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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.
I had this weird cable in the bag, and I, I didn't know what to do with it. >> I lost that cable immediately. I figured if I was going to lose something, I might as well lose that cable, and that was a big mistake. >> Yeah. This is actually one of the most important pieces of the kit, because this is the cable that makes everything go. It's like getting a brand new car and losing the key, right? >> Right. Or the gas pedal. >> Yeah. If you don't have this, you can't trigger the lights. Now, you can trigger the lights using other methods. Perhaps you're going to go ahead and we'll explore these more later. Use the built in flash on your camera, or use a command or control unit to trigger it, but this the fail safe method.
And it's called. >> And it's called the sync cable. >> Yeah. And it's going to go ahead and sync things. So, the one end goes where? >> This will go into your camera. There's a term called a PC connection. It has nothing to do with computers. It existed long before we had PC's, and this will actually go into a port on your camera and then you have that end. >> Yeah and this end will go into the actual light, the main light that you're going to use as your primary strobe, and you may use this connection which is exactly like an iPod or a standard headphone jack type connection.
Or you might need to step up to a larger one, and this will generally vary in your kit, but somewhere in the light is going to be a port that you plug into. And we're going to cover all of this when we actually start to synchronize our lights and walk you through it. But the big thing is, is don't just look at that random cable like, you know, you buy a new printer, there's an extra USB cable. Or you open up the box and there's all these weird, I don't need that. That must be for somebody who's over in Europe. No, this is a cable that even if you don't use it all the time, it's an excellent fallback plan. >> As a matter of fact, I buy additional cables as backups because this is one of those things I'll lose on set.
It's, like, we all pack up, and somebody doesn't see the cable lying on the floor. It's black in a dark environment. So having spare cables, having longer cables. >> Yeah. >> This is not a bad insurance policy. >> All right. You've gotten a good idea on what sort of gear you likely need, and if you've already invested in a lighting kit, what sort of gear you probably already have. Now, let's dig a bit deeper and walk you through how these lights actually work.
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