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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.
With constant light, one of the things that you get as a bi-product. >> Yeah. >> Is usually it's softer. And doesn't mean that strobes can't be soft. I mean, I see a lot of modifiers back there where you can soften and control your light. >> But out of the box they sort of come that way. >> Right, I mean there, in this case, it's a nice, soft diffusion material. If it's LED panel, it's a large area of light. >> Yeah. >> Instead of a focused beam of light. And you're going to get naturally a much softer feel, which can be kind of nice if that's the look that you're trying to achieve.
>> Yeah, if you're going for soft portrait, you're doing product photography where you want nice, even lighting. It's going to be a good choice for you, and this is really straight forward. In this case here, you nailed it we have an LED panel. Tons of options out there, very popular, lots of photographers like these LED lights because they last for a long time, and they're very power efficient, right? >> You don't eat up a lot of power when you're working with these LEDs. The nice thing about them is, even if you're running them off a battery pack, they'll last a long, long time.
In addition, because what you see is what you get, and it's not as bright, you can use much larger apertures. So you can drop down to say a 2.0 or 1.8, or even smaller. And you can get that really controlled depth of field. So what would be interesting with these monkeys. >> Yeah. >> because monkey no matter what. >> Monkeys are automatically interesting. >> They're interesting, yes. But I could actually using a very shallow depth of field. >> Yeah. >> Because I have this soft lighting, have one of these monkeys completely in sharp focus.
And, even though this is a couple inches back. >> Yeah. That would be soft. >> And a lot of times I want to pull this off when we're working with product photography. I want that shallow depth of feel, the front of the product is in focus. But the back of the product is out of focus, and we're controlling that. It's a, sexy sort of look for photography. >> A lot of food photography, because the eye naturally is drawn to whatever is sharp, and so you can focus on the part of the dish that you want the viewer to look at. If you look at a lot of the current food photography, it's not all crisp.
You actually have a sense or a depth of field, maybe the restaurant in the background, is outta focus? Then the front of the dish, is outta focus? And that's something that you can achieve real easily with this constant lighting. >> Yeah, and what I have here, this is just a compact fluorescent light, this is a Lowel ego light, it's got a simple case with a nice diffusion material on the front, two simple spiral CFL bulbs. Wescott uses this type of lighting, and there's a lot of fans out there of using this type of lighting. You can even find CFL bulbs at a normal hardware store, not necessarily as color accurate as some of the ones that the professional kits come with but still very good if you're on a budget.
So, this type of lighting is really useful for lots of folks, and if you prefer to shoot this way that's fine. There is one specific benefit, which is video that we're going to talk about next.
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