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Up and Running with Studio Strobes
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Continuous lighting makes it easier to achieve soft-light looks


From:

Up and Running with Studio Strobes

with Richard Harrington and Abba Shapiro

Video: Continuous lighting makes it easier to achieve soft-light looks

With constant light, one of the things that you get as a bi-product.
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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
      58s
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
      48s
    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
      55s
    2. Solution
      29s
    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
      39s

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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
Subjects:
Photography Cameras + Gear Lighting
Authors:
Richard Harrington Abba Shapiro

Continuous lighting makes it easier to achieve soft-light looks

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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