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Outdoor Lighting: Using Speedlites in Shade

Lesson 28 from: Picture Perfect Lighting

Roberto Valenzuela

Outdoor Lighting: Using Speedlites in Shade

Lesson 28 from: Picture Perfect Lighting

Roberto Valenzuela

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Lesson Info

28. Outdoor Lighting: Using Speedlites in Shade


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

Outdoor Lighting: Using Speedlites in Shade

I'm going to stand right there yeah and then put your foot on that one on me see what you look like you very nice okay what I want is he put your um hip bone by the wall good put that hand in your pocket one thing grab your upper back I'm just separated from the wall good and then bring your head back that's it okay cool guys let's begin the process um uh tire could you hold this way thank you man you can handle that right? Ok if you were shooting natural light photo will look the photo will look like a photo you mean by that I mean it will look just fine no one's gonna kill you for it's fine but it doesn't say wow I'm so amazed okay so let's go ahead and turn the flash off let's begin the process all over again so we began by exposing for him ok there let's show that one exposed for him can you guys see that monitor right there? Can you see it? Okay now it's a little but dark so let's brian it a little bit but even if I brighten it you're still not making anything exciting you're just...

taking a picture and ninety or light okay so okay that's better take a look at the monitor thou ok better right now here's the cool part now I say to myself I have a cool wall it's kind of metallic vertical stripes on it. Why not put a really cool shadow on the other side on the side of the wall. So let's do a cool shot on the other side of the wall, but that's gonna create is going to create light on his face. But he's gonna cast a big shot on center looking cool. So I'm going to grab these flashes. See here I'm gonna keep them. I'm gonna scoop them out to one fifty one. Oh five. The reason why I'm doing that is because I don't want the light to be so focused that the light is very harsh in his face. Okay, now, colin, could you put the light over there on also because I want the shadow to be strong. I gotta remove the high speed thing to make more power on the flash. Okay, so I turn this on menu sink. I just removed the high speed think so? Now they're actually functioning at the power they can. Okay, that happens. Happens often good news this weekend. Do this with one flash beauty of live television, my friend. All right. Ready? Now. If you want the shadow to be harsh, should the flash be close or should've flashed be far away from the subject, clothe, what do you think? It's not close it's far wait a minute so when you put that yeah yeah far away farther away that's the heart of the lines are remembered if your clothes you feel in the shadows okay go ahead and go far away man that's that's far away as possible okay take a look at that nice exposure alaska that's okay if you get this into a situation like this and you get frustrated what is the fastest way to go back to good exposure just change the aperture okay I love with just a four point no yes I just wanted teo people were asking again if the flash were you using if that is firing and well no no no firing and that's controlling that is only talking to these two thank you all right go ahead and try again now watch this guys I'm not gonna change anything I'm just gonna change the capital quickly and make the exposure uh proper exposure okay ready one two three okay still too strong but the shadow starting to come out take a look at that time to come out right? Okay one, two three I just changed my eyes so to two hundred from eight hundred on my apertures that f eleven and it still is starting to come out right now I'm gonna goto f when I go I s o one hundred and I want to go toe after twenty I have twenty two okay I will say at this point that's my limit where I would want to be so now I'm going to change gears and say I'm gonna lower the power of the flash okay so now my aperture is gonna go backto eleven someone lower the power of the flesh on blah blah blacks don't be like control flash function settings ok and I'm gonna goto one eighth power now that was a full power okay go exposure starting to come out better on his face cool now we're going to defuse it so one more one more tyler and then I'm done where's the diffuser fairman let me try something real quick let's put the flash over the lease and see if I can flash the legion to its total experiment remember I talked about flash light going through leaves well there's leaves there so I thought I'd try it however calling we need to make that flight that light has to be far away from the leafs man now far away from the trees like right here here give me this stand here I'm point this that way this real quick I need to send this out many three soon seventy's good and then this one soon know seventies good ready go ahead sorry we're going to try this let's see if this works can you lean forward? He has to do that because I'm lowering my angle right all right, go ahead and lean forward. Look at the look at the monitor with the leafs now starting to come out right. So now I know I need more power. So when I goto f I wasn't f eleven, I need power quickly. I don't have time to change someone. I goto a five point six and it's gonna put a lot more power from the flashing through my exposure. Ready, man? Ready. Lean forward. Oh, as much as you can, calvin that's it. Okay, how is that looking still, I'd still need more power. Good synch this. I'm gonna goto one to two power which is almost full power, right? All right, ready now move the light just a little bit that we call in just a little bit that way take a look at the way it's looking that's trying to come out right chili looks a lot writer on this thing. Okay, you take one more. Look at the third one there, let's, look at the fourth one way here is the final one. Okay, take a look at that. One is just more interesting. I made it black and white, but they could look at the way that looks now bring bring your chin down a little bit, chin down a little more on the way you can see how the graphic element in the lead starts to come it's just it's just adoption you don't have it you just have the natural light you can keep playing with this until you get it and I go sometimes with jobs I'm like you know what? This is gonna look really cool it's worth it you know let's get amanda up there again on let's get you guys over here on let's let's stand next to these trees here. Okay, cool. So now we have we're going to change the look into a very beautiful romantic look to the picture so we have some, um, trees and foliage and some plants were going to pretend we're in a big tree garden or whatever we're gonna just pretend you're in some beautiful place instead of a little corner with two three pots of plants but that's part of the challenge, right? If we're going to make it look like we are in a forest okay, wait, turn off the flash. Can you guys totally let's see here, cummings so hey, stay right there. You can stay there, but I'm gonna I'm gonna squeeze running between you is that okay, wei have another camera here, two of them go ahead and move back this way calling can we move that table behind you and move it somewhere else? Go ahead and embrace each other like you've never seen each other have you haven't seen each other in ten years? Totally kidding she's like no why ok come this way in this way posed each other put your leg over hiss leg like that and then bend it and then just kind of get your like further inside now bend this now squeeze good get together like this come this way way stay with this boat it's exactly like that but moved back this way this way you can do it get your left leg right around the outside of his leg now grab your hell your tip of your toe and bring it back in god sit now grab your lower back and archie moore good not grab your upper body and leaning towards him lower the left shoulder separate your arm from the body so it thinks that out bring your face more towards me good uh now come and bring your forehead towards her little more now bring your nose towards her now perfect there when I say go ahead and get together on I want you to breathe in smell her skin tell me what it smells like if you get any makeup in your nose tell me so okay all right let's take the picture in natural light just pure not your light you guys like the whole like situation was nice right look sexy like we are. Okay, let's, try this shot. We need more so I turned off my flash. I'm gonna goto I saw two hundred based on the life situation here, I'm gonna goto aperture at four. I will never shoot a couple of two point eight because then one of them will be blurry. Somebody go for point. Oh, I'm going to compress them at two hundred millimeters. I'm gonna go way back here so you can thin them out. Not that they need it. Okay. All right. We're gonna take a picture. Just a regular shot way. Think one morning color. Ok, go in and take a look at that color shot. Okay, the little dark this brian a little bit filled her head a little bit. Amanda okay, let's, take a look at that one out a little brighter. Good. Now we're going to spice it up a little bit. Get some. Get your hot sauce. Get your hot sauce, let's. Get those ready, let's, get, uh, way. Have the, uh, let's just just one flash. Ok, we're gonna turn this off. We're going to use one flash the flashes on manual it's soon that seventy millimeters channel one group all right, go on, go ahead and go behind them. And go as far back as you can my usual go to is ten feet away from the couple is what gives you the best spread of light now I'm also going to assume the flash head uh actually I don't have a lot of space to do this so you I'm going to assume the flasher to, um one hundred and twenty five millimeters that's probably going to be the best option t to kind of get a lighter sort of gently rap. Okay, that doesn't happen but you know what I mean? I could assume that to one ofthe one twenty five or so I assume the flash they could step this way more I just need more space between them and the flash. Okay. All right, good. You may have to duck down colin let me see this real quick. Yeah, go right there calling that's good aim that up vertical it's a flash vertical already good, good. The reason why is because they're vertical people so you want more like to spread this way? Okay, I'm going to change the flash power calling to one sixteenth power right now. What? What what do you say that, um it's actually on the tlc could you fire one to tell it t l yeah, okay, now could you fire one to tell it to go into manual okay what I don't know it's on half power that's not good okay man you okay? I'm gonna go from half power to one ace power alright, ready? Yes okay go ahead guys good now amanda see the corner of the couch right there take a look at the corner of that couch enjoy that corner that's your corner that's all you call me go ahead and put your forehead on her temple on look at her eyebrow good not when you win when you start laughing calvin go ahead and move your eyes from her eyebrow to to her lips okay and feel free to laugh see right now do it look at her lips now good start with the eyebrow on did move down to the lips all right, ready guys when I say breathe and smell her face tell me what his mouth like go smile guys laugh now telling what it smells like foot your foreheads together pull okay, let's take a look at that for a real quick okay if you if you didn't have those crazy trees ah, can somebody move these trees out of the way there this whole branch? Okay, let's, try this again. Ana, let me zoom out a little born someone assume this from one of five to thirty five millimeters though now that life is going to spread this way way so if you didn't see that I assumed out the flash to spread the flash this way what I'm trying to do is create a realistic look between them and a separation between them in the background that's kind of the goal um strike again really start with her eyebrow move down to her lips as you move down, put your forehead closer and closer to her until you make strong contact with her head and then can you move back? Joshua a little bit a little more. Okay, okay, guys, start cracking off. Good moved to her lips boom. Ok, that's much better take a look at that one. Now look at that one with a fake tree lighting and then look at this one here, okay? You tell us again where colin is aiming for the flash at is that their chances it there? So I'm tryingto create separation to them in the background, so obviously separation of the hips wouldn't really be that grace I'm separating their heads and I'm putting the verdict the flash vertical in order to create the vertical look of the lights. Okay, so he's aiming it at the direction of his eminence that the important part is when you do this kind of thing, if you guys are together a quick one more time if you point a flash this way is going to show up on your camera, right so you gotta keep it far away and keep it so that their bodies blocking the light. Now, if you're wondering what I'm doing, I'm just trying to create a balance between the outside on a little separation between them on the bushes on I'm trying to just do use that use light to create that sort of separation. If I turned the photo black and white, you will see the separation better, because now you won't be distracted by the red. And what have you? I think the separation looks nice, there could potentially be you're outdoors that could potentially be a reflection of a building hitting her hair, which could potentially brian up her hair. So what I'm gonna do is I'm going to make the background brighter to make that flash more believable. Well, because if the flash is really strong and the background is dark, it looks like you're kind of playing with your toys. It makes sense that that something where there's, no point of reference where you're like words like coming from your point of reference, you have to be extra careful. My point of reference actually, is the ambient light you're seeing here that's why I'm gonna make my exposure of the ambien brighter see the way it is right now. Those bushes look a little dark on that flash it's a little obvious so I'm going to simply increase the exposure off my ambient how do you do with that shutter speed right? The shutter speed controls have bright or dark the ambient is the aperture controls how much of that light from the flash hits your subjects so I'm gonna go to shutter speed one twenty five I'm going to go to a shutter speed sixty strike all right my look at her chin this time and when I tell you come and just start cracking up like like her chin is super super funny man it's just a good chin ok it's a good chin enjoy that chin and take a look at that chin very nice okay look at the exposure how she has more believable now the sun could have bean streaking out on hitting her hair now what you don't want to do is do ridiculous things like this watch I'm gonna make my exposure two hundred someone to make the background darker this is that what not to do example okay and then I'm going to make my flash more powerful okay go ahead going on pointed higher up on closer so it looks more accented more ridiculous in the light escaped a little bit less lower it down there you don't want to get this look where it looks like you're just playing with your toys

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