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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.
>> Now, a grid is something that usually doesn't come with a light kit. But it's probably one of the best bang for the buck investments that you can put into your kit. Rich, could you go ahead and show us the grid? >> Essentially what we have here, it's like a honeycomb, and you can see that the light sort of passes through it. And they're rated with different degrees or angles, and the smaller the number, the more focused the light is. But, basically, it's about that thick and it's designed to get put into the front here. Now there's usually a little bit of a pin here that'll hold it into place, and you've got a tag that you pull it out with.
What you want to make sure is, is load it in the right way. If you put it in backwards, it's kind of hard to take back out. But it just snaps right in. There we go. >> So, Rich, why don't we go ahead and take one without the grid. >> Sure. >> And see what the shot looks like, and then we'll have you pop it in and look at the difference. Three, two, one. So we have a nice shot of Valerie. It's a, could be a little darker, but you notice the background is definitely lit up. >> All right, there we go. >> Now with the grid in place. Now as you can see with the grid in place, the shot changes completely.
We don't have any of that light leakage onto the back wall, and I have a nice balance now between the light with the grid and the soft box. So I could tweak this a little bit, but that really worked for me, Rich. >> Yeah and what's kind of interesting here is we sort of spread that light out, bouncing it around inside of here, but then we focused it back down. So in a way, we made the light a little more diffused and reflected it, but then we pointed it back. And I really like how that's not spilling onto the background. >> I'm a huge fan of grids. As a matter of fact, I try to keep a collection of 20s, 30s, and 40s with me at all time because it allows me to control the light.
And you can find them at any photography store, and it will really bring your photography to that next level.
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