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Speedlights 101

Lesson 14 of 40

Shoot: Softbox and Umbrella

Mark Wallace

Speedlights 101

Mark Wallace

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Lesson Info

14. Shoot: Softbox and Umbrella


  Class Trailer
Now Playing
1 Introduction Duration:11:19
3 Flash! A Drama in 4 Parts Duration:18:42
6 High Speed Sync Duration:15:03
7 High Speed Sync Q&A Duration:25:15
8 Shutter Priority Mode Duration:23:12
9 Manual Mode Duration:50:21
10 General Q&A Duration:19:21
11 Color It Duration:15:53
12 Diffuse It, Twist It, Pull It Duration:17:29
14 Shoot: Softbox and Umbrella Duration:41:44
15 Shoot: Three Light Setup Duration:21:56
16 Shoot: Freezing Motion Duration:17:39
  Class Trailer
Now Playing
1 Introduction Duration:06:28
2 Bouncing the Light Duration:36:18
3 Off-Camera Flash Options Duration:29:03
4 Light Modifiers Duration:08:15
5 Limitations of Your Flash Duration:20:48
8 Light Metering Duration:13:48
9 Light Metering Q&A Duration:42:50
10 Guide Numbers Duration:18:52
11 Built-in Meter Duration:20:28
12 General Flash Q&A Duration:24:10
  Class Trailer
Now Playing
1 Light Shaping Duration:36:58
2 Group Lighting Duration:46:18
3 Lighting Dark Environments Duration:17:37
4 Indoor Holiday Photos Duration:23:10
5 Outdoor Events at Night Duration:13:46
6 Lighting Dark Events Q&A Duration:13:14
7 Portrait Lighting Duration:32:22
8 Portrait Lighting Q&A Duration:21:57
9 Butterfly/Clamshell Lighting Duration:16:06
10 Q&A and Lighting for Men Duration:24:12
11 Final Q&A Duration:06:15
12 Ninjas! Duration:27:02

Lesson Info

Shoot: Softbox and Umbrella

The plan for tonight is to try to show you uh unscripted how it is to shoot and says we're going to do so I have some ideas what we did is we came here about an hour ago I think that's when we showed up around there and what I did that we didn't show already is I looked around this yard looked at sort of the sun and where it was hitting and I looked at some of the things that we have a cz backgrounds and props and things like that to try to design the photo shoot and so we've got jen over here so jin come on out just one entity she really fast so jin is going to be our model here she is, and so what we're going to do is I want to have jin I'm gonna be putting her up against cem flowers what kind of flowers of those I'm gonna get a difference? I mean, if I don't know my cabbage and cheese, I will never know wrote a difference, but it s so we're gonna shoot against him rhododendrons we're gonna make sure that we try to balance the ambient light in the flash and show you some different tr...

icks that you can do we're going to show you how you can use the ambient light for the key and the flash for the phil we're going to try to answer a bunch of questions were experiments a lot? Um the nice thing about doing something like this is you never really know you never know what the lights going to do for you and so my goal is to get two spectacular images I'm treating this sort of like if we want to do maybe some portfolio shots or a nice portrait of that so we want to do so if we get two or three spectacular images, I think it'll be a win and so we're going we're going to shoot for that some nice portrait and then once we have those, what we're going to do is we're just going to sort of play want to try some different things so based on how the light treats this will see if we can shoot some stuff of you have some swing sets over here on things seem on camera while she's doing that stupid freese emotion or try some were curtain saying stuff we're gonna try multiple flash set up front she with canon and nikon we might be taken out the pocket wizards to show you how those work and how they could help you were going to just do stuff, but the key is as I'm doing things I'll be explaining things to you that will probably have some failures, some spectacular failures I'm looking really for two that so when that happens I'll explain what happened and we'll try to dig in and see how to fix that and resolve those issues were gonna be doing a lot of different things like that just to show you how these things really work in the real world so uh we're going to start we've already looked at a place to start kelsey is going to be helping me out she's on a microphone so you can hear sort of talking back and forth and what it is like to work with an assistant um it's gonna be fun so we'll shoot until we're done way alive experiences will be action well and the thing that is really important is the uh every who's watching please ask questions because I don't know you know we have cameras that are filming us but we don't know what people need to know and so if something's unclear if you want to go over something again chime in on the chat rooms were going to get those there is in the lake because we're on a uh you know are on a secret location here so it's not like we're in a studio where your question gets to us immediately there's a delay of a few minutes right? Yeah at least yes be patient give us yes so I want to give a special shout out tio kate who is at home in the chat room who's passing along messages to susan and I the are iphones so patient with their questions that's right? So we're going to do our best to answer as many as we can in a timely manner but there is a delay and his life, so we'll see let's do it let's do it so we're gonna head over here and kelsey's waiting and what I'm going to do here is I want to use an unusual point of view john's also going to be helping out john francella, which we know and to start with I want to be um I'm shooting with an eighty five millimeter, one point two it's one of my favorite lenses won't be shooting with some different lenses, but we're going to start with this because it's just dreamy missed really dreaming all shia how it works so we're going to go I'm actually gonna stand on that so I stole a trick from my friend dane here he showed me all these tricks that you can use with an apple box didn't have one but we use that so we're going to do is we have some really, really beautiful soft light coming through these clouds and so it's defused it soft it's wonderful it's not interesting enough for me to shoot that as a background right now it just really doesn't have any interest for me there's no computer race there's nothing coming through those clouds yet the color is not really awesome but we can still use that light as the key light so we're going to use that on you and I think what's going to happen is these rhododendrons right yes I want to tell him a rubella from this morning so the rhododendrons are I think they're not gonna have much punch to them so what I'm gonna do is I'm going to do what I talked about this morning and we're going to start with our ambient light as the key so I'm not even gonna have the flash turned on the flash is off camera we're going to talk more about that tomorrow on and so what we're doing here is gonna hand you that I'm going to take a picture of uh of jin here with nothing but just the ambient light so we can sort of see what we're doing and I'm gonna get up this a little bit so we have an unusual point of view let's have you step back just a hair if we want some of those rhododendrons in that so nice to be in seattle where we actually have color really nice okay so I'm gonna do this and I'm gonna have yeah it's an eighty five to be backing gonna have those really nice flowers back there well by all this in no I'm shooting this by the way I have a style then at one point two from aperture priority mode shooting at one point two letting the camera just sort of figure out what's going on here I like that beautiful I'll take a shot and we're going to take a look at this picture I don't know if our tethered shooting is working so not yet okay so I'm gonna show the back of the camera until we have it working okay so um this camera yes all right so this right now we just don't have much separation between jin and the background it's sort of lifeless so we need to do is we need to add some fill at some light to that background and so what we're going to do here is we're going to add a flash gathering is good yea so can we show that picture I just took over a team to do one more okay so we need some ad cem some details of that so what I want to do here is we have this this is the s t e two transmitter when I throw that on my canon camera turning it on and my flash here so let's set that down just for a second kelsey so people can see how that is pointed toward me this is one thing that sort of drives me bonkers thank you, john uh the camera has to be able to see this and when you have a soft box like this this could be really problematic because if I need this to be pointed this way what happens there is this soft box is now blocking the receiver and won't work and so um later we'll we'll take out the pocket wizards and the reason we use pocket wizards and radio triggers is because that's one of the issues that you don't have with radio it just gets all around that you have to have line of sight if you're inside a building the the the light khun bounce off wallace and stuff and activate that so sometimes you can put a hand out and try to get that like tio to bounce in but it's something that's what drives me bonkers so he might be pulling out of pocket wizards to get around that that issue okay, so kelsey's gonna point that at the background so bring it on in kelsey there you go good, good good just like that wonderful with the one point two lens you really have shallot of field so take a look at this image you can see that we just increase that background and so we have a much, much nicer background we actually some color in that and so we brought some of that in I'm going to get back just a little bit more like this and then again kelsey let's let lower that down just a little bit there we go jim look right at me gorgeous love it a lot it okay take a look at that that looks like a nice springtime fresh kind of feel like I'm going to do this I want to shoot this in raw mood and the reason I want to do that is some of these images. What I want to do is I want to make sure, but I can do some post production on them, and so when I'm shooting a portrait or something and I get a shot that I really really love, I always shoot ross so I can go in and it can change some contrasts and some other things and so that's what we're going to do and should this one more time and remote beautiful love that one issue one more good and just for safety sake when a back up just a hair to make sure don't crop too close, I think we're a little bit close beautiful taking a peek at that were like what I'm getting him to get a different angle. So instead of just getting one shot and saying, ah, that's it now that I have something I like, I'm going to shoot around, I'm gonna get close and far away shoots a horizontal shoot some verticals and that we have some options and then we could move away and go do some other things, but this is a great a great example of using a speed light as kicker instead of actually the main light which is good selman issue it's standard horizontal shot here get back just a hair and get just about the knees gorgeous I love that so give me a non smile smile there you go give me a smile yes beautiful awesome good. Now one of these things take a look at this I love that background I want to show jin this picture s so fun is a nice name was sort of zip through here I love to show models their pictures and that gorgeous okay, so what we can do here, let's take this around now and so we're going to use this as a feel like, you know, what I'm gonna do is I'm going to shift going to come around here now this is just coming the sun is coming just right over these uh uh bushes right here. We're getting just a little bit of light it's a gen let's have you come a little bit closer here? Keep coming. Keep going. Good, good, good. So I'm looking at how that light is falling on her hair and then kelsey allied, I need you on this side. Okay, I live I know I'm alive, so kelsey, tell us what you were doing so people understand oh, I was spending the, um receiver around so that would still have line of sight with mark's camera if he was gonna shoot from over there in my flash is going to be over here then it wasn't it was gonna be on the wrong side but tonight so I wouldn't move I lied and now we're going to run into another problem by the way because my transmitters on this side my receivers on this side so we might have to do some magic so let's get this a little bit close here we go no that's good we're going to see booking bouncing and didn't look right at me gorgeous yes, that fine. Yeah, good. So we're actually using john's hand the bounce that over there and it looks pretty good so this shot I think I need a little bit more punch from this flash so I'm going to use my flash exposure compensation I'm gonna bring it up by two thirds of a stop some adding a little bit more there and we'll bring that to see how close you can get kelsey a little bit closer please. There you go. Not quite that close stop right there. Good good of that. Yeah and uh so much better look at that so much more like so much more like ok, I love this soft box what I want to do now is let's just try this with an umbrella in fact, we're going to do is this our canada and I come down here it's our night gone down there okay? Let's grab a cannon and go down there and we're going to shoot against this background light and we're going to see what we get I just really wanted to say what this soft boxes no let's just get an umbrella go. Um yeah, I'm gonna cross up the wires, okay? Human unplugged the tethering off. Okay, so what we'll do here called you're freezing. So it's so homey comfort you nice non branded coach it's really nice. Okay, cool was trying to say all right, so on this shot, I know it's like one hundred degrees right now, okay, so we have sun behind us it's not really nice son. So, um, the first thing I'm gonna do is I'm gonna try to get this son locked in. I don't want to shoot this at one point two I'm going to shoot this mohr at about, uh try five point six around there you're going to see what my meat oring does for me. So I'm just pointing at the sky he's pointing at this guy so we've got about five hundredth of a second yeah it's about five hundredth of a second, we get a sort of underexposed, boring sky here again not very colorful, not a lot of character to it, but I want to see if I can at least get you balanced against that and so we're going to try this sort of bring this in early close look right at me and focus on you here. Good, beautiful. We'll take our shot and beautiful that works great. So what we might need to do, kelsey's, bring this a little bit more on access. I'm going back up. Just a hair. So not you're blocking me here. There we go. Good, good, good. It is excellent. Love that. Okay, so this I only like it don't like the light. I don't like how this looks. The sun is not in a good place right now. So this was a shoot that I was trying to make sure he'd nailed an image. I would say now not ready. This isn't soup yet. And move on. And I think what I could do here is shoot and shoot and shoot and waste another twenty, thirty minutes trying to get that locked in. And it's just not very, uh, valuable to do that. Are we having questions yet? We are already okay. I have a question about, uh, what would make you decide use an umbrella versus soft box, um this I just wanted it uh I want to have really soft light one of the things is this is very inexpensive it's really easy in fact no easy to use and set up but one of the problems is it's so large that it can block the view of where I am the other thing is kelsey controlled this flash yeah I mean it's like whatever that's called your camera camera flash lie I don't care this thing the other problem that we have with this guy right here is the light has to come from here bounce and then come back to this subject so that really absorbs a lot of light if the soft box it's a little bit different so with the soft locks you're traveling um traveling straight through some material and so it's going right at the subject and show it doesn't reduce as much light and so you can get a little bit more punch out of that if you're using a soft box so that's one of the differences yeah so that's that's one consideration the soft box is smaller and so it's not going to be obstructing my view as much cool I have another question and that is are you shooting in manual power or tt l and if manual what power setting is it at so I still have my flash in t elmo from this morning and the camera is an aperture priority motive we will be doing some manual camera stuff and we might be doing some manual flash stuff great thank you. Okay, we're going to move on so one of the things I want to sort of work out here is how much power we need from this flash so I want to go through that bird is very loud very quiet so what I want to do here is sort of walk you through what happens when you go to high speed sync and how much power is lost in the flash just to sort of give you an idea of that so we're going to do is then we're gonna have you again against this son I'm gonna have this about here which is about it's about five feet not that so five feet away I have this and tl mode and then I'm going to grab my camera and kelsey can you go grab my seventy two two hundred um we're gonna change lenses as well so I want to do here is I'm gonna put my camera in manual mood and again I'm going to figure out what my ambient light meter ring is since I was pointing this of the sky and I'm dialing this in I'm gonna keep this at aa five point six I mean change my shutter until it meters correctly so it's five hundredth of a second five hundredth of a second okay wouldn't change this out thank you what I just did is something you should never do, but she always shut your camera from your change lenses but we're just living on the wild side, okay? So five hundreds of a second is what we got we got sort of ah, a normal exposed sky here that's not terrific, lee interesting, but now what I want to do is check and see how much power we need from this flash to keep up with it that's it five hundredth of a second so I'm turning on my flash was turning on this transmitter, turning on high speed sinks I wouldn't go past two hundred and then I'm going to take a shot is take a shot and that works just fine. We get a shot just fine that balances against that looks pretty good. I can start doing some things. I'm going take this down to two point eight so do that. Take that down to two point eight and then my son he's meeting at sixteen hundredth of a second surgeon look right at me. Beautiful, excellent again, we're getting a pretty good shot here, so we're able to keep up with this just fine when we have this off the umbrella, take this again, I'm going to show a little bit more of the sky a little bit more beautiful, okay, how awesome I love that I love that so we're starting to get some interesting images here assumes that son keeps going down really is gonna help what I'll do here and again I shot in manual mode of meter to the sky number one meter to the sky to figure out the exposure and then I just pointed at gen and let the camera through the power of the ninja figure out the exposure and I didn't really have to do much to it and we got this really nice shot do you have a question? Yes ok everyone always wants to know all the mode so what meeting motor u n I am unless I otherwise specified this is in a value to me during thank you value to meet a ring and um I'm never going to change from that tonight, so I'll shoot a valued of murdering all night long all night we'll have a teacher I mean shooting in the values of meeting if you're nikon person that's matrix meeting how it goes this okay, so what we want to do here is is still pushed this because earlier I said you could control the ambient light and the flash separately so let's try that so I am over here and I am going to use my exposure compensation and I'm going to under expose plame is like that british increase our shutter speed to under expose the background twenty five hundreds of a second we'll bring that up to four thousand of a second, okay? We're really playing with that. You could see that background she is starting to drop and drop and drop, which looks pretty cool. I'll show you this. Yeah, fine. I know it isn't like school. Ok, so then what we're going to do here is we're going to try to add an umbrella and see how much we lose, so hold that. Okay, now, why use an umbrella softer light? What's the problem with the umbrella is going to obstruct my view and it's going to require a lot more light ah, out of my flash in our flash might not be able to do that. So what I'm doing here is this by making sure these only set so I'm manually zooming this to fifty millimeters seventy millimeters actually, and that takes this light and focuses that so we'll get more bounce off of this and I want to turn it around like this and levees can see that and then I need to move this flash. I can actually see what's going on, which may or may not work. So again, I've got this issue of this can't be seen by my camera, so we'll try our best to see what we can get ok, so kelsey let's see if we can get that close, I think the issue with this is to flash isn't gonna fire causes being obstructed by this so it can't see our receiver okay, there we go look right at me now the nice thing about using a long lens by like this by the way is the compression allows me to really narrow my field of um angle of you and so I can get away with this big uh umbrella here got a wider angle lens that would not work because I'd see the umbrella and um everything else is in the way so I'm really going to try to zoom in here and kelsey tell me if that flash fires it did fire and holy cow look how much light we got from the flash none right? None we got none why did we get it done? Well, because it's losing so much light using high speed sync plus going through this umbrella it just doesn't have enough to get there just isn't there so what I'm going to do here is I'm going to ah take my shutter speed down take another shot here that still fires you can see still none were getting nothing and so this proves that sometimes speed lights don't have enough it doesn't work so up, so what I want to do next is we're going to try a different tests and that is we're going to use the easy box so if you grab that want to try a soft box instead of the umbrella to see if we can get some soft light in a different way that works a little bit better it's called uh yes gold okay, we'll throw this aside yeah, we just take the whole thing just leave it on there he'll just think it's going to take this whole thing same time way got the flip it around you can now see why I love radio triggers not to worry about the flip flopping this stuff being blocked by umbrellas all that kind of stuff so they're pretty terrific ok, I'll tell you what, john just leave it like that and then move it to the right side just little bit ok? Jin looked right at me what a trouper you are ok, first I want to set my exposure on the sky okay? We're going to take a picture just to show that we haven't exposure here okay, okay so that's our exposure on the sky we haven't done any flash exposure yet. Now I am going to shoot gin in a nice way and again even with this not enough oomph so I'll take this I'm going put my flash exposure compensation all the way up, which means the flash is going to be one hundred percent john make sure actually is flashing yep yeah so that's full power as much as it goes you throw on your coat on cnn freeze to death yeah it's getting cold like um so these will speed lights with this much light out we're running into a problem with getting enough light and so let's review what we could do what controls our flash exposure we have the aperture that controls the quantity right yes kelsey knows this we have the flash output that controls the quantity and the duration this is all the way up as much as it will go what is the last thing that we can change it is I know at home you're answering me right now I s o right s oh yes so I'm gonna do is I'm going to take the s o from one hundred and take that ice so I'm gonna go up to four hundred okay maybe even eight hundred take that up I'm gonna take my flash exposure compensation put it back to zero because we want to start any time you make a big change like that we want to reset our exposure compensation so that we can get a true reading so let's try it one when you can leave a jacket on we're fine we're just showing some yeah you can you can not freeze it's okay okay so now we're going to take the shot first thing I need to do is check my sky my sky right now is still really bright I can't get it under exposed I'll get a close so here's my sky exposure so there's this guy exposure so I started with ambient light let's see if increasing this can really get us something so I shot that that flash fire he did ok still were not there so the this is the battle that we face when we're using these modifiers and little soft boxes yes we'll make an adjustment to fix the ambient light they were like oh yeah that's gonna help me out and it doesn't and so tomorrow we're going to go through something called speed lights or not magic sometimes they just don't have the punch so the question is will they ever have the punch yeah, they will have the punch so watch this what we'll do is we're going to take our shutter speed and take it down to two hundredth of a second and we're going to take it off high speed sink so not on high speed sing it off point this little bit more toward you it's a little bit off there we go okay I'm forgetting about ambient light now it's going to forget about it okay, forget about it. All right movement fired no fire at all there's no fire there's no okay, here we go trying this guy your father no fire we'll flip it this way we'll do backwards backwards fire fire, huh? Is this not amazing what just happened she is fully illuminated so that here's the thing that I'm trying to prove here in painstakingly long detail high speed sync uh works great occasionally but sometimes it could just be the thing that works against you because you're losing so much power against that see what happened when you were just shot a thirteenth of a second we closed down the aperture the flash I was able to without having to do multiple flashes it was able to punch through the apertura thirteen and give us indecent exposure and so high speed sync I think is good a lot of times but sometimes not so much so we know the amateur ah and shudder and I also work to control ambient light so what we're going to do here is we're going to decrease or aperture we're gonna make it a smaller aperture setting and see what we get from the sky there we go we're going to take another shot here click just like that and now look now we're getting better results not using high speed sync not using high speed sync better results we don't have that shallow depth of field but that's ok because what we can do here we need to wait till this light gets a little bit darker um because it's ambient light we'll get there so what did we learn? I don't know how long we took on that a long time but you're going to your experience this when you go out and try to shoot you have the same issue so the thinking is let's just open up the aperture shall end up the field go to high speed sync let our flash fire on we're going to get good results but what we found was the high speed sync works pretty good until you start pretty modifiers and things like that on there it really consumes so much power that it is better to shoot without high I've been saying to get the full power of the flash okay now I would like to know how confused I made people and I know there's like a ten minute delay before we're going to know that but where are we out right now there is a delay but we do have a few questions okay so we go and take those yeah let's do it okay brooke rheiman would like to know can you talk about bounce versus shoot through umbrellas sure is yes in fact I think we have do we have a shoot through umbrella uh let's get a shoot through umbrella just get all of our invalid I know that we have and in the meantime can I ask you a different question it is ah from barry is there a baffle in the easy light there is and we could get that out and that would help a little bit and I had to ask what's a baffle and what's going what's the baffle so jane, could you come over here and hold this because I can't go any farther there we go what a trooper it is cold out here so that's why I'm wearing this? He said it was gonna be fifty degrees so we need the whole thing assembled to bring the whole thing a symbol because I need to show okay um you love when I talk to people that you can't see it's fun, huh? So a baffle it's a question of it's baffling so to defuse the light here wei have to things inside their software we have the front diffusion way have an inside diffusion is called a baffle and that just makes the light software so you can take that out to get more punch so that's what that is yes, it has a baffling it. Thank you. And thanks for the question there. Yeah. Okay, so I need a cannon on a with an umbrella adapter so we can show this there's one day. Okay, so this one you can use against the rain? No. Um so the big difference is and we'll see if we can show this to you live uh on the difference in power so I'm gonna put this through here this is a normal umbrella what's going to happen is when we take a picture of the flash past two uh take its power hit against this bounce back so it's going tio lose some intensity so what? We're going to try a couple shots with it like this then what we'll do is we're gonna take out the outside part and we'll make it a shoot through umbrella and with shoot through umbrella it's sort of like a soft box with just one battle where it just goes right through that with, uh shoot through umbrella we're gonna get maura power from the flash it's going to be more powerful than it would be balancing found things gonna be softer but shoots who's going to be better I think out here with no shadows being cast and nothing for that like to fall on it's gonna be difficult to tell and so it would be better to do a shoot through umbrella I think in this environment we're going to try it so we're going to have you go back to your position here and then let's see if we can just and we're not looking for lovely light with this um game we'll try our best to make sure that that flash fires gonna be turned on their egos even test this fire's good ok excellent it's actually firing which I like ok so I me during my ambient light here okay is bright so we'll just take a picture here lam okay so there's the shot with the ah umbrella it's not really a soft as I would like it to be um but we got a lot of punch but what I want to do is try to under expose that background so I'm going to really, really, really take down our aperture so it's at thirty two and you could see it thirty two f thirty two we have a background that's under exposed remember I didn't go up with my shutter because we want to avoid that high speed sync issue we're going to see we don't have enough power from the flash to give a proper elimination so we're going to john's got to shoot your umbrella where did you go? And you could just do that for me man one and my hands are cold it's hard to unscrew there all right there in a cocoon of umbrellas okay john throw that on there and twisted around so it's pointing at jin what we should see is we'll get a little bit more like that. I am so glad I brought a coat. Okay that's good john right there again with same settings that we just we're at we see we don't get too much more light on this a tad more light out of that not an incredibly mohr but it will if we bring this little bit closer to the umbrella bring this closer to our subject we can get a little bit more like than we could if we bounce but that's really the difference is the amount of light we get out of that okay let's do a couple more questions and then we're going to do is we're gonna start looking at different places to shoot because we've got some other ideas that we want to play with ok great well I have a question from mike a and that is how far back on the shaft should the umbrella be mounted it's a great question and it's very subjective so grab that so how far back? Well, what I like to dio is is if I have the ability to shoot where it's not so uh well we don't need so much punch from our flash I'd really like to get this way a ways back when I'm doing a bounce or shoot through and what I'd like to do is set the zoom on this to be pretty wide and so I get the largest source of diffused um light that I can and so if you're in a situation where we have a super bright light coming straight into the lens and you're trying tio expose for that but you might have to do is get that closer so it can punch through that a little bit easier but I like to get a little bit farther away and one of the things that also is a good exercise is tio figure out the proper distance on your flash and the way I like to do that because there's different sizes of umbrellas and I don't know what the inches are on these but what I like to do is get my uh my flash an umbrella getting inside with the wall and put it at a different distance and then take a picture this way and see how much of the flash is falling on the wall and if I have a lot of stuff falling on the wall and going off the umbrella all this bring it closer and then by trial and error all figure out what the sort of the sweet spot is for that umbrella and then we'll go with that so you have a smaller umbrella you need to get a closer a bigger umbrella little bit farther away you need to have a little bit more punches well cool thanks mark all right, we have a question from trip eubanks who would like to know if you're planning on using a beauty dish and how do they compare to umbrellas and soft boxes? We don't have a beauty dish for our speed lights and so um we're not going to use one but a beauty dish is um is used for very soft light with really distinct spec your highlights and so that is something is impossible to describe imagine if you will something you've never seen what I can do is uh I'll see if I can look through my library of photos that I have with me and maybe tomorrow during the workshop I can show you what a beauty dish looks like as opposed to a soft box but specter highlights in the eyes are a little bit different of shadows and limits softer will more refined beauty dishes I love but I have never shot with a beauty dish with a speed light I always use beauty dishes with my studio strobes so yeah so we're not going to shoot with one can you use a beauty dish with I don't know of a beauty dish first light so um I know somebody's going to say oh yeah there's the blah blah blah brand on and it's out there but I haven't seen one I have seen ring flashes for speed lights and I've shot with those and what I found and we shot with I think it's the orbits ring flashes what we shot with um it was spectacular from about six feet or closer anything over that it didn't work at all and that was in a studio in a very, very controlled environment so we loved it for close up stuff so mark speaking of distances for rod from toronto has asked does it matter how far you are from the model you mark are from the model to where the flash is positioned from the model okay. Spectacular question. Okay, jen let's do this let's have you come right over here so that way these guys can sort of see john if you could move that flash this way ok? Flash exposure this camera a flash exposure is calculated from the distance from the flash to the subject so if I have this flash right here let's say let's just pretend this is the flash I'm using and I put it right here right here it is so this flash is going to expose it needs a certain amount of light to expose properly from here to here and the closer it is, the less light it needs the farther away it is, the less light it needs. Okay, so um when I take my camera, my hair and I take a picture really close that does not affect the distance of flash to subject at all that makes no impact to the exposure of the flash at all because the light hasn't changed the lights what we're uh what we're trying to expose so if I go back another five feet and take a picture, the exposure hasn't changed at all if I go back another thousand feet it doesn't change anything, so the only thing that changes the exposure is the light getting attacked uh the only thing changes the exposure is the light and the distance of the light from this subject so really, what you want to look out for is when you're moving your light around closer farther away, especially if it's in manual mode. Um, that's what's going to change the exposure, not the position of the camera at all. So that yeah. So it's the light, not the camera that matters. Okay, um, and we could even try it. You get one, try it, let's. Try it. Absolutely. So what I can do here is I want to take this flash. I want to put it in manual mode. I'm pushing mode and I'm holding it. And it's at full power, however, is going to leave it at full power, okay? And we're not gonna get properly exposed pictures, but we're proving a point. So what we're doing here is we're gonna take a picture. Can you move that umbrella out? Let's move the whole stand out. That'd be great. Okay, so what we do here is I wanted just shoot it. Oh, let's. See, we're gonna shoot now at four point five, four points I was rushing click. Okay. Bam! Look at her face totally exploded. We blew it off. Okay, it's much too right, kelsey let's, take that light let's, move it back about five feet. There we go okay we didn't do anything else except from move the light we didn't change any of the exposures this is in manual mode it's not going to change that's in manual mode is not going to change but we move the light okay, another shot here take a look at this bam it's blown out okay, move that light about ten more feet back actually know what I should just make sure this isn't the ambient light it's not ok yeah, that would be done okay, so removing that back it could still see her yeah yeah, okay. It's not even a fire causes behind me. Okay, so what we did here now you can see that we have a decent exposure so it was this flash um being too closer so can you set that to let's say sixteenth of full power something that's not so crazy something is gonna work. Yeah, yeah, and maybe in thirty seconds. Okay, so now put this uh right you can actually see me do this again. We're gonna do this until we can prove it right here and approve it and we have a light meter that we could use them too proud to use the light meter that's even too much let me just dial this down even less so what? Oh, yeah, I need to do that to myself still really talk okay, so we have that I'll take my eye so down because john is smarter than me, and they need to learn from my own lessons. Okay, now, wait, have underexposed. Finally, pierce was slashed. Now we're going to do is just leave this here, kelsi, I'm going to shoot from here, okay? It's under, exposed in flash. I want to move back. So I'm moving my camera back, taking a picture, same exposure. So let's, have you move forward? Okay, moving forward. That's a close, close that's. Good flash fire. Yes. Okay. And then go even closer, please. There we go and point at. Yeah, good. Sorry to fry your face off. But what we're doing is, as we're moving that flash closer, and father is changing the exposure as I'm moving my camera closer. And father, it doesn't nothing. So we're is proving at that point.

Class Description

Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers.

Once you know what’s happening with your camera and flash you can do almost anything. Speedlights open up a new realm in your photography. They are light to carry, quick to set up. And you never know when you're going to need that extra light for a more dramatic image.

This workshop will give you the confidence to incorporate small portable flash in your photography toolkit. From shooting receptions at weddings or adding drama in senior portraits, this workshop will include lots of live shooting examples that will help everything make sense. Get ready to take your photography to the next level. Once you start working with a portable flash, you'll never understand how you lived without them.


Gary Hook

Mark's wealth of knowledge combined with his engaging and 'fun', experimental approach to teaching is a winner. I learned a great deal but what truly reinforces the learning is that he actually shows what he is talking about. He gets a question and quickly sets up the practical demo for the answer. Brilliant. Given that this session took place some time ago ( but by no means diminishishes the tremendous learning value) the lessons and knowledge are based techniques that will stand the test of time; however, if I was advising Mark on his teaching techniques, the main are a of 'focus' would be to be more effective with his demonstrations. He holds the back of the camera up, makes his point quickly and then moves on, just as the video is locking on. Great idea to talk about what button you are pushing, but when your fingers are obscuring the 'learning point' it diminishes the effectiveness of the demo. Overall great course which I will watch parts again and highly recommend it. Thank you PS Give both Kelsey and John and huge hug as they are all-stars making things happen!

Alexander Svishchenkov

Great! I'm so thankful to you, CreativeLive, for providing this great opportunity to learn an important subject of photography - Speedlights - from the professional Mark Wallace. He is such a good teacher and explains everything in real-life situations and on slides. As he fires his flash, I instantly see the resulting photo on my screen, so this is theory combined with practice. I'm in fact watching you from Belarus, and it's midnight, so I'm fighting with sleep, but I can't get myself away from the screen. this is my 1st CL experience. I'm very grateful for running a rewatch of the previous Day the following morning, so I woke up and saw what I'd missed. And it's totally free! Thank you so much for a true first-class education!

Aussie David

Truly a fabulous class. Mark has such a gift for taking a complex subject and making it so understandable and fun at the same time. Mark is easily one of the best instructors out there. Highly highly highly recommend this class.