with Pam Tingiris
Thursday January 1, 1970
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If you don't agree that it's the best training you've ever received anywhere, for any price, we'll gladly give you a full refund.
Doors Open at 9:00am. Seminar Begins at 10:00am
One flash and a camera—Joe kicks off the day teaching you how to make one light look great. From simple bouncing techniques with the flash on the hot shoe, to redirecting the flash by holding it off camera. You’ll learn about the camera’s relationship to the speed light, how they work together both in manual and in the more automated exposure modes, and how to change the power of the flash using the small, built-in flash onboard the camera. You’ll learn about simple light shapers, blending one flash with ambient light, controlling white balance relative to the environment, diffusing light to make it soft and flattering, and using it in a directional way to create drama and shadows.
Enlarging the feel and effect of just one flash. Continuing into the next hour, Joe sticks with just one light, working at making it bigger and better. Here you learn more about controlling the light with a commander flash onboard the camera, and how these lights speak to each other to give your subject the right look and exposure. It’s an entire hour of working with one light and changing the look of that light through a series of small, affordable, easily portable light-shaping tools. Joe pushes the limits of one speed light, using it up close and personal to make it soft and flattering, and pushing it back (way back) to achieve edge and shadow.
You’re on you own for lunch. However, we always try to choose venues that have food options nearby, and you’re always free to bring your lunch if you wish.
Now, it’s on to two lights, and learning how to define the relationship between a main and a fill light, or a foreground and a background light. Joe shows portable light shapers, now placing them on stands and moving them around the subject to achieve directionality and shades of difference in the look and feel of the light. Various tools are used, from found objects to compact umbrellas, soft boxes, snoots, grids and shadow makers. There’s a world of difference and possibility created by adding just one more light.
Keeping it still to just two (maybe three) flashes, Joe takes a look at more complicated techniques and settings, such as high speed sync, rear curtain sync, use of gels, and putting a couple speed lights through the same diffused source to achieve “bigger” light and faster recycle. He will also talk about lighting “through” the picture from foreground to background, using a minimal number of flashes. He will also show how TTL control of the remote flash from right at the camera can limit and define depth of field to create dramatic portraits.
After four hours of showing the world of small, simple flash, Joe takes out a bigger flash unit, and using sophisticated light shaping tools, creates a look and feel with the ease of bigger power packs, and big diffusers and soft boxes. Then, having shown that option, he takes the setup apart and re-creates the same kind of light using small flash only. Along the way, strengths and weaknesses of each approach are discussed and shown in detail. At the end, Joe shows how to make big and small flash work together seamlessly in the same lighting scenario.
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