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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 comes the math and science section. Now, don't freak out. We're not going to really blow your mind and, if you hated math and science, don't worry about this one. Don't fast forward. I want to explain another way you can adjust your lights very easily and very effectively. Now, you'll hear a term called the inverse square law, and already your head's probably getting bigger, but it's simply this. If my light is not bright enough, instead of playing with the knobs I can actually move it closer or further away. Now if i move it closer it's not like a one-to-one relationship where, you know I move it half the distance it gets twice as bright, it actually is the squaring.
So if I move it closer. Half the distance, it actually gets four times brighter. And conversely, if I move it backwards twice the distance, it actually gets a quarter as bright as it was. Let's go and look at this in practice and show you three shots where all we're doing is moving the light in closer or further away. So our primary shot. This is a nicely balanced image, but I really want it to pop on the right side of her face, so Rich, just go ahead and bring in about half the distance.
We'll quickly take another shot, and instead of it being twice as bright, it should be about four times brighter on her face. And you'll notice we have a very different image because the right side is now more of a fill light and we have a much stronger light, on the right side of her face without me having to change anything. Rich, let's bring that back. Now we've moved it past its original position to twice the distance it was originally, so the light should actually be one-quarter the power than we saw in the very first shot.
And as you notice, in this image, we have all the light on the left side of her face, and the right side is just a fill. And maybe a little bit of an eye light. So as you see, by just moving the light closer or further and not changing any other settings, I can get three different looks very easily.
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