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In the Lighting with Flash series, photographer and Strobist blog publisher David Hobby demonstrates how to use compact flash units in a variety of lighting scenarios. In this first installment, he covers the basics, starting with ambient window light and ending with a four-light shoot of a model. Along the way, the course covers a variety of fundamental lighting concepts as well as accessories such as ring lights and softboxes. The course includes diagrams and detailed explanations of the lighting setups.
The question is where I want these to come from. Any suggestions, anything, anyone? So, I'm going to play with you in profile just a little bit, okay? So instead of looking at me, you're sort of looking off just a tad, and I want to come in and pop a little bit of light on to you just like this. I am rotating this around so my other flash can see this slave better. Here's my window, so I want to see. Oh, don't move, don't move, just like you were doing, just like that.
I don't know how this is going to look like from the other side, but it might look cool. Okay, I need less out of this. Notice I'm not metering. I'm just--this needs a little less salt, this needs a little more salt. It's like the way you cook, better. Yes, yes, yes, where I can see your face better, but look more toward Dave if you would.
So now that the ring has become a fill and that flash behind her--don't--you had it. You looked a little more towards Eric over there. Oh, what are you doing, Eric? Watch out for him, he is a firefighter. Okay, deep breath and just, there you go. Just off into space little bit. And oh, to Eric, they are similar. All right, here you go. Don't move.
So now the ring is becoming a fill light, and we can dial that down even more, and the key is on your face. So okay, don't move. What you're just doing, don't move. I'm going to move this, slide around to suit you, yeah. And this starts to look really--a little edgy, but don't change anything. I like your hands, I like everything about this. Okay, take a deep breath, bring your lips together, and work a little bit of a look into that. Just, yeah, just a little--a little high end really. Just out of my league, right here just like--Oh, seriously, you can't be serious right here. Good, more disdainful.
Now, she's losing it. Eric is making faces, isn't he? Yeah. I can't be disdainful, I'm a nice person. No, you're not. Yes, you are, I am kidding. It's the kind of thing I would do to a CEO if he is giving me too much serious look, or she was giving me smile number 723 for the fifth time. All right, straight, lips together. Good, good. Now just move around a little bit.
Okay, relax. Okay, I want to push this light up a little higher and dial it down a little bit. You're not shiny, I am. That's fine. I am the first one to get shiny. So I wanted to put it for higher position, and I also want to take some power off of it but moving it up further away from her, do both of these things at one time. So by moving it up I also made it a little dimmer, so I didn't have to do the little power switch.
Okay, so let's see which way you're going to look. I want to have--yeah, face just like that, but looking right at me. Perfect, so don't move. I am going to walk around visualize her face from--okay, maybe we take a little bit off of that. And I'm rotating this light around a little bit too, because I don't want so much light on her shoulder back there.
That's nice, more ring. That's better. Okay, don't move. Eyes right here. All right, relax. How do we look. You look good. I look like me. All right, take a deep breath for a second and just relax and get comfortable.
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