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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.
One of the easiest tools to use when controlling light is something called a flag, and it allows you to block light so it doesn't fall into areas you don't want. Now, Rich, you have a, a flag set up there, and what really is a flag? It sounds complicated. >> No it's super easy. I mean, all it is in this case is fabric that's pretty much completely opaque. It's usually black, a lot like a blackout curtain that you might have if you worked nights and you wanted to sleep in the day, or you've seen these sometimes in hotel rooms to cut down on light pollution. If you've ever stayed, like, say, in Las Vegas, a lot of hotels will have' em.
It just really blocks out the light. And this particular one just happens to be an easy frame. And up top here, we used a piece of grip equipment just called a knuckle that attaches to just a normal lighting stand. And so it's really easy to put that in there. If I needed to, I could adjust this. I could angle it. In this case, it's going to be really simple. You were seeming to be getting a little spill on your backdrop, right? >> Yeah, as a matter of fact, the way we set up the lights, it lit Valerie very nicely, but I'm getting a little bit of overflow. Let me take a shot so they can see exactly what that overflow looks like, and then Rich is going to fix it for me.
Okay, Valarie. Three, two, one. And her lighting is great, but I'm losing that rich black on the back wall. >> All right, so why don't I walk this in. Abi, you'll have to let me know if I'm out of your shot. >> You're in my shot a little bit. We could mask it out, but let's see if we can block it by bringing it a little bit closer to the light, maybe. >> Go ahead, Alan. >> Okay. And as you see, with the flag in place, I still keep a nice, rich, black background, yet I have all the power of both my key and my fill light.
And it may seem like I have a lot of favorite modifiers, because I do. But flags are absolutely awesome because I can block light when I don't want it to hit a certain subject. And you can see how easy it was to fix a problem in about 10 to 15 seconds.
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