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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 that we know the best shutter speed to work with, we have to determine what aperture setting, or how wide or how closed down the lens is going to be. And that's one of the things you can really work with to control the look of your image. And also, how it's going to reflect both the room lights as well as your strobes. Now, of course we also video taping this course, so there's a lot of ambient light. But the nice thing is, these lights are so bright that I can make it so these lights don't even exist by adjusting my aperture.
Let's go ahead and look at what our aperture is, its set at 9.5. I'm going to turn off all of my lights and take a picture with none of them flashing. Now if you look closely, you can see a little bit of the background. But it's nowhere near as bright as it looks like when we're on video. If I go ahead and notch up my aperture. And I'll take it to F16. This is going to allow me to do two things. I wont see any of the ambient light, and the depth of field for my shot is going to be greater, so that way I can make sure that everything is in focus.
Let's go ahead and do another test shot. It's pretty close to completely black. And that's what I want here, is I want the room to seem black, so that the only lights that I see are the ones that I can control, and those are my strobes. To show you what would happen if we really opened up our aperture. If we dropped it down to say, 2.8. You'll notice I'll see a lot more of the room. And in my final shot I would still see that information. Even with the bright strobes. So, before we could barely see anything, now I'm seeing my lights, I'm seeing the white and the grey on the card.
If I was in a situation where I had a lot of bright lights that are leaking into my shot. I definitely want to make sure that my aperture is very small. And that's a higher number. If I have full control, where I can dim the lights, then I can shoot at a specific aperture, say, 2.8. And control that very shallow depth of field that I might be looking for.
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