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All right?
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We're going to talk about high speed
sync.
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And before we get into the high speed
sync part of it, I'm going to go and
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explain a little bit about capacitors
versus
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the
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high speed, or how strobes kind of
work.
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Now,
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I don't know, I may have a little bit
of this portion of this on the
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joelgrames academy under the craft.
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When I talk about lighty,
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I do have, I believe, a complete news
section on the high speed sinking part
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that I added later after I built out
the academy.
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So I believe this is brand new
information for some of you.
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Well, for some of you, you may not have
the Joel grands academy part.
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And so this is all brand new.
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there might be a little bit of
repetition here at the very beginning.
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But I believe I go into a complete
brand news section I built out for
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Photoshop world when I went and did a
class on high speed sync.
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So
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this could be good information for you.
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If you want a little bit of a question
as to what how strobes work and how
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high speed sync works, let's get into
it, because I think this is kind of fun.
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So in the end, light is light.
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So, you know,
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this is what happens is we get caught
up in, and we say,
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well, like, for example, I get emails,
people say, I saw you behind the
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Scenes, and you are using a go dogs
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all right?
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And I thought you'd be more like a pro
photo guy, right?
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pro photos are like, 34 or five times a
cost, whatever.
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And so people think, well, if you pay
5000 dollars for a light, or 4000
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dollar, whatever it comes out to, it's
got to be better than a 500 dollar.
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Light that's what we think.
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And there are some things you get what
you know, you pay for.
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But I think when it comes down to it,
light as light,
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are pro photos, better than I say in
the inn.
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Quality y is better than godocks.
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I would say, yes.
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Do you need a pro photo?
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You don't need a pro photo.
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if you have unlimited
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funds, maybe you're living off a trust
fund.
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You have a rich dad.
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I don't know, I'm joking here,
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and you can buy whatever you want.
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You, maybe you just go out and say,
okay, I want to buy a whole truck full of
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pro photos.
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But for most of us,
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we watch every penny we have.
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And so
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I used einstein's for a while before
that, the palsy, buff, white light
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means and whatever.
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Over the years.
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I've used a number of different
strobes.
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They weren't always the most expensive.
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When it comes to lenses, glass
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cameras, things like that, I tend to
buy the best I can.
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But with light, light is light.
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Modifiers are modifiers.
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Yes, you get what you pay for.
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When it comes to modifier.
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I explained, I think some of that
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when earlier,
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you get, pay the construction and the
ability to tear something down and put
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it back together, the speed of it.
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So you can get a really inexpensive
modifier, but it doesn't last, and it's
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very difficult to set up and tear down.
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So, but when it comes to light,
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yes,
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it's
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not always true.
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You get what you pay for.
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There's some great products out there
with
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not
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super high end price tags.
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So
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when I say, look,
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don't get swayed by,
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I would say the hype.
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So we usually have
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a couple different, or two primary
types of strokes.
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You have capacitor driven,
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that are,
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build up a charge and then discharge it
through a flash tube.
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You have diaristra technology, or igb
t, which I don't know what that means,
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but anyways, it's dirstructure
technology.
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The einstein's were that.
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Speed lights are that.
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And so what happens is you discharge,
you push the button, and the flash goes
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off, and it discharges, and i'll show
you a minute, and there's a bell curve.
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00:04:14,521 --> 00:04:17,724
And so the light goes to peek up to
this highest output.
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00:04:18,425 --> 00:04:22,262
And then with a diatherister
technology, you can cut that
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output, of that discharge in the middle
of its
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discharging process.
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And so it shortens the tea time down.
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So I think I've got an illustration
here.
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In a minute it comes up.
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when you buy a strobe,
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the packs that we had on the grounds
back in the 80s, the 90s, they were all
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capacor driven, big, heavy duty
strobes, and
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they were like boom.
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And a lot of those strobes had very
little op options.
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So you had bank a, bank, b, bank c.
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So you put there's, 2000 Watts, but
only really 1000 Watts come out of each
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bank or whatever.
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And you had to flip switches.
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And it was really complicated.
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Today, we got the technologies amazing.
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And then I remember, like I said, the
speed lights were very small, didn't
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put out a lot of power, but they had
some capabilities that were pretty amazing,
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but they just didn't put out of power.
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So that was kind of confusing, or
difficult to work with.
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When you use, when you talk about flash
duration,
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that's the bell curve.
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And the
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flash goes and discharges.
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And when it
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stops,
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the
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flash duration,
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generally, for a capacitor,
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well depends
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between capacitor and thyrister.
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They usually fall within a 1300th of a
second to a 112000th
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of a second.
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Some strobes go a little slower, some
goal up, some little faster.
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To depend on specialists that might
specialize in
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freezing a bullet or something.
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There might be a flash out there that
does that.
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So you're in a range that is pretty
wide.
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00:06:04,330 --> 00:06:08,468
And if you're going to freeze action of
someone jumping up and down,
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free
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spinning,
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you need about 16000th of a second to
free somebody.
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00:06:14,441 --> 00:06:16,843
I know that because I've shot a lot of
athletes jump in the air.
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You can test that by swinging your arm
really fast and fire and off.
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And then if you see a ghosting, you
know that your flash duration isn't
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fast enough.
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Now, when it comes to high speed sink,
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I'm able to use my shutter speed
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as a way of freezing action.
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So if I put my shutter on 16 thousands
of a second, get all my parameters,
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correctly, fire it, and I swing an arm
or jump in the air, it'll be frozen.
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You have a dancer jumping in the air.
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that's another benefit of high speed
sinking, we'll talk about that in a
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minute, is it allows me to freeze
action with my shutter speed.
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But most capaca driven strobes, you
have a flash duration
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that will freeze your shutter or you
freeze your subject.
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But you have to be within a closed
environment of lights.
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You can't have full sunlight.
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You can do it in the studio.
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So here's a guy jumping, and it's
composite.
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So I put him in a background that looks
like he's outdoors, but he's really
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shot in a studio.
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And so I had to work around that for
many years.
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Here I shot just a test,
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put a black background up, and I had a
model swing and freeze her hair, and I
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shut it at 18000
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a second, just as a test.
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So if I shot that at 1300th of a
second, that probably a ghosting blur,
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which could be kind of cool,
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but that's not what I want.
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So here's the where the graft is.
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So if you look at figure number three
here,
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the flash goes off and then tapers
down.
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And there's a teattime from the
beginning to the end.
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it's in a very fast
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fraction of a second.
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But
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when it comes to freezing action, that
would be considered a long
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dirt flash duration.
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And figure number four, second, one
down.
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That's showing where you can cut the
power in half.
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The technology of dierister technology,
where you
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actually
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turn it off in the middle of its arcing
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down, arcing
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discharge.
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And in figure
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five, which a third went down, that's a
110000th
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of a second with just a sliver of the
flash peaking and then being cut off.
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So you can see, that's
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been around for a while.
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00:08:37,450 --> 00:08:38,518
Paul c buff, with the einsteins,
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brought it into a studio strobe,
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which was brilliant.
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And again, I used that
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for years, freezing athletes in studio.
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So here's
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some brands.
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00:08:52,32 --> 00:08:55,135
I'm obviously a cannon guy, being a can
explore of light.
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00:08:57,370 --> 00:08:58,505
if you have another
193
00:09:01,641 --> 00:09:04,878
speed light that fits your brand of
camera,
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amazing technology,
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00:09:07,781 --> 00:09:08,448
they're very durable.
196
00:09:09,49 --> 00:09:12,118
When I say this, you don't want to drop
it, bounce it on the concrete.
197
00:09:12,419 --> 00:09:15,855
But generally, if you drop to speed,
light it's going to probably work.
198
00:09:17,290 --> 00:09:19,826
If you take a studio stroke drop, it
199
00:09:20,894 --> 00:09:21,928
probably it's not going to work
200
00:09:24,431 --> 00:09:25,231
they're a little more durable.
201
00:09:25,532 --> 00:09:26,733
And even the go docs 8600
202
00:09:27,934 --> 00:09:29,869
in a pretty solid case.
203
00:09:30,337 --> 00:09:34,507
I have not dropped one yet, but the pro
photo are pretty solid too,
204
00:09:35,542 --> 00:09:38,445
but you're still not as, not as durable
as a speed light.
205
00:09:38,511 --> 00:09:40,814
So that's one advantage of a speed,
like we'll talk about that in a minute.
206
00:09:41,614 --> 00:09:43,316
So which drove is right for you?
207
00:09:43,316 --> 00:09:46,586
So that's the question that I always
ask people, say, I want to buy a car.
208
00:09:46,653 --> 00:09:47,721
What kind of car should I buy?
209
00:09:47,787 --> 00:09:50,824
I'm like, well, do you have horses you
need to haul?
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00:09:50,990 --> 00:09:51,358
Hay,
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00:09:52,192 --> 00:09:52,759
yeah, ok.
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00:09:52,892 --> 00:09:53,927
You need a pickup truck.
213
00:09:54,594 --> 00:09:55,128
You don't need a convertible
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00:09:56,496 --> 00:09:57,764
to haul your hay in.
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00:09:58,431 --> 00:10:01,1
So when it comes to strobes, you've got
to find out what your end result is.
216
00:10:01,234 --> 00:10:01,401
And so
217
00:10:02,502 --> 00:10:05,905
I would say, as a general rule, today,
218
00:10:06,339 --> 00:10:12,12
what I would recommend is something
like the godox 8600, or something that has
219
00:10:13,79 --> 00:10:16,316
high speed sync studiostrope, high
speed sink, has a battery on the back.
220
00:10:17,150 --> 00:10:18,251
That's where everything's going.
221
00:10:19,152 --> 00:10:23,456
And the price point around five is 67,
hundreds, somewhere around there, not
222
00:10:23,556 --> 00:10:24,624
7000 dollars.
223
00:10:25,225 --> 00:10:26,826
And you can buy a kit of em.
224
00:10:26,893 --> 00:10:27,794
I usually buy three
225
00:10:28,828 --> 00:10:32,265
at maybe four, just to have a 4th,
because if I do my three edge lighting
226
00:10:32,665 --> 00:10:34,768
and we're talking about the one light
master class here.
227
00:10:34,834 --> 00:10:39,472
But if a client, I just did a whole
week shooting for Edison power in LA.
228
00:10:39,939 --> 00:10:40,340
And I had
229
00:10:41,708 --> 00:10:42,8
four lights.
230
00:10:43,309 --> 00:10:46,579
Most of the time I used one, but on
occasion I had a step of background
231
00:10:46,813 --> 00:10:46,980
light.
232
00:10:46,980 --> 00:10:48,515
I don't think I ever used more than
two.
233
00:10:48,915 --> 00:10:50,383
Maybe once I use three lights.
234
00:10:51,951 --> 00:10:53,787
But you've got to be prepared if you're
shooting commercially.
235
00:10:54,187 --> 00:10:56,990
But usually most of the stuff I did
last week was one light.
236
00:10:57,223 --> 00:10:59,359
So that's what we're talking about,
237
00:10:59,693 --> 00:11:01,161
one like master class here.
238
00:11:01,561 --> 00:11:03,196
So one light is a great,
239
00:11:03,663 --> 00:11:04,964
great
240
00:11:06,99 --> 00:11:06,866
place to start.
241
00:11:07,834 --> 00:11:08,468
So
242
00:11:08,802 --> 00:11:09,769
again,
243
00:11:10,437 --> 00:11:12,172
think about looking at images
244
00:11:12,672 --> 00:11:16,309
and then look at them and say, is that
a one light, two light, free light, whatever.
245
00:11:16,743 --> 00:11:20,13
And you'll probably drawn to a certain
look, like, if you like to edgy, look
246
00:11:20,13 --> 00:11:20,914
why I do a lot of.
247
00:11:21,214 --> 00:11:23,83
For sports, then you'll need more than
one light.
248
00:11:23,216 --> 00:11:27,387
But for beauty fashion portraits, you
can get away with one light, but you
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00:11:27,387 --> 00:11:27,887
are the artist.
250
00:11:28,121 --> 00:11:30,90
You have an end result that you have to
get to.
251
00:11:31,57 --> 00:11:33,326
But here's a question I always have to
ask myself.
252
00:11:33,560 --> 00:11:36,29
And when someone asks me, what stroke
should I buy?
253
00:11:36,329 --> 00:11:36,830
I always say,
254
00:11:37,864 --> 00:11:39,833
are you going to be going outdoors with
it?
255
00:11:40,734 --> 00:11:43,370
And then, how much gear do you want to
carry?
256
00:11:44,904 --> 00:11:45,472
As I get older.
257
00:11:46,840 --> 00:11:50,43
My superman skills are getting weaker
and weaker.
258
00:11:50,577 --> 00:11:50,744
And so
259
00:11:51,945 --> 00:11:53,947
I used to carry stuff like I was part
gorilla.
260
00:11:54,748 --> 00:11:55,882
I'm now letting.
261
00:11:56,116 --> 00:11:57,450
My assistants carry more.
262
00:11:58,184 --> 00:11:59,152
And I do work out.
263
00:11:59,152 --> 00:12:00,20
I try to stay in shape.
264
00:12:00,120 --> 00:12:00,954
But I tell you what,
265
00:12:02,88 --> 00:12:05,58
these cases get so heavy now it's like
picking them up, put them in my suv,
266
00:12:05,859 --> 00:12:07,360
starting to go, oh my gosh.
267
00:12:08,995 --> 00:12:10,430
But how much power do you need?
268
00:12:10,663 --> 00:12:13,266
So if you go in outdoors, you're going
to need a fair amount of power.
269
00:12:15,235 --> 00:12:18,438
If you shoot early morning and late
light, you don't need as much power.
270
00:12:18,505 --> 00:12:19,706
High new knee, lots of power.
271
00:12:20,40 --> 00:12:22,742
So it really comes down to what kind of
need you might have.
272
00:12:23,376 --> 00:12:25,745
And that might help you make a decision
on
273
00:12:27,380 --> 00:12:28,181
what light to buy.
274
00:12:28,415 --> 00:12:31,384
Now, the prose for speed light, are
there?
275
00:12:31,384 --> 00:12:31,985
Lightweight,
276
00:12:32,652 --> 00:12:32,752
durable,
277
00:12:33,853 --> 00:12:35,88
built in wireless controls.
278
00:12:35,288 --> 00:12:40,593
I can actually control my speed light,
even the ones that are off the camera,
279
00:12:41,294 --> 00:12:42,395
right on the back of my camera.
280
00:12:42,729 --> 00:12:43,363
Incredible.
281
00:12:44,264 --> 00:12:45,765
That's a new technology
282
00:12:46,666 --> 00:12:50,103
ettl, which I never use, but you can
use that if you're doing weddings,
283
00:12:50,437 --> 00:12:50,570
it's, whatever.
284
00:12:51,938 --> 00:12:55,75
They have the high speed capability,
they have optical zoom built into
285
00:12:56,176 --> 00:12:56,509
the flash.
286
00:12:56,743 --> 00:13:01,81
Or you can go wider, or narrower, beam,
rear, curtain, sink, etc there's a
287
00:13:01,81 --> 00:13:03,316
whole bunch of things on speed lights
you can do that are incredible.
288
00:13:04,584 --> 00:13:06,186
And I already mentioned you can control
them now.
289
00:13:07,220 --> 00:13:08,822
And they have aaa, battery, a, w.
290
00:13:09,55 --> 00:13:09,222
Batteries.
291
00:13:09,456 --> 00:13:14,194
If you're so inclined, I usually have a
battery pack that goes to my speed
292
00:13:14,361 --> 00:13:16,796
light if I'm going to be doing some
serious shooting.
293
00:13:17,530 --> 00:13:19,232
And so what are the cons?
294
00:13:19,532 --> 00:13:20,967
Let's go to the cons,
295
00:13:22,268 --> 00:13:24,304
limited power, and they're kind of
pricy.
296
00:13:24,738 --> 00:13:26,339
So you spend about 450
297
00:13:27,707 --> 00:13:33,980
Bucks or so, almost the same cost as me
getting a go, docs, a d 600 or Einstein.
298
00:13:34,681 --> 00:13:38,585
So you get this little t thing, and
it's still kind of pricey.
299
00:13:38,918 --> 00:13:41,454
Now you can buy an off brand,
300
00:13:41,855 --> 00:13:43,223
third party little speed lights,
301
00:13:44,591 --> 00:13:45,625
Ying yangs or something.
302
00:13:45,792 --> 00:13:49,629
There's always a name I can't even
pronounce, that you can buy that are
303
00:13:49,863 --> 00:13:50,897
speedlight knock offs.
304
00:13:51,231 --> 00:13:53,266
Now here's what i'll tell you about
that.
305
00:13:53,600 --> 00:13:54,868
So,
306
00:13:55,869 --> 00:13:57,237
because I've had people buy them on.
307
00:13:57,237 --> 00:14:00,206
My brother, who is dabbling in
photography a little bit, he's bought
308
00:14:00,340 --> 00:14:01,441
some of those cheap ones.
309
00:14:02,275 --> 00:14:06,346
If you drop one of those, it will
shatter in 1000 pieces, pretty much
310
00:14:06,513 --> 00:14:09,482
guaranteed, it will not hold up on an
impact that's.
311
00:14:09,549 --> 00:14:10,383
Number one,
312
00:14:11,51 --> 00:14:13,720
also, they don't always have all the
bells.
313
00:14:13,853 --> 00:14:18,24
And whistles that a standard speed
light that's proprietary to your
314
00:14:18,425 --> 00:14:18,591
camera.
315
00:14:19,225 --> 00:14:22,395
That's usually been thought out pretty
well.
316
00:14:22,896 --> 00:14:24,164
They
317
00:14:27,133 --> 00:14:28,802
some don't do high speed sink,
318
00:14:29,636 --> 00:14:30,704
but some do.
319
00:14:33,73 --> 00:14:34,407
You give them a fraction of the cost.
320
00:14:35,308 --> 00:14:38,978
But if you're going to shoot for a
client, or you're going to go on a
321
00:14:38,978 --> 00:14:40,313
project, six countries
322
00:14:40,513 --> 00:14:43,550
shooting, like I did for a department
of labor, and I went to six countries,
323
00:14:43,783 --> 00:14:46,686
I took my speed lights, and I use them
all the time.
324
00:14:46,820 --> 00:14:48,188
Nonstop, never stop working.
325
00:14:48,588 --> 00:14:52,625
I bounce them around a little bit and
never missed a beat.
326
00:14:53,693 --> 00:14:56,363
You take some knock offs, you're going
to be having some problems.
327
00:14:56,596 --> 00:14:58,98
So is it worth it for you?
328
00:14:58,431 --> 00:15:00,900
Now, if you're just starting out with
photography, and you say, look, I'm
329
00:15:01,1 --> 00:15:03,136
just going to play around a little bit,
buy the knock offs.
330
00:15:03,236 --> 00:15:06,506
But I guarantee, if you're going to be
shooting to make a with your camera, I
331
00:15:06,506 --> 00:15:08,41
would say, stay away from them.
332
00:15:09,476 --> 00:15:10,276
Today, we have more
333
00:15:11,378 --> 00:15:13,546
supporting products for speed lights.
334
00:15:13,947 --> 00:15:16,282
So I'm not trying to win you over to
speed lights.
335
00:15:16,583 --> 00:15:19,152
I'm trying to give you an option here
of what you can do.
336
00:15:19,452 --> 00:15:20,420
You can stack up
337
00:15:21,454 --> 00:15:24,357
speed lights, like they called westcot
as a triple threat.
338
00:15:24,591 --> 00:15:27,560
We can put three into one modifier I've
done that quite a bit, actually.
339
00:15:28,661 --> 00:15:32,832
And I have a kit that I have set up
that if I have to go and gun and run
340
00:15:33,133 --> 00:15:33,466
and go,
341
00:15:35,1 --> 00:15:36,102
like I'm going to Brazil on Thursday,
342
00:15:37,137 --> 00:15:38,405
I might take my speed lights,
343
00:15:38,905 --> 00:15:42,175
and not by big strobes, and when I get
there and probably doing a demo it's
344
00:15:42,275 --> 00:15:44,811
for cannon, so they'll have a bunch of
speed lights for me.
345
00:15:44,811 --> 00:15:46,179
So maybe I'm not to pack them up.
346
00:15:46,279 --> 00:15:49,49
But the fact is that if I want to
travel super, super lightweight,
347
00:15:50,750 --> 00:15:55,288
and I still need a little bit of power,
I might stack three of mine into one modifier.
348
00:15:56,656 --> 00:16:00,994
And so westcott has some great products
that you can do that with, even their
349
00:16:01,61 --> 00:16:02,195
Apollo orb stuff.
350
00:16:02,429 --> 00:16:05,799
You can set it up and then put the
triple thread on there and get three
351
00:16:05,865 --> 00:16:08,335
lights into one and make a pretty
punchy little snap.
352
00:16:09,936 --> 00:16:13,840
There's a little rabbit box that you
can very lightweight
353
00:16:14,574 --> 00:16:14,841
have it.
354
00:16:15,942 --> 00:16:17,944
The umbrella mounts some good stuff.
355
00:16:19,479 --> 00:16:19,879
And then magmad,
356
00:16:21,214 --> 00:16:22,816
that has some really cool things too
357
00:16:24,17 --> 00:16:27,854
that you can put on your speed light to
do some
358
00:16:28,988 --> 00:16:29,923
modifications.
359
00:16:30,190 --> 00:16:34,728
We have some battery packs that'll help
us get a quicker recycle time
360
00:16:35,28 --> 00:16:35,295
and
361
00:16:36,896 --> 00:16:37,597
a longer
362
00:16:38,998 --> 00:16:39,666
battery life.
363
00:16:40,266 --> 00:16:41,935
So there's the can in 600 er
364
00:16:43,136 --> 00:16:43,536
e xrts.
365
00:16:44,104 --> 00:16:45,372
I think that new one just came out.
366
00:16:45,372 --> 00:16:48,8
And with the version two, I probably
need to update this
367
00:16:48,808 --> 00:16:50,410
a few little, extra little features.
368
00:16:51,311 --> 00:16:53,246
So here's the controller over there.
369
00:16:53,613 --> 00:16:58,251
Pretty amazing where we're at today
let's talk about monolights, or we call
370
00:16:58,251 --> 00:16:59,486
the studio monolight monolite.
371
00:16:59,786 --> 00:16:59,953
Meeting.
372
00:17:00,20 --> 00:17:02,88
That's all built into 11 unit,
373
00:17:03,390 --> 00:17:04,357
not a pack on the floor.
374
00:17:04,491 --> 00:17:06,92
So the head is built into the
375
00:17:07,861 --> 00:17:11,664
actual part that distributes the power
to the head.
376
00:17:12,332 --> 00:17:13,800
So there's medium to lightweight.
377
00:17:15,68 --> 00:17:18,338
they've gotten lighter than they were
back when I was starting out, compared
378
00:17:18,571 --> 00:17:19,939
to what I used to carry and ship.
379
00:17:20,106 --> 00:17:20,507
Oh my goodness.
380
00:17:22,742 --> 00:17:25,545
They're fairly durable, but not as
durable as speed lights, but they're
381
00:17:25,545 --> 00:17:25,779
fairly durable.
382
00:17:26,980 --> 00:17:28,348
They have some new wireless controls
383
00:17:29,549 --> 00:17:30,517
the godox has.
384
00:17:32,519 --> 00:17:33,787
there's some new strobes coming out.
385
00:17:33,787 --> 00:17:34,754
I'm testing one right now.
386
00:17:34,821 --> 00:17:38,925
By the time this comes to you, I will
be probably promoting that light.
387
00:17:39,225 --> 00:17:44,30
I can't say who right now, but it's
coming literally in, I think, a week or two.
388
00:17:45,298 --> 00:17:46,733
And it's a really cool light.
389
00:17:48,34 --> 00:17:51,938
It does all this stuff, ettl, high
speed sync masking options.
390
00:17:52,105 --> 00:17:52,739
So what is that?
391
00:17:53,239 --> 00:17:57,544
Well, I think I have one picture that I
might show you, but basically what it
392
00:17:57,544 --> 00:18:00,914
does is it allows you can take a static
image.
393
00:18:01,81 --> 00:18:04,918
So let's say you have a bicycle and you
have a sweep on a sweep, you
394
00:18:06,119 --> 00:18:09,723
say, let's say you take two lights, and
you light the background pure white,
395
00:18:10,90 --> 00:18:12,258
and then you have one light, or maybe
multiple lights,
396
00:18:13,460 --> 00:18:14,260
lighting a bicycle.
397
00:18:14,994 --> 00:18:18,331
And then you say, you're going to use
it for a product, and you're going to
398
00:18:18,331 --> 00:18:19,165
drop into a background.
399
00:18:19,866 --> 00:18:23,136
You can now program your strobes to
trigger.
400
00:18:24,170 --> 00:18:27,240
The back ones trigger every time, but
the front ones trigger every other
401
00:18:27,307 --> 00:18:27,474
time.
402
00:18:27,540 --> 00:18:32,679
So what happens is you go pop, and then
they all go off, pop, and then only the
403
00:18:32,679 --> 00:18:33,546
background goes off.
404
00:18:33,546 --> 00:18:34,547
So
405
00:18:34,914 --> 00:18:38,518
if you have your light set upright,
your bicycle will be a complete pure black
406
00:18:39,619 --> 00:18:39,786
knockout.
407
00:18:40,353 --> 00:18:42,122
And then you just go and drop it into
anything.
408
00:18:42,355 --> 00:18:43,823
Now you can do it with people,
409
00:18:45,58 --> 00:18:46,993
and I've been doing that, I mean,
testing it.
410
00:18:47,160 --> 00:18:49,396
And so I can't let the cat out of the
bag yet.
411
00:18:49,529 --> 00:18:52,832
But I've got some really cool things
I'm doing with that masking option,
412
00:18:52,999 --> 00:18:53,633
where you have
413
00:18:54,834 --> 00:18:55,535
a light strobe
414
00:18:56,569 --> 00:18:58,238
coming off and
415
00:18:59,673 --> 00:18:59,773
alternating.
416
00:19:00,840 --> 00:19:01,274
So
417
00:19:02,409 --> 00:19:05,912
that's all not a tutorial, but I'm just
introducing it to you.
418
00:19:06,513 --> 00:19:08,14
You can troll your lights
419
00:19:09,149 --> 00:19:09,783
from your camera.
420
00:19:10,183 --> 00:19:15,55
And now this new one I'm testing will
actually sync up with cannon
421
00:19:16,423 --> 00:19:19,626
speed lights, and it'll show up in the
back of your camera.
422
00:19:19,793 --> 00:19:24,97
So you can actually control your lights
up and down by using your monitor on
423
00:19:24,97 --> 00:19:24,798
your camera.
424
00:19:25,265 --> 00:19:26,66
Incredible.
425
00:19:27,0 --> 00:19:29,703
The battery is connected now, most of
them are connected to the strobe,
426
00:19:30,737 --> 00:19:33,273
and you have tons of power to
427
00:19:34,107 --> 00:19:35,8
overpower the sun.
428
00:19:35,542 --> 00:19:36,9
Hey,
429
00:19:37,711 --> 00:19:39,45
I jumped ahead
430
00:19:39,779 --> 00:19:40,180
of myself.
431
00:19:40,413 --> 00:19:41,648
I didn't realize it is in here.
432
00:19:41,848 --> 00:19:43,350
Here's that masking technique.
433
00:19:43,850 --> 00:19:45,385
I can't believe I got this in here.
434
00:19:45,385 --> 00:19:46,386
Oh, I'm so excited.
435
00:19:46,820 --> 00:19:47,320
So I'm strobing
436
00:19:52,25 --> 00:19:54,761
setup to allow me to do some really
cool stuff.
437
00:19:54,994 --> 00:19:55,862
So that's fun.
438
00:19:56,429 --> 00:19:59,199
And again, I can explain that more down
the road.
439
00:20:00,500 --> 00:20:00,734
The cons,
440
00:20:02,435 --> 00:20:06,39
well, if you get three or four strobes
into a case with his successories, it
441
00:20:06,39 --> 00:20:09,476
gets a little bit heavy, so it's not as
lightweight as say, three or four speed
442
00:20:09,709 --> 00:20:10,410
lights in a case.
443
00:20:11,611 --> 00:20:13,246
The cost can get up there depend on the
manufacturer.
444
00:20:13,546 --> 00:20:14,581
So I already touched on that.
445
00:20:15,715 --> 00:20:18,518
I would recommend going out and buying
what you can afford.
446
00:20:18,818 --> 00:20:21,321
So that comes with any piece of
equipment.
447
00:20:22,22 --> 00:20:24,991
And I have a wife that watches
everything I do in terms of
448
00:20:26,893 --> 00:20:27,794
my spending.
449
00:20:28,361 --> 00:20:29,129
And so I have to
450
00:20:30,263 --> 00:20:33,466
have to present my case to her and say,
look, honey, I need a new light.
451
00:20:34,100 --> 00:20:37,537
And she goes, do you need a little
night, or do you want a new light?
452
00:20:37,704 --> 00:20:40,974
That's art of the land it's, usually
it's a lens I'm trying to win her over with.
453
00:20:41,941 --> 00:20:45,779
And so she knows it's my business, and
I have to run a business, but I have to
454
00:20:45,779 --> 00:20:48,181
also watch what I spend and how much
money I spend.
455
00:20:48,648 --> 00:20:50,283
And so I'm sure you do too.
456
00:20:50,417 --> 00:20:51,985
Most of us are in that camp.
457
00:20:52,252 --> 00:20:54,87
So all right,
458
00:20:54,421 --> 00:20:55,955
let's talk about balancing strobes.
459
00:20:57,457 --> 00:20:59,25
With the outdoors,
460
00:21:00,593 --> 00:21:01,928
there are four
461
00:21:03,630 --> 00:21:05,699
variables that control the control
exposure.
462
00:21:06,99 --> 00:21:09,269
So we have aperture shutterspeed iso,
and we have
463
00:21:09,469 --> 00:21:10,270
the Nd filter.
464
00:21:10,503 --> 00:21:12,305
So the aperture is your app, stop
465
00:21:12,839 --> 00:21:14,407
shutter speed is the time
466
00:21:14,974 --> 00:21:17,711
iso's a sensitivity of film, or the
sensor.
467
00:21:18,178 --> 00:21:21,381
And Nd filter is what blocks light
coming into the lens.
468
00:21:21,481 --> 00:21:26,186
So these are your four variables that
allow you to control your exposure,
469
00:21:26,653 --> 00:21:28,755
onto your camera, onto your sensor, or
470
00:21:30,23 --> 00:21:30,890
your final image.
471
00:21:31,391 --> 00:21:34,260
Now, for a long time, I didn't have end
filter on there, because I didn't
472
00:21:34,427 --> 00:21:35,228
really think about it.
473
00:21:35,295 --> 00:21:39,866
Now that video comes along and use Nd
filters all the time of video to give
474
00:21:39,933 --> 00:21:44,170
you control, your use of your shutter
speed and how much light you have, all
475
00:21:44,170 --> 00:21:44,437
this stuff.
476
00:21:44,571 --> 00:21:47,307
And my kids are using the video with Nd
filters.
477
00:21:47,474 --> 00:21:49,909
And then I got to think, and I started
using Nd filters.
478
00:21:50,510 --> 00:21:53,947
Oh, about seven years ago, with
strobing outdoors.
479
00:21:55,448 --> 00:21:58,918
Again, I can't say I was the first to
do it, but I was pretty much right on
480
00:21:58,918 --> 00:22:00,20
the forefront of doing that.
481
00:22:00,420 --> 00:22:02,22
And then now we got the high speed
seeking.
482
00:22:02,255 --> 00:22:06,426
I don't use it as much, but Nd filter
is a variable that you can use to
483
00:22:06,426 --> 00:22:08,595
control how much light comes into your
camera.
484
00:22:08,895 --> 00:22:12,499
So if you look at aperture, your
aperture is tied to your strobe, your
485
00:22:12,599 --> 00:22:14,34
shutter speed is tied to your ambient.
486
00:22:14,668 --> 00:22:17,404
And iso, and Nd filters cover both.
487
00:22:18,38 --> 00:22:19,139
Now, this is important to understand.
488
00:22:20,173 --> 00:22:24,177
Now, this might sound like a lot of
information for some of you, because I
489
00:22:24,277 --> 00:22:26,846
know you're like me, I'm not the most
technical person.
490
00:22:26,913 --> 00:22:29,616
I mean, I can get technical, but I like
to make it simple.
491
00:22:29,849 --> 00:22:32,952
And I don't want to over complicate it
technically.
492
00:22:33,453 --> 00:22:33,920
But
493
00:22:34,354 --> 00:22:34,988
you have to understand
494
00:22:36,22 --> 00:22:39,526
the parameters in which you are working
with to control your light.
495
00:22:40,193 --> 00:22:41,61
It's not that complicated.
496
00:22:41,628 --> 00:22:45,532
So I would say to this to you, if
you're sitting there going Joel, that
497
00:22:45,532 --> 00:22:46,566
sounds really complicated,
498
00:22:48,101 --> 00:22:52,38
you're going to have to take the time
and maybe run this over this tutorial,
499
00:22:52,505 --> 00:22:54,40
and maybe go to some other tutorials.
500
00:22:54,507 --> 00:22:58,545
If there's some stuff out there, and
you're going to have to get past the hurdle.
501
00:22:59,145 --> 00:23:04,117
So here's what I would tell you, I am
often learning something, and I look at
502
00:23:04,117 --> 00:23:05,151
it and go, oh, my gosh.
503
00:23:05,385 --> 00:23:06,186
That sounds so complicated.
504
00:23:06,820 --> 00:23:09,55
And someone's trying to teach to me and
say, go, oh, no, it's not.
505
00:23:09,55 --> 00:23:10,423
I'm like, oh, my, got a headache.
506
00:23:11,157 --> 00:23:14,94
Please don't fill my brain with any
more information, right?
507
00:23:14,761 --> 00:23:18,865
And so what I usually do when I get to
that point, I say, ok, Joel,
508
00:23:19,65 --> 00:23:20,166
is this important to learn?
509
00:23:20,734 --> 00:23:21,267
Yes, it is.
510
00:23:22,102 --> 00:23:22,435
All right.
511
00:23:22,736 --> 00:23:27,140
Let's back up, rewind let's start over
from the beginning, and let's build the
512
00:23:27,140 --> 00:23:27,874
block slowly.
513
00:23:28,341 --> 00:23:29,909
And then one day I go,
514
00:23:31,378 --> 00:23:32,479
it's not that complicated.
515
00:23:33,79 --> 00:23:34,714
Anybody can learn this, just
516
00:23:35,215 --> 00:23:36,950
sometimes you got it back up and reset.
517
00:23:37,450 --> 00:23:37,617
So
518
00:23:39,319 --> 00:23:41,54
here's a situation where I overpowered
the sun.
519
00:23:41,54 --> 00:23:41,721
This is not a composite.
520
00:23:42,22 --> 00:23:46,826
I'm strobbing, and the sun is actually
coming from the right, my right, his
521
00:23:46,893 --> 00:23:47,60
left.
522
00:23:47,560 --> 00:23:48,128
I have a stroke.
523
00:23:48,428 --> 00:23:50,764
What happened was, I had another stroke
that did not go off.
524
00:23:51,64 --> 00:23:53,266
It ran out of power when I did this.
525
00:23:53,700 --> 00:23:57,937
And so technically I'm using the sun as
kind of an edge light a little bit.
526
00:23:57,937 --> 00:23:59,639
And then I have an edge light, and then
overhead light.
527
00:24:02,8 --> 00:24:03,243
once you understand your parameters.
528
00:24:03,710 --> 00:24:06,579
You can do a shot like this, where I'm
controlling
529
00:24:07,614 --> 00:24:11,885
my environment and I'm building a
dramatic shot, and I look like a rock
530
00:24:12,18 --> 00:24:12,185
star.
531
00:24:12,519 --> 00:24:13,286
I love it.
532
00:24:13,853 --> 00:24:14,187
All right?
533
00:24:14,254 --> 00:24:15,789
Three sync options that are available.
534
00:24:16,256 --> 00:24:17,390
I hope you're still with me.
535
00:24:17,691 --> 00:24:18,491
I say that because
536
00:24:19,559 --> 00:24:21,227
I know that this might get a little
long.
537
00:24:21,461 --> 00:24:23,163
And so stop it.
538
00:24:23,396 --> 00:24:23,963
Take a break.
539
00:24:24,264 --> 00:24:24,998
Have a cup of coffee.
540
00:24:25,231 --> 00:24:25,632
Come back.
541
00:24:25,799 --> 00:24:26,599
Three sync options.
542
00:24:26,900 --> 00:24:27,534
One is
543
00:24:27,867 --> 00:24:28,802
standard sync,
544
00:24:29,369 --> 00:24:34,574
that is limited, tune of a second, or
250, whatever, depending on your
545
00:24:36,343 --> 00:24:36,509
camera.
546
00:24:36,810 --> 00:24:38,912
High speed sync that's what we're going
to explain.
547
00:24:39,79 --> 00:24:42,415
That in a minute, the high burst of
light going across your shutter
548
00:24:42,582 --> 00:24:43,516
and hot sink.
549
00:24:44,984 --> 00:24:47,220
And so there's not a lot of options out
there.
550
00:24:47,220 --> 00:24:49,923
Anymore on hots, there was preo light,
551
00:24:50,824 --> 00:24:51,324
pure light.
552
00:24:51,458 --> 00:24:54,994
Ultra dot com was a company building a
hot sink.
553
00:24:55,128 --> 00:24:59,966
And what that was is, that was a flash
duration that was slower than your
554
00:25:00,33 --> 00:25:02,235
shutter speed at 1200th of a second.
555
00:25:02,435 --> 00:25:03,503
So it would go boo,
556
00:25:04,104 --> 00:25:05,905
really slow, like 16th a second.
557
00:25:06,272 --> 00:25:07,207
And in that case,
558
00:25:07,474 --> 00:25:12,112
you could actually raise your shutter
speed above your sink speed, and you
559
00:25:12,278 --> 00:25:12,746
always had a
560
00:25:14,748 --> 00:25:19,352
burst of light hitting your sensor as
your shutterspeed would go across.
561
00:25:20,920 --> 00:25:23,56
Not a bad technology, but not
562
00:25:25,158 --> 00:25:26,393
it's not really
563
00:25:27,227 --> 00:25:30,997
probably the best option to go with,
it's kind of cool sometimes.
564
00:25:32,499 --> 00:25:34,901
so sanar steak sync is you have to work
within
565
00:25:36,169 --> 00:25:37,637
your camera's sync speed,
566
00:25:38,905 --> 00:25:42,275
but you have a flash duration, like I
did in a studio, where I can freeze
567
00:25:42,409 --> 00:25:45,779
action, high speed seeing, oh my gosh,
lots of more app options.
568
00:25:46,179 --> 00:25:48,581
And so those are typically your three
standards.
569
00:25:49,149 --> 00:25:52,786
Now, if I would say this to you, if
you're still with me,
570
00:25:53,553 --> 00:25:55,522
high speed sync and hot speed sync
571
00:25:56,89 --> 00:25:58,558
are two ways of
572
00:25:59,25 --> 00:25:59,459
having
573
00:26:00,593 --> 00:26:01,928
a burst of light
574
00:26:02,429 --> 00:26:04,164
that's longer than your
575
00:26:05,465 --> 00:26:06,666
tune of a second shutter speed.
576
00:26:07,801 --> 00:26:08,468
So
577
00:26:09,235 --> 00:26:11,938
it's a big burst pop, and your shutters
gone,
578
00:26:13,139 --> 00:26:14,574
it's coming down of the slit.
579
00:26:14,674 --> 00:26:16,9
And i'll show you in a minute how that
works.
580
00:26:16,676 --> 00:26:18,712
But it's always blasting light onto
your sensor.
581
00:26:19,212 --> 00:26:19,679
And
582
00:26:20,347 --> 00:26:22,916
the high speed sink, where it's
multiple flashy, so it's going to go,
583
00:26:22,916 --> 00:26:24,751
pop up a papa, pop up across your
sensor.
584
00:26:24,918 --> 00:26:25,785
I'll explain it in a minute.
585
00:26:25,952 --> 00:26:26,252
But
586
00:26:27,554 --> 00:26:32,325
that is cheating the system, meaning
that it's a work around your sink speed.
587
00:26:33,460 --> 00:26:35,995
So think about that it's kind of like a
continuous light.
588
00:26:37,697 --> 00:26:40,166
So if I take a picture in a dark room,
589
00:26:40,834 --> 00:26:44,804
my shutter speed has no effect on the
exposure to my camera
590
00:26:45,638 --> 00:26:46,506
or my tummato.
591
00:26:47,73 --> 00:26:48,208
It doesn't change.
592
00:26:48,408 --> 00:26:49,776
So if it's pure black
593
00:26:50,76 --> 00:26:51,344
studio,
594
00:26:51,711 --> 00:26:54,714
or really dim lighting, I can put it at,
595
00:26:55,315 --> 00:26:57,384
let's say, tuned of a second and click.
596
00:26:57,851 --> 00:27:01,87
If I take my flash sink off and take a
picture, is pure black.
597
00:27:01,388 --> 00:27:03,56
It's not the ambient.
598
00:27:03,390 --> 00:27:04,791
Light around is not
599
00:27:05,392 --> 00:27:05,558
affecting.
600
00:27:05,959 --> 00:27:08,762
So if I go to 100 a second, it probably
won't change anything.
601
00:27:08,995 --> 00:27:12,499
Now if I go to two seconds, and I've
got a couple of light, bulbs of it will
602
00:27:12,899 --> 00:27:13,633
start to show up.
603
00:27:13,633 --> 00:27:16,169
But if it's a black room, I can put it
one second, it doesn't matter.
604
00:27:16,269 --> 00:27:19,539
So in the old days, we used to do
multiple pops in a black room, and
605
00:27:19,639 --> 00:27:22,409
someone was jumping like an athlete
jumping through the air, and it goes,
606
00:27:23,476 --> 00:27:27,547
and you can see all these different
exposures coming onto your film or
607
00:27:27,614 --> 00:27:27,781
sensor.
608
00:27:28,415 --> 00:27:29,482
It's kind of a cool thing.
609
00:27:29,783 --> 00:27:33,753
But your shutter speed has no effect in
a dark environment.
610
00:27:36,589 --> 00:27:39,192
So when we talk about the
611
00:27:40,193 --> 00:27:41,594
sunny sixteen rule,
612
00:27:42,729 --> 00:27:43,229
and that is
613
00:27:45,131 --> 00:27:48,268
sending your fstop at f 16, and your
shutter speed matches your iso.
614
00:27:48,668 --> 00:27:51,137
So if they have one another, I so set
your shutterspeed 116,
615
00:27:52,505 --> 00:27:54,874
you will overpower the sun to get
616
00:27:55,308 --> 00:27:56,676
a blue sky, so to speak.
617
00:27:56,743 --> 00:27:58,244
If there's blue, and
618
00:27:59,879 --> 00:28:02,716
it's a way of learning your baseline
619
00:28:03,49 --> 00:28:07,53
to setting up your strobe and being
able to overpower the sun.
620
00:28:07,721 --> 00:28:08,655
That's the standard,
621
00:28:09,289 --> 00:28:10,557
the old school way of doing it.
622
00:28:12,25 --> 00:28:14,527
Once you understand the sunny sixteen
rule, it's actually pretty simple.
623
00:28:14,828 --> 00:28:15,829
Your options, aren't that
624
00:28:16,496 --> 00:28:17,130
great?
625
00:28:17,597 --> 00:28:18,231
And
626
00:28:19,232 --> 00:28:20,433
so let me explain that.
627
00:28:21,468 --> 00:28:23,36
And what I might do
628
00:28:23,370 --> 00:28:23,703
is,
629
00:28:25,472 --> 00:28:27,7
I just don't want to go too long here.
630
00:28:27,140 --> 00:28:27,507
So
631
00:28:27,874 --> 00:28:29,75
let's keep going.
632
00:28:29,142 --> 00:28:29,776
Let's keep going.
633
00:28:30,110 --> 00:28:33,880
I'll find a break, and then we'll break
this into part one, part two, because I
634
00:28:33,947 --> 00:28:38,451
know some of you are like, probably
chopping at the bit to get to,
635
00:28:39,386 --> 00:28:40,987
you know, we say, Joel, get to the
point.
636
00:28:41,454 --> 00:28:42,756
But I want to explain everything.
637
00:28:42,989 --> 00:28:46,259
And part of being an instructor is very
difficult, because I don't want to
638
00:28:46,259 --> 00:28:46,993
leave you on behind.
639
00:28:47,394 --> 00:28:48,495
Does that make sense?
640
00:28:50,96 --> 00:28:51,31
Take the iso.
641
00:28:51,531 --> 00:28:54,667
Let's, say, it's one to set your
shutterspeed at 100th of a second, set
642
00:28:54,667 --> 00:28:58,204
your aperture at 16, and that matches
the output of the sun.
643
00:28:58,338 --> 00:29:02,275
As a general rule, when the sun's up
fairly high in the sky at sunset
644
00:29:02,575 --> 00:29:07,480
sunrise, it's not going to be a sunny
sixteen, but as a general rule when the
645
00:29:07,480 --> 00:29:07,947
sun's in full.
646
00:29:09,315 --> 00:29:11,985
So if I want to
647
00:29:12,919 --> 00:29:18,91
have a variable change to my exposure
in my background, I want to make it
648
00:29:18,91 --> 00:29:19,59
darker or even lighter.
649
00:29:19,292 --> 00:29:20,326
But let's say darker.
650
00:29:21,61 --> 00:29:23,496
So my subject pops off the
651
00:29:24,664 --> 00:29:26,733
frame, or it pops toward me.
652
00:29:27,233 --> 00:29:29,135
Then I got to learn how to darken the
background.
653
00:29:29,436 --> 00:29:30,637
So
654
00:29:32,739 --> 00:29:33,773
when I say this again,
655
00:29:34,341 --> 00:29:36,976
you have to realize there's only a few
variables
656
00:29:38,11 --> 00:29:39,346
that you can adjust
657
00:29:39,713 --> 00:29:40,313
to do that.
658
00:29:40,980 --> 00:29:42,82
You've got to know what they are.
659
00:29:42,415 --> 00:29:43,216
So
660
00:29:43,516 --> 00:29:44,150
to
661
00:29:45,51 --> 00:29:47,954
let's say, dark in the background, two
stops, in this case it's a two stop
662
00:29:48,121 --> 00:29:48,955
darker background.
663
00:29:49,222 --> 00:29:49,389
Ok?
664
00:29:49,689 --> 00:29:50,890
So now she pops off.
665
00:29:52,92 --> 00:29:53,226
I only have two options.
666
00:29:53,793 --> 00:29:56,896
In this case right now, I have two
options, increase my shutter speed or
667
00:29:56,896 --> 00:29:58,231
decrease my power output.
668
00:29:58,598 --> 00:29:58,998
Or ins.
669
00:29:59,65 --> 00:30:02,869
I increase my power output, increase my
shutterspeat or increase my power output.
670
00:30:03,236 --> 00:30:04,304
Those are my two options.
671
00:30:04,571 --> 00:30:05,805
So let's look at a chart.
672
00:30:06,339 --> 00:30:07,507
This will help a lot.
673
00:30:08,308 --> 00:30:08,975
So
674
00:30:11,211 --> 00:30:12,679
this is stannard strobes, by the way.
675
00:30:12,679 --> 00:30:15,148
Folks, ok, take the sunny sixteen rule.
676
00:30:15,315 --> 00:30:16,349
Start at 100 second.
677
00:30:16,416 --> 00:30:19,219
At sixteen to dark in the background, I
have option one.
678
00:30:19,853 --> 00:30:21,788
I go from 100th a second to 200.
679
00:30:22,88 --> 00:30:23,323
There's my ceiling.
680
00:30:23,690 --> 00:30:25,225
I can't go above 200th a second.
681
00:30:25,692 --> 00:30:28,161
That gives me a one stop
682
00:30:28,495 --> 00:30:29,129
change.
683
00:30:29,929 --> 00:30:30,563
Or
684
00:30:31,464 --> 00:30:36,102
I go to 100th of a second, leave it
there, and go to an f stop.
685
00:30:36,569 --> 00:30:40,607
F 22 that's one stop darker that's a
one stop variable.
686
00:30:40,907 --> 00:30:43,343
Now, however, I'm going to have to
687
00:30:43,710 --> 00:30:47,847
increase the power of my strobe to put
out a f 22 light
688
00:30:49,449 --> 00:30:50,83
of power.
689
00:30:50,750 --> 00:30:53,953
So if your stroke can't do that, this
is not an option for you, but it's
690
00:30:54,20 --> 00:30:54,187
possible.
691
00:30:54,354 --> 00:30:55,55
I do it all the time
692
00:30:56,489 --> 00:30:59,859
to darken your background, two stops,
which is, so, in this case of this girl,
693
00:31:01,294 --> 00:31:01,761
Bryce
694
00:31:03,530 --> 00:31:07,467
that's a lifestyle shot, and it's
probably that background's pretty,
695
00:31:07,534 --> 00:31:09,269
even, maybe one stop darker, ok.
696
00:31:09,636 --> 00:31:12,639
But to darken two stops of that picture
before a Bryce,
697
00:31:13,306 --> 00:31:15,542
I have option number one, which is go
to 41400th
698
00:31:16,743 --> 00:31:16,976
a second.
699
00:31:17,143 --> 00:31:18,878
Well, it happens that my camera can't
do that.
700
00:31:19,879 --> 00:31:21,214
So that option is out for me.
701
00:31:21,214 --> 00:31:26,353
But now, in the old days, when I had a
film camera, media format camera had a
702
00:31:26,353 --> 00:31:28,154
sync speed of 1400th of a second.
703
00:31:28,955 --> 00:31:29,756
Beautiful,
704
00:31:30,490 --> 00:31:33,560
then we got rid of the medium format
and went to digital,
705
00:31:34,828 --> 00:31:36,29
single infreflex cameras.
706
00:31:36,730 --> 00:31:39,232
And I went back to, tuned to the second
sink speed.
707
00:31:39,399 --> 00:31:41,134
And it really was frustrating.
708
00:31:41,768 --> 00:31:45,105
Option two is to go to 21 of the
second, which I can do,
709
00:31:46,39 --> 00:31:47,40
and at f 22.
710
00:31:47,374 --> 00:31:48,808
So that's a two stop jump.
711
00:31:50,510 --> 00:31:54,280
And by the way, I did that for the
workshop last workshop we had out here.
712
00:31:54,581 --> 00:31:56,16
I did that and showed everyone
713
00:31:56,249 --> 00:31:57,751
f 22 of a second,
714
00:31:58,118 --> 00:31:59,686
and it had lots of top of the field,
715
00:32:00,120 --> 00:32:02,389
but I had overpowered the sun and
looked beautiful.
716
00:32:03,289 --> 00:32:04,657
Option three is f 32.
717
00:32:05,58 --> 00:32:06,259
Well, my camera doesn't have.
718
00:32:06,359 --> 00:32:07,727
Most of my lenses don't go at 32.
719
00:32:08,194 --> 00:32:08,962
Some do.
720
00:32:09,462 --> 00:32:11,664
I think a few select lenses go to have
32.
721
00:32:12,98 --> 00:32:14,234
If you have a medi format camera, it
might go to have 32.
722
00:32:15,301 --> 00:32:17,470
But then for most of us that's not an
option.
723
00:32:17,771 --> 00:32:19,839
So in reality,
724
00:32:20,340 --> 00:32:23,710
on a standard strobe, I really only
have one option with the camera setup
725
00:32:23,943 --> 00:32:24,744
that I have an output
726
00:32:26,513 --> 00:32:27,380
of f 22.
727
00:32:28,14 --> 00:32:29,949
That's usually tune to the second, f
12.
728
00:32:30,183 --> 00:32:33,386
So now that's why I say it's not so
difficult.
729
00:32:33,853 --> 00:32:38,758
When, for example, I had my ten
attendees out here at my workshop, and
730
00:32:38,892 --> 00:32:42,829
I said to them, we're going to do a
standard strobe approach, non high
731
00:32:42,829 --> 00:32:45,865
speed sink, and we're going to get f 22
power of my strobe.
732
00:32:46,32 --> 00:32:47,834
And I'm, instead of at 22, fam
733
00:32:49,369 --> 00:32:50,236
there's my shot.
734
00:32:52,105 --> 00:32:53,773
I'm reaching the ceiling on both
735
00:32:54,107 --> 00:32:56,743
my shutterspeed and how dark I can put
the aperture.
736
00:32:57,377 --> 00:32:58,244
And I know
737
00:32:58,411 --> 00:33:02,182
from experience, that's going to give
me one cool looking shot, right?
738
00:33:02,749 --> 00:33:05,118
So it's not like I have to get out
there and fiddle,
739
00:33:05,952 --> 00:33:10,924
even make an exposure I mean, well, I
have to get sure my strobe is putting
740
00:33:10,990 --> 00:33:14,561
out at 22 light that's about the only
variable I have to work on
741
00:33:15,61 --> 00:33:16,162
and where I put the light.
742
00:33:18,231 --> 00:33:18,431
So
743
00:33:19,466 --> 00:33:24,738
if I had a high speed sink, then I can
go now and set my aperture or my
744
00:33:24,838 --> 00:33:28,641
shutterspeed at any shutter speed,
which breaks
745
00:33:29,442 --> 00:33:29,909
the
746
00:33:30,744 --> 00:33:33,146
ceiling on the standard approach.
747
00:33:33,780 --> 00:33:35,515
So let's look at
748
00:33:36,583 --> 00:33:37,617
this, but let's take a break.
749
00:33:37,784 --> 00:33:41,788
Let's take a break, because we'll call
this part one, and then we'll go to
750
00:33:41,788 --> 00:33:42,188
part two.
751
00:33:42,255 --> 00:33:45,925
And i'll get into working with shallow
dip field and
752
00:33:46,493 --> 00:33:46,659
strobes.
753
00:33:47,60 --> 00:33:49,129
And then we're going to get into the
high speed sync part.
754
00:33:49,629 --> 00:33:50,563
Hope, you should
59628
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