use for tape. I love gaffer tape. Okay. Anyways, look, it's firing at the background. And then what you do is you just put a person in front of it and bam, you have a silhouette. Okay. Now this yeah, this there was some stuff going on at the bottom. So just kind of ignore that. But if you even look up here, this is just how you would get a sort of silhouette and where the subject all dark but the background is lit. Um, and then over there, look, then this was just testing. Okay, so this is where all of a sudden we added a Zoom, the Zoom reflector with the grid, right? And then just firing off to the side. And that's why you get this little rim light here. But it was like now we didn't like it, so we just changed it drastically. And here we are. And this is where we'll actually get into it. Let's see. Oh God. Okay. Yeah, Let's see, I really liked this one. I showed this before in the class, but I showed the edited version at the very beginning of the course. This is the one that was straight out of the camera. Okay. So you can see there's still like the leg from a stand there. And if you remember from the last photos we're talking about, it's really like a lot of the same setups here. There's the small LED right over here to the side, right. And that was with like a white kind of light. And then we had the blue one off to the side camera, camera left. And that had the grid on it and that had a blue light on it, right? And The whole thing about this now is this effect. You see all this effect. Do you know what this effect is? Maybe you do, maybe you don't. If you don't, I'll quickly tell you that there's a really detailed explanation in the skill short class that I did called club photography one-to-one. And it's under the section dragging the shutter. And then I go right through it and I do examples and, and kinda talk through it. All right? But if you don't want to go there, no problem. I can just say really quickly right now. This shot is a mix of continuous light and strobe light. And whenever I mean strobe light, I mean just a pop of light, that flash that just goes pop, pop, pop like that. Just a pop, really fast little flashes. And there's a reason for that and it's because of time. All right. And when you're saying dragging the shutter, we have the shutter that's left open on the camera, you do a really long exposure with the shutter. So whenever you fire just the little pop of light, that pop of light, the very fast one gets recorded onto the image, right? And then it doesn't even matter that the shutter still open because there's only one little pop of light and that kind of gets frozen onto the image. And that's where you can see here, his face, That's where he started. He has these shadows because we use the optical SN2 projector. Those are the same lines from the photo with the yellow background, right? Same kinda it was the same gobo, right? So you start to see the similarities here, right? And then the other two lights that were on the side, the thing about them is that they're continuous lights. So even though his face got frozen from that second that I press the shutter and then the flash went off and the shutter stayed open. At that point because the shutter was opened, any movement he made would be recorded from all this continuous light that would be hitting them and then still going into the camera. So what we were doing is we took the photo and as soon as he did then he started moving right and the shutter was still open. So the flash froze his face where it is as we see. And then the movement, just the slight movement gets recorded and you get this kind of like painterly look. And I just love that. So again, there's, there's, there's a lot of that I kind of mentioned in the club photography video. And, but it's such a cool effect, just like I mentioned in that class. It's like you can use it for all kinds of stuff, not just clubs. So there we are. And then there's me. I got I need to figure out how to conduct myself in front of a camera. That just did not work whenever I did it. There is another version, right? Okay, cool. Okay, that's it. 12. One Light Photo Analysis : In this section we're going to talk about too light setups and one light setups. And we're just gonna do a rapid fire here. Okay, so let's start with the one light setups. You seen this before. This was a Zoom reflector or the OCF magnum facing right over here firing down. It was almost like that right out of the camera, but this is retouched. There was just a couple little things cleaned up over here. You saw this one as well. Now, even though I had this one facing with the same modifier, the Zoom reflector facing right on the Claudia here, the subject, she moved your head to the side. And that's what gives this little bit of the loop lighting. All right, so it's like you can either move the lights or you can move the subject and it's going to change the lighting. Okay. And those were all one light? This is one light as well. Okay. This was with a bare bulb. You can tell by the hard shadows here. Alright. And that was just up, up around, up around here, up around camera, right? Alright. Next one, this is with one light as well. This was taken at night time. This was with the two-foot Okta same sort of area. It was up here and then just firing down here. Okay. Over here. This is my grandparents. This is my nana and my no, no. Okay. And this was taken in Canada and basically set up a black backdrop. I had the five-foot Okta, we were in the living room. I was visiting Canada again, it's like this is my grandparents. I want to get a photo of them. Okay. And that would be important for me to get like a nice photo. So this is just one light five-foot Okta setup over here. And I must have just got it Just close enough that you don't see it in the frame. And then we got this picture and I just, I really love this one and it's important to me. Okay. One light setups, this one over here, one light, it was taken outside. So you can kind of count the outside light that was available at the time. Sort of like a fill light. So maybe this is like a two light setup, but five-foot Okta just off to the left, firing over here. In these situations when you're shooting outside too, what you do and really any situation first, you just figure out what the photo's going to look like before you add any light, you take a photo and then you tweak the sort of base levels that you want, sort of the template that you're working with. Maybe you want the sky to be very clear, so you have to make it so you can see that sky and then you add in the lights afterwards to, to, to get the sort of result that you want, like the actual main lighting that you want. Okay, over here, one light, this is like a bit of a Rembrandt. Oh, I think there's Amazon here. I gotta go. Oh, I have a whiteboard plan and be organized. 13. Two Light Photo Analysis: To light setups. All right, so now let's talk about to light setups and I want to do this as well, kinda like a rapid fire and just kinda quickly move through them. So over here, two lights. All right. Now, it is the two-foot Okta. Right. And I was trying to get butterfly lighting. I was trying to get it right over in facing down. But you can see that the light is actually a little bit to camera left, because the shadow over here is going down a little bit to camera right? And you'll notice in the shadow under the nose and under the cheek, it's blue. And that's because I'd like this guy over here. And then you just put what my job on it and just have it down there, put it low enough that it just kind of lights in some of the shadows. And there you go and look, you can see a little reflection of it down there, right. So cool stuff. All right. There we go. That's one of them. That was a flash dropping. It's fine. Lighting course. Okay. Next over here, this was it's kinda like one light but it was too lights. This is what the OCF magnum Zoom reflector, and then we have the natural light. So that's two lights. Now this one over here, actually, I fired it too bright and I didn't really get it where it's hitting the eyes. You're actually getting these shadows right in the eye. So it's like, you know, it could be better, but at the same time it's like that's what happened. It was just one of those things that when everything came together, I like this shot and maybe the light could have been a little bit better, but hey, let's not everything, right. Okay, next thing over here, we've got our clods again. Now, do you know what's happening here? Two lights and a little bounce card. Okay, So the whole white background there, That's the big octave bank that I have, right? Five-foot, you just put it right behind the person. Such a good setup for headshots because all of a sudden you're gonna get this nice bright white light going over. And it'll, it'll kinda fill in these nice little shadows like, sorry, not shadows. It gives these little rim lights and that's so nice. The light wraps around people. And then we have the two-foot Okta. And you can see that just over there and that was just firing right down on her and right under it I had a little bounce thing. It was one of those circular reflectors just, just bouncing a little bit more light in. Now one thing I'll also say about this photo is that there's no reflection of the lights in the glasses. Okay. Now that's a whole thing and that's all about angles. It's where you angle everything because if someone's wearing glasses and then they look up, you're going to see like all the reflections from the lights and maybe you want that, but sometimes you don't and it's good to just know about it. Okay. Next. All right. Over here, two lights basically we have the sunlight coming from the back that's going to be acting as a rim light. Right. And then we had the one main light. I think it was the the two-foot octa. I really used that 24 doctor like all the time. And that was just coming from almost like in front. But you can actually see from the shadows here, right? And you see the shadows under arms, right? So that means it was coming up from camera, right? Just going down and that's where you can even see the shadow on the neck. Okay. Over here two lights. We had the beauty dish and the two-foot Okta put right beside each other, right like this. And then Claudia here are clods. She's, she's, she's holding this mysterious ball of creativity. I don't know. But she's holding that and you can literally see the lights there. And that's how this photo was made. Okay. Over here, this guy's a gentleman. He came to fix the heater. This is in the Attic. Okay. So we were just chatting and then he's like, Oh, your photographer and I go, Yeah. So it's like, you know what, let's take a photo. And it was fun basically, I took it took like this little guy. Right. And then I was able to just fit that in the heater. He had these little smoke pellets because he had to check the air circulation that it was working properly and it was so Smoke make things look pretty cool. And then and then in the back you'll notice that there's blue, right? And that's just because it would have been all shadowy before. But it So I just took that little LED and I fixed it so it was blue and then I just I just figured out a little spot I can put it on the ground that kinda put light in these shadowy areas. And that's that, right. That's where you can see the blue actually going on him to, you know, that's it. You have this over here which is like the skylight, but that wasn't really like making a huge impact in the photo. This over here, two lights. We have the sun coming from behind, just like the other photo too, it's like the same position where the sun is, right. And then and then you have the two-foot Okta. You can see it in his eye there and you can see from under under the chin, right the shadow. So the two-foot Okta was around there. Okay. Over here. This was with the beauty dish, actually. Right. So we have the natural light that was just outside, and then we had the beauty dish firing out. Now the beauty dish has that little circle in the middle, that little circle that it stops. It stops the hotspot from, from going right out, right in the beauty dish. So if you're not facing that circle and you're off to the side, you'll be able to actually get some of this raw light that fires out and then it's blocked in, curved by the edge of the modifier. Okay, so that's something that I could only be doing with the beauty dish actually. And that's where you get this streak of light going like that. And then you can also see the shadow on I'm here. Okay. Okay. Next one here. This was two lights. All right. It seems like it's more but it was actually two lights. This was the big five foot Okta right behind her. And I had a red gel put in it. Okay. Because that light in the back with the red gel was so bright, it appears white over here and a probably wasn't even taped on right. So he's like a little bit of a mistake and then it actually turned yellow over here. So if you pump enough light into red, it starts to turn more like yellow, orangey, right? It's when you lighten up a color, it changes the hue. And then that's actually where you get all this rim light from. That's kinda this pinky red. It's actually all from that that five-foot Okta with the red gel on it as the light was moving out and actually hitting the subject, you are getting the actual color from the gel, even though it looks like it's a different color there. That was just a thing. Like I wouldn't have known that until I took the photo. So now I'm explaining it, but it's like I didn't know that when it was happening. And then over here, this was with the two-foot Okta just firing down and that had like a purple or like a blue gel on it. Okay. And that's how that photo turned out like that. All right, over here, this is the same idea. This is a screenshot, same idea as before with the headshot five-foot Okta behind two-foot Okta lighting here, and then a little thing under bouncing some more light up, bam, head shot. Okay. This is another headshot. It's a little different though. Now this is a white background. So remember if you're going closer to the background, you get more light. We moved away from the background. So that white background, when I was exposing for him the subject, that white background turned great. That's a cool thing about white backgrounds. And then I took a little light and I fired it just underneath, right? You see how you see how it starts to do this little radiation or I'm not sure what the word is, but it just it starts to it starts to just fade away the light back into the grade. So that's what that is over here. Two-foot Okta firing down here. And then we had some kind of blue light acting as a fill that could have been with the beauty dish with a blue gel. It could have been with an LED with a blue gel, or like a speed light with a blue gel. Like it can be all these different things. It's just how do you want it to look? You want it to be soft, you want it to be whatever. It's, it's the ingredients that are, that are the same. It's just how you actually cook them as maybe different. I think so. This is two lights, okay. Two-foot Okta firing on the subject. Alright. And you can see from you can see in the catch light, right? It was just up there. You're getting a little bit of this. So this is like almost like a loop lighting, but it's just really like it's not a long loop. Lighting is just a short one. And then in the background, I fired a speed light down there. So that's where you get again, it's all overexposed in white down here. But as it moved away from where the beam of light was hitting, it just slowly transitioned back into what the background would've looked like. That's what that photo looks like, that's how it was made. And we also used a fan to get a little bit of motion in the hair because that just looks cool, I think. All right, next thing over here, same as before. All right. Octave behind them, small Octa in front of him off to the side here. And then I have the reflector card. Just bouncing light back on them. All right. Down here, five-foot Okta was to the side aiming Adam, right. That's where you get a little bit of the shadow here. And then I put a speed light underneath and I put a red gel on it and fired it. Okay. And that's the last one there. So that was like a speed run of these, of these different setups. And instead of just taking one and going to town on it, It's like you start to see that there's a lot of these patterns. It's like, oh, he's always using this kind of thing or Oh, he's always doing this kind of thing or Oh, this is the same as this and that photo or this setup was similar, but it looks different. You get the idea. There's, there's another set of lessons that's inside of there somewhere all contained within it. And I really learned like that. That's how I learned things is just by seeing them. And so i'm, I'm I'm trying to do that for you and hopefully hopefully you worked like that too. If you really want very, very detailed instructions, asked me a question, ask a question. Anything you'd like to know about lighting or or whatever that might be. I'm always happy to answer. Okay. So yeah. Okay. Great. Thanks. 14. Class Project: So there's something I forgot to add, and that's cardboard, tin foil, or aluminum or aluminium. Choose whichever you like. You can make your own modifiers, okay? You can take cardboard, cut it up into bits, basically make it however you want. Who, who knows, maybe you can bend it in some way, put something here, cut it up, tape it together to make a box on the inside of the box, you take this material and then you put it on there. So you have like your reflective inner material and then you actually put something over the front of it as a layer of diffusion. So that can be a bed like a bed sheets, pillowcase, you know, like a bit of a t-shirt, white t-shirt, anything that you can shoot the light through that that would diffuse it. And then you can cut like a little spot to put your light through. And then you kind of have a modifier. Now, I did this before. I actually use like a cereal box and I cut little shapes into it. So whenever I fired a light through and have these shapes, and it's just something that is available to you to do. Because not everybody's going to have, you know, all like different lights and modifiers that slowly gets built up with time. And it's the same thing with me and my story. So it's just something that I wanted to let you know about. This is an idea that I actually got from the photographer Joel Joey Lawrence. And I think it's so cool that you can get these, you can get really cool effects from things that you're just making it at home. You know, the only trade-off is maybe it doesn't look as professional. But if they're looking at just the finished image, then it's like, you know, it's still okay, you still just have your finished image and then it might not be as durable, but you know what, It's a bit of fun and it's it's useful and it's something that's available to you. Okay. So yeah. 15. Natural Light: Natural light is pretty cool. So this is the world's, okay. This is the sun. These are clouds. Alright? If the sun's firing down on the world, first off, it's a massive, but because it's so far away from the world that appears like a small light source, right? But if it's firing through something like clouds, that's like firing through diffusion material. It's going to take that small light source and it's going to scatter it. All right, but hole on this. Take a step back and we'll go to the beginning. All right, sunrise before the sun rises, you're going to have about an hour. It's like blue our right. So it's where you can still start to see outside things start kinda look in nice, it's not that bright, right? And then you're going to have the sun actually rising up. Okay? Now there's two things to note about. This is the position, the sun's always changing position, right? Constantly through the day. And that's the angle and the color. All right, so whenever the sun is first rising up, it's going to be firing through all these different layers in the atmosphere. And what that's going to be doing is cutting out certain waves of light. The results of that is a change in color. You're going to get these really beautiful orange, red, pink. You're gonna get these kind of colors coming through. And on that note, the orange and mixed with the blue before the sunrise. So orange and blue, those are two colors that people love, love, orange and blue. They look good together. I'm not sure what's up with it, but one of the things I think is curious as this whole blue hour and then the sunrise, that's orange and blue. And then also fire. Fire is like orange and it can be blue too. So I think there's something about that, that could be like hardwired into people. I think it's interesting anyways. So it's firing through all these layers in the atmosphere. And that's going to result in these beautiful colors. And also because of the position you're going to be having the sun kinda like where you would want to have a modifier on like a 45 degree angle coming down. If it's just above, look at the shadow on the table. Not the best thing, but whenever you start moving it to the side, it actually makes these long, long shadows that can look so nice. Then around like noon time, you're going to have the sun going directly down. It's not the best time to shoot, but there's ways to work around everything. Maybe you could actually take a bit of diffusion material and literally bring it outside so that instead of having this harsh light that would be causing these dark lines, look where the light is and look where the light isn't in my eyes. Those are called raccoon eyes. Instead of having these dark lines, you could, you could have something like a diffusion material or clouds that helps scatter the light out and then give you the desired look. But anyways, then through the day, what's going to happen is then the sun is going to set. Instead of doing it over here, I'm just going to do it over here, right? And then you're going to have another hour where it's like golden hour, they would call it right? And then the sun completely goes down and then you're going to have again that kinda blew our before. It's completely nighttime. Now the sun rises in the east and it sets in the west. That means that it's going to give you a different look because it's going to be interacting with the environment in different ways and from different angles and directions, right? So maybe something that you can get this really great at sunset, you wouldn't be able to get at sunrise. And the reverse is true. Something about sunrise in the morning is that you're going to have a lot less people around, okay, good. When you're out shooting in different places, it's one thing about sunrise is actually getting out and getting your equipment set up and ready to go. It's like, you know, it's really difficult. You gotta, you gotta fight that alarm clock in the morning and have a coffee next to the bed already preheated, like Michael Scott when he girls is foot. Anyways, the results you get from shooting at sunrise or are beautiful. And at sunset you're gonna get a lot more people. But again, you can get beautiful results if you'd like to be working with strobes and natural light, just think about the sun as it's like it's, it's another light, right? And it's just interacting with the environment, right? So say you had the sun back here, It's a rim light, right? So you can expose for that. And then you can set up your actual main light, which would be like a strobe or you could reverse that. The sun can be your main light. And it's all the same principles of what we've been talking about when we're using these like these strobe lights are continuous lights. So it's just something you apply over to the sun. Just when you're shooting in the natural world and the environment, the world, you're going to, you're going to find all these happy accidents that are just so beautiful. You can have the right combination of the weather, the position, the color of the sun, that everything, it can all come together and it can really get you something you'd never get with just using strobe lights. Okay, so those are all just things to think about. Natural light is a great thing to use. That's what like window light is. The house can be a modifier and the actual window that's open, that's, that's where the light is coming through, kinda being diffused. It's directional because it's squared off by the windows. There's all these things you can use and mess around with. It's very free and just shooting with natural light where you don't have to carry around extra equipments and you're able to get all kinds of things because of that maybe these split second moments that you wouldn't have been able to set up lights for, right? So there are all things to think about. It's all light and it's all up to you how you want to use it. Okay, So with strobes and modifiers, you get to be the one that moves around. And with the actual natural light, the sun, then you move around it. All right, so there's great sides to both of them and it's really up to you to experiment and have fun with them. Okay? One thing I'll say before I finished with this is that I think sometimes people's favorite thing about natural light is the word natural. Alright? There's something about that. If you ever just say Do you want the normal version or do you want the natural version? Everyone's always going to say the natural version. It's a great thing to associate yourself with natural nature, things as they are. You know, it just implies natural and, you know. So if you're shooting with natural light because it's nice to associate the word natural, you know, like that's cool and you know, power to you because nature, Whoo. But at the same time I think it's worth thinking about all of these things. And in the end, ultimately making a decision that you feel is right for the moment the shoots, the idea. And just knowing what elements you have, how you can work with them, how you can change them around. And then from there, I think that you'll, you'll get a result. That's that's cool. And that you're happy with. I hope. Okay. So yeah, that's that's natural. Messy shebang. 16. The End: Okay, so that's an end to the class. I want to say, thank you so much. I hope you found it educational and entertaining. Is, but late is such a good thing to know about. Honestly, it's just, it's, it's a whole journey and it takes time to start seeing all these little subtleties. And a lot of it comes from you putting things into practice. So it just keep, keep going. And I hope that whatever It's taken me this long to learn, that everything I've said here can help you get there quicker and then and then beyond. All right, so just thank you so much. Have a great day if you have any questions, feel free to ask. And yeah, I hope you learned something. Thanks.