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Indoor Lighting: Reflective Surfaces

Lesson 32 from: Picture Perfect Lighting

Roberto Valenzuela

Indoor Lighting: Reflective Surfaces

Lesson 32 from: Picture Perfect Lighting

Roberto Valenzuela

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Lesson Info

32. Indoor Lighting: Reflective Surfaces


Class Trailer



Intro and Who This Class is For


3 Groups for All Lighting Scenarios


My Progress in Lighting


Analyzing Circumstantial Lighting


Circumstantial Lighting Q & A


Using a Reflector the Right Way


5 Behaviors of Light: Overview and Angle


5 Behaviors of Light: Inverse Square Law of Light


5 Behaviors of Light: Relative Size


5 Behaviors of Light: Relative Size Continued


5 Behaviors of Light: Color


5 Behaviors of Light: Reflective Surfaces


5 Behaviors of Light: Q & A


Location SWOT Analysis and 10 Things to Look For


Location SWOT Analysis: Examples and Exercises


Overview Q & A




Speedlites: The Basics and TTL


Speedlites: Manual Flash


Speedlites: Zoom Flash


Speedlites: Zoom and Rotating Flash Head and Reflectors


Speedlites: First Curtain vs. Second Curtain Sync


Speedlites: High Speed Sync


Speedlites: Optical vs. Radio Systems


Speedlites: Groups and Channels


Location Lighting Upgrade Examples


Indoor Lighting: Building on Ambient Light


Outdoor Lighting : Speedlights in Direct Sunlight


Outdoor Lighting: Using Speedlites in Shade


Outdoor Lighting: Romantic Look and Patterns with Speedlites


Indoor Lighting: Creating a Window with Strobes and a Curtain


Indoor Lighting: Moody Light with Speedlites and Gels


Indoor Lighting: Reflective Surfaces


Indoor Lighting: Shooting Against a Window


Indoor Lighting: Adding a Reference Point and Ambience


Indoor Lighting: Shooting into a Mirror and Creating Separation




Why You Need to Learn to Get it Right In Camera


Location Photo Review and Analysis


Intro to Reception Lighting SWOT Analysis


Reception Lighting Setup


Image Critique: Lighting Problems and Solutions


Don't Limit Yourself As A Photographer


Lesson Info

Indoor Lighting: Reflective Surfaces

Can we have another flash with another purple jail thank you were gonna put two flashes here okay guys same thing here west reference point purple so we're gonna go with a purple accent on the separating life okay now she's wearing red and the red is going to contrast with a purple enough so I don't have to use a tungsten like jail I don't have to use the city oh I'm not going to do anything except for daylight balanced light because there's a window here that's bringing daylight balance to it the only problem with this situation is all the life from creative life causing massive reflections but if I was doing a real shoot I would close all these curtains I would turn off all those lights and I would remove all the reflections from here but we're a creative lifeless licious do it the best way we can on will create the best picture we can this way okay so wait if you want to do a cool mental exercise uh amanda's right there she's sitting down this is really cool thing to do try to in yo...

ur imagination get him and out of that pouch put her in front of that purple and start to imagine not only the post but also start to imagine what the lighting will look like if you don't imagine it you're not going to able to create it okay you have to make your brain say why do I want so what is what is your head telling you okay my head is telling me this the purple panels create a cool graphic elements I also think that the graphic elements looks strong but the purple looks kind of like tone down romantic moody cool so I'm going to go with romantic moody color purple with a very bright vibrant red on a very strong posts for her to go with a very strong background so uh let's get okay good so let's try okay this is purple this one is purple these too are going to be in channel one group hey but this one is going to illuminate her so this has to be in a different group this has to be in group b so this is not in grouping when I change it could I also need a modifier for this I'm going to remove the city oh filter out of this thing and I need to make this light source bigger so we have some sort of uh less used the diffuser unless defuse it so I'm not gonna pull out a soft box because most people don't carry south boxes to events but you do carry a diffuser ok, so what I'm gonna do is I'm going to illuminate I'm gonna put this chair it's gonna be a difficult shot let's see how much of this is gonna put this chair here calling will stand here and he's going to raise the light as far highest can so the light comes from a low angle the reason why I'm doing that is in my imagination her post is with her chin up so it has to be pointed towards the light if calling doesn't do that the lights going cast were shadows in her face okay so let's try that system there is good thank you thank you come on let's do this good good now remember this is going to be zoomed out twenty millimeters there's gonna be some doubt two twenty millimeters this was a two hundred always check your flashes before you start shooting check for symmetry. Those flashes have to be behind her. So come forward forward on dh stop little more stuff on dh this is too far away. You can't stand one for two this way perfect calling can you actually move the chair a little bit this way I got I got a shooting between you so there were shooting through your legs right? A little more that's. Good. Yeah, now I don't know something out so we can use the entire length of the diffuser. Okay, I'm gonna go to my flash endings okay? Group a it's all in manual groupies in manual group is at one half power on I think that's too powerful so I'm going to make this flashes one fourth power if you're watching online and you're wondering what's going on I'm just thinking I guess it's not scientific or anything I'm just taking a wild guess okay then group b I'm gonna put groupie I one fourth power that this light because I want that light has to reach through the diffuser on dh get her in the face okay, see here cool grab your hands and put both hands on your waist good put one let that leg across put it far away from you good tippy toe bring it back good grab your lumbar on arch it even more bring your chin way up on higher up into your eyelids close halfway then good little lower nowhere low were good bring ching this way now bring your tilt her head this way go back to straight now bring your chin up stay right there grab this hip and put it that way a little more that's it stay right there long bar more good okay, that needs to be a ce far away from that flash it's possible because I'm lowering my angle she has to match it by lowering her angle right so keep exactly how you are just your torso bring it towards me good cool go on and take a look one picture there that was going on it's pretty cool I can't do anything about the reflection off that but I think this purple looks good with a purple um I'm gonna make a couple of adjustments I'm going to critical starting I'm going to let the light hit a metal roof and then bounce purple light back down that way it's not going to hit this side as much okay so I'm just going to lower this and I'm gonna raise it so it's directly towards the ceiling and same thing this one on before I do the other step this is the photo that I had in my head that's why you have to imagine it before you start shooting it don't do the opposite where you start trying everything and you have no idea what the heck you're doing have an idea in your head that's all it is okay the lighting in her face is a little flat for me so we're going to change the lighting here um less let's move the chair calling let's move it move it this way let's do it there and then I'm going to lower the power of be here speed control flash function savings being I'm gonna lower the power two one sixteenth power ok stride again oh sorry uh make quite the thing I just changed the flash to go towards the roof bounceback that's a lot more distance that life has to travel so I need to raise the power of the flash so starting to feel like control flash function seems okay group a I'm gonna go to ah full power on group a which is the two purple flashes okay tyler you stand on the other side that's fine like that okay lean the upper body towards me right there is perfect when your chin up a little more filled in a little bit down one more time crazy reflections going on k one more time okay this reflection is killing me let's move the light let's go behind me again way to this with ice likes you think let me try the ice lights strike ice lights look how much better this is you see how the light pointed at the roof comes back a lot better if we compare the other one the other one had all the light illuminating the wall here kind of distracting so I pointed it up makes this even more purple than he used to be all right two I slice full power the problem is that that reflective surfaces crazy when you see my lower myself brick come bring your topper like that bring your chin up a little bit can we get more power on those high slides or no that's good that's fine it's fine let's go to the flash again actually so roberta we're seeing you try all these different things what was it about the ice lights that did not work for you know I worked oh it did where he thought they work I'm trying to make see that orange cast in her face trying to make it daylight balance because that was my second reference point remember there's two reference points there's the purple and then there's the daylight balance I'm just correcting for the daylight balanced one now um can you there's still some people that are confused about the reference points reference point is when you look at a scene let's say you look at a downtown bar in paris okay let's say the bar is in some cool cave and its illuminated by tungsten light bulbs that are kind of orangey and that's kind of the overall mood off the place let's say the bar has a has a romantic calm mood to it that means that your reference point in other words, you wouldn't blast white light into something that's already supposed to be moody and romantic. So the reference point this what is the overall mood on then can you match it with your speed lights? That's basically it's so it's what you're maybe basing all of your decisions around from a lighting standpoint? Right? For example? Here we have a purple wall but he's not purple enough for what I want to do, so I put two purple flashes illuminating the roof, bouncing purple light back that's not changing anything, I'm just enhancing the purple I'm not changing the purple, just making a purple er and then that flash is on ly illuminating her so she's got white clean face because there's a white window here so it is possible that that could have been purple and she has a nice white face coming from a window so that's which is this coming from the window so that's kind of what the ref one point this does not explain it thank you so much and then just to tack on to that talk about white balance quickly while you're here because you are dave daily balancing that purple going on over here what? Ok, the white bonus question um I stick toe other white balance on this I'm not changing anything crazy um as you can see by the screen out of white balance it's working okay, I think that you can go toe calvin temperature and just back and forth but you can use an expo disc you can try to do a costume white violence with a great card but out of my balance gets you ninety five percent there so I think that's one variable you can you don't have to think about so much thank you you're welcome um let's put that flash let's put that thing far away on let's change see if I can change the angle of incidents there so this has to come from the side now has to come from here so guys this is funny I'm actually trying to use the angle of incidence equals the angle of reflection to try to get rid of the reflection uh this is such a big reflective material so I may not get away with it but at least I'm trying to avoid the angle that that hits her toe hit me the angle that the flash hits the purple surface toe hit my lens so if they're pointing the land this way let me show you real quick if they're pointing the lands let's say from here if you look if you draw a straight line to this surface you then you mirror that angle right on that's gonna come out if my camera is in that path is going to give me a big reflective thing here that should explain that again is that cool? Okay, so let's go ahead on stand there and try to point a flash right at her from that angle and I'll try to not match it now what's gonna happen to the other side of her face dark so if you want to be a no just put a reflector in the other side, okay? All right point the light flashes not illuminating the glass at all just her rights come on work let's see right almost working charity come on, work lower yourself a little more enough okay actually remove the reflection because I changed the angle take a look at that reflection. Bomb gone. Yeah, uh, simple mathematics at work. It's. So great that cool, totally get rid of it by using a simple principle of light. So when people say, man, that reflection is killing me, it was killing me, too, but we just moved it, okay? And I want that I say about the other side of her face. It was gonna be dark, honey, this.

Class Materials

Bonus Materials with Purchase

10 Elements to Look For at a Location

Ratings and Reviews


Im sitting in my office listening to Roberto with my earplugs on and I know I have already left 2 reviews but he's so funny…. my family comes into the office asking me "whats so funny" Roberto makes me laugh out loud with his jokes but at the same time, he is SO great at teaching. Im watching for second time to make sure all his good info is ingrained. HIGHLY recommend you take his workshop on Picture Perfect Lighting if you truly want to take your photography to the next level! WOW thats 3 reviews now…can you tell I am impressed

Maureen T.

I'm taking a portrait photography course at NYIP online. one of the mentors there recommended the posing book by Roberto. I ended up ordering at the library the posing and the perfect practice book. I fell in love with both books...ended up buying them and signing up here for the year membership just so I can take all of his photos courses. I spent most of my weekend doing perfect lighting course here I am in love with the way that he teaches! He makes something so difficult and challenging for me make sense. I also like that he challenges us photographers to be true professionals. I am thrilled to have discovered Roberto and already noticed my photography is better in the short time that I've been studying him.


Roberto has the personaliyy and gift to relate to others.He is honest and shared some of rhe disaters that occurred, even with high paying and important clients when he failed to follow his proven and tested approaches. He has shared from his extensive knowledge developed by hard work and effort to master his craft. His dedication in attacking his weaknesses and making them a strength is inspiring. I have purchased many CL classes and all have worth the investment so I hesitated to purchase this course because I didn't think there was much new information. However the clear teaching and extensive knowledge shared by Roberto in his unique style caused me to purchase it gladly and believe it is an exceptional value. Roberto has shared his extensive tools, but you will never be the master of the craft without putting in the hard work and testing that roberto testified to. Thanks again CL for bringing the best to us and Thank you Roberto for taking the time and preparation to achive excellance in in this class.

Student Work