Up and Running with Studio Strobes
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Bouncing the light with a reflector


Up and Running with Studio Strobes

with Abba Shapiro and Richard Harrington

Video: Bouncing the light with a reflector

I really like the way this shot looks, but we're going to go and look One, two, three.
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  1. 4m 6s
    1. Welcome
      2m 4s
    2. What you should know to get the most from this course
      2m 2s
  2. 6m 26s
    1. Shooting with strobes
      1m 23s
    2. Strobe lighting allows you to shoot with an increased depth of field
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
    5. Strobe lighting offers many modifiers to shape light
      1m 38s
  3. 7m 34s
    1. Continuous lighting is easier for a beginner to understand
      1m 47s
    2. Continuous lighting makes it easier to achieve soft-light looks
      2m 57s
    3. Continuous lighting is useful if mixing video into the shoot
      2m 50s
  4. 20m 47s
    1. Buying piecemeal vs. buying a kit
      2m 29s
    2. Criteria for selecting lights
      5m 57s
    3. How many lights do you need?
      3m 0s
    4. How much power do you need
      5m 37s
    5. Mixing brands
      3m 44s
  5. 16m 40s
    1. Monolights and flash heads
      2m 22s
    2. Reflectors and diffusers
      3m 54s
    3. Lighting stands and booms
      3m 49s
    4. Power pack or power supplies
      4m 29s
    5. Sync cable
      2m 6s
  6. 19m 7s
    1. Handling the lamp or bulb
      2m 52s
    2. The role of the modeling light
      4m 36s
    3. Keeping lights cool
      1m 46s
    4. The master and slave relationship for lighting
      4m 5s
    5. Essential controls
      5m 48s
  7. 14m 59s
    1. Connecting the sync cable
      3m 16s
    2. Using a wireless transmitter
      7m 7s
    3. Slaving with a speedlight
      4m 36s
  8. 34m 6s
    1. Setting shutter sync speed
      4m 56s
    2. Setting an initial aperture and ISO
      2m 28s
    3. Controlling power output
      3m 1s
    4. Moving lights (the inverse-square rule)
      2m 8s
    5. Using a light meter in camera
      4m 4s
    6. Using an external light meter
      1m 45s
    7. Test shooting with one light at a time
      2m 5s
    8. Putting it all together
      1m 39s
    9. Controlling exposure with power or aperture
      1m 6s
    10. Refining exposure with ISO
      1m 39s
    11. Tethering to a laptop
      5m 22s
    12. Checking the shots on a computer
      3m 53s
  9. 31m 38s
    1. Modifying strobe lights
      1m 9s
    2. Bouncing the light with a reflector
      4m 26s
    3. Bouncing the light with a bounce card
      1m 12s
    4. Shaping the light with a beauty dish
      3m 5s
    5. Diffusing the light with an umbrella
      5m 50s
    6. Diffusing the light with a softbox
      4m 49s
    7. Focusing the light with a snoot
      6m 58s
    8. Modeling the light with grids and honeycombs
      2m 2s
    9. Using flags to restrict the light
      2m 7s
  10. 14m 50s
    1. Three-light setup
      6m 52s
    2. Three-light dramatic portrait
      4m 59s
    3. Four-light setup
      2m 59s
  11. 46m 56s
    1. Take the challenge
    2. Solution
    3. Portrait challenge 1
      8m 6s
    4. Portrait challenge 2
      3m 10s
    5. Portrait challenge 3
      12m 55s
    6. Portrait challenge 4
      3m 19s
    7. Portrait challenge 5
      4m 28s
    8. Portrait challenge 6
      9m 5s
    9. Portrait challenge 7
      4m 29s
  12. 39s
    1. Next steps

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Watch the Online Video Course Up and Running with Studio Strobes
3h 37m Beginner Nov 15, 2013

Viewers: in countries Watching now:

In this course, Rich Harrington and Abba Shapiro give beginning photographers a brisk look at using strobe lights in a studio setting—lessons that easily translate to the field and locations, inside and out. Learn why shooting with strobes and continuous lighting makes such a big impact on your photographs, and how to buy a good, affordable starter kit. Rich and Abba also show how to set your gear up, trigger your lights, and make modifications with accessories like reflectors, umbrellas, and soft boxes. Finally, learn how to make the most of what you have in a series of lighting challenges.

Topics include:
  • Why shoot with strobes?
  • Buying a lighting setup or parts
  • Mixing brands
  • Understanding the components of a studio strobe kit
  • Getting to know your lights
  • Triggering a light
  • Setting up your lights effectively
  • Testing your strobes
  • Modifying strobe lights
Abba Shapiro Richard Harrington

Bouncing the light with a reflector

I really like the way this shot looks, but we're going to go and look at some reflectors to see how we can maybe fill in some of the shadows. Now Rich, you have a couple reflectors in your hand. Could you tell us about those? >> Yeah. Reflectors come in different sizes, and the cool thing is, they often have different colors on them. So, our large one here is gold on one side, which is going to warm the shot. And the flip side is white. This other one is often called the five in one. I've got it currently set up to a gold-silver weave, which is going to be a little bit warm, but not as warm as the pure gold.

And this side is the straight up silver, which is going to be very, very cool. But if I pull the zipper down on this, there's actually more combinations inside. These turn around inside out. And so, really this is incredibly versatile piece of gear. >> And that folds up really small, doesn't it? >> Oh, you were going to do that, weren't you? Yeah, if you do it right, it folds up small. And you could tell the difference between someone who's done it and hasn't done it is, if they can fold that up quickly. Abba was testing me. >> And you, you passed. With an 11 out of ten. >> Alright. So, which one do you want me to start with? >> Let's start with, basic white. >> Okay.

>> That's not going to be as reflective. And what I want you to do is just position it, so it bounces the light back onto Valerie's face. And this is going to fill in some of the shadows. Now, we're going to keep the camera settings exactly the same, and just finesse the reflectors. One, two, three. Now, that filled in some of the shadows, but not quite enough. So, I'm going to have Rich step in a little bit closer. even if he's in the shot, I can always crop it out. And let's see if we can get a little more light on Valerie's face. Now as you notice, we're starting to see some detail on the right side.

Not quite enough so, we're going to switch over to the silver. And that's going to be a lot more reflective. And we should see a lot more fill. The other key thing is, positioning the reflector so, Rich may actually move it left or right. As he sees the light work. You know it's really hard for you to see how that light's reflecting. This is a perfect opportunity for us to crank up the modeling light. >> Sure. >> And then, you can see exactly where it's going to reflect. And if you noticed, Rich can now use the reflector and see that he's hitting her face. This is great. In three, two, one.

And we're getting a lot nicer film. Now, you'll notice that the modeling light, it seems that her face is perfectly lit, but remember, that's just an example of where the light's going to hit. When that flash pops, it's a lot brighter. This is doing a nice job of filling it in. Let's go ahead and use the gold reflector. And that's kind of, nice. It adds a little bit of warming to it. You have to be careful when using a reflector that's gold. Because you want to make sure that one side of her face isn't white and the other side is gold. So, I want to try one last trick with reflectors.

And that's using the mixed one, the gold and the silver. And instead of using the reflector to light up the right side of Valerie's face. Rich, why don't you stand behind her and capture the light that goes over her shoulder, and reflect it back onto her hair and the back of her neck. This is going to give her some separation so, that we're using it as more of a backlight than we're using it as a fill light. Three, two, one. And we're getting a little bit. But I want a silver, and as big as possible. >> Okay. >> So, let's go ahead and get a little bit closer.

And step back just a hair. So, I don't care that the reflector's in this shot. because I'll be able to crop that out. And there, we have a little bit nicer separation. And we can definitely crop out the reflector. It takes practice working with the reflector. And, of course, modeling lights really helps so you can make sure that the light is bouncing in the right direction. Sometimes you need a bigger reflector. Sometimes a smaller one will do. And sometimes, you might need to use a couple. But all in all, a reflector can enhance the look of your image without needing to add another light.

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