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Strobist's Free Online Lighting Courses:
Lighting 101, 102, 103, and Lighting Cookbook




Lighting 101 is the core foundation of Strobist. It is a free, start-from-zero tutorial that will teach you the basics of lighting and minimalist lighting gear. Lighting 101 will have you up and running in no time—and at minimal expense.

Lighting 102 is the sequel to Lighting 101. Where L101 was about gear and basic concepts, L102 will teach you how to further understand and control the qualities of your light to make it do your bidding.

Lighting 103 is a deep dive into color. It explores the intersection of light and color to help you give your photos more nuance, realism and depth.

Strobist Lighting Cookbook combines the concepts learned in L101-103 to give you more understanding and fluidity with your lighting. We also explore some of the shoots from a 360-degree/ecosystem perspective.

A Baker's Dozen: Here you'll find a sampling of posts to help you understand the scope of the lighting education on this site.

From Classroom to Real World: On Assignment




On Assignment features full walk-throughs of over 170 real-world assignments, complete with discussions ranging from lighting to concept to execution—and even some screw-ups. It largely follows my path as a newspaper shooter and beyond, progressing from simple speedlights to more complex studio flashes. Occasionally, OA also features the work of other photographers.


Equip Yourself: Recommended Gear




Sad fact: There are a lot of companies that make some pretty crappy lighting gear, but are still happy to take your money. The Strobist Gear Guide is designed to help you avoid making many of the costly rookie mistakes I made over the first few years of my career. This is the gear that works for me, day in and day out. It is solid, reliable and will get the job done without destroying your wallet.


Feed Your Brain: The Strobist Bookshelf




Books are gear for your brain. Chosen wisely, they represent some of the best value for dollar you can spend as a learning photographer. Featured on the Strobist Bookshelf are my current favorites, winnowed from hundreds of books read over the course of my career. It is a relatively short list, but there are solid selections for nearly any lighting photographer. The Bookshelf is updated regularly.


On Assignment: Zebra Fish and Zygotes

For whatever reason, I tend to get sent into laboratories on assignment pretty frequently.

Maybe they have taken a good, long look at my sports photography and decided that scientists might be easier for me to get in focus. I dunno.

About a month ago, I was assigned to photograph a scientist who was studying zebra fish zygotes to gain insight into their brain formation.

It was pretty cool, actually. The little suckers are not only completely transparent at this stage of their lives, but you can modify specific genes to fluoresce so you can track the genes' positions in the various developmental stages.

Along with the typical shots of the scientist and her assistant working in the lab, I wanted some close-ups of the cute little fishies and their new new little bundles of joy. At least the one the parents didn't eat.

But these guys are pretty small - an inch or so - as an adult. So you can imagine how small they are just 22 hours after conception.

In the process of figuring out a bootstrap solution, I came across two techniques that I will definitely use again. And I wanted to pass them along just in case there were any other zebra-fish-zygote-shootin' photographers out there.

The photo at top was lit with a off-camera Nikon SB-24, synched with a Pocket Wizard. I tried various ways of lighting the aquaria from the back, as the containers were blue and had a cool look when backlit.

They were all failures. The fish were too backlit and showed up as being too dark. If I had brought a second light with me, I would have had no problem. But I was on a college campus and parked the better part of a mile away.

(Boy, I do not miss those days.)

Besides, it was raining cats and dogs. So we were just going to have to do this one with one strobe.

After deciding I really needed a broad, close-up light source from the side, I set about creating one that would not reflect from the side of the aquarium. After scratching my head for a few minutes, I realized that I could make the side of the aquarium into a light source.

I took the sheet of paper on which my assignment was printed and slipped it between two aquaria, like this:


Then I used it to diffuse the light from the strobe by shooting through it. Presto, the aquarium becomes its own soft box. Here's a shot of the same scene with the light going off, adjusted for the proper flash exposure:


You can see how much better the fish are defined. In addition, the flash gave me all the aperture (and depth of field) I needed to keep the little buggers in focus as they swam around.

This last part was harder than it sounded. So I used what I call the "direct mail" approach. I just fired off a couple hundred frames - no kidding - in the knowledge that I would get good focus and positioning on several of them. Simple math.

The flash was pumping plenty of light out at even 1/16th power on manual, so shooting a gazillion frames was not a problem for the flash head overheating. Nor was I limited by recycle time - even with just AA's as my power source.

Having an acceptable shot of the adult fish in the can, the zygotes were next in line.

The scientist had them set up under a stereo microscope, and I hoped she had a Nikon adapter ring for shooting specimens with a camera.

She didn't. Oh, well. I didn't really expect the solution to be that easy. But I always ask. You never know.

So I took my lens off and gently tried to line my bare camera up to the eyepiece. (I have had success like this with telescopes on astronomy assignments.)

Close, but no cigar.

Next, I removed the eyepiece and tried the same thing.

Nope. Not even close.

On a whim, I replaced the eyepiece and put on a 50mm lens. Then I sloooowly lowered my camera down until the front element of my lens gently rested on the eyepiece glass.

Bingo:


I couldn't believe how clear it was. I don't know if it was the specific optical designs of my lens and the scope's lens, but it sure worked.

I'll remember this technique for later, too. If you try it, just be careful not to screw up your front element.

As it happens, I would be back in the lab within a couple of days, this time to photograph something even smaller: E. coli bacteria. (No biggie - tastes like chicken.)

But that's a different assignment, and will be the subject of a future post.


Next: Stainless Steel and Cookies


__________

New to Strobist? Start here | Or jump right to Lighting 101
Got a question? Hit me on Twitter: @Strobist
Have a passport? Join me in Hanoi: X-Peditions Location Workshops



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On Assignment


Welcome to the On Assignment archive, where we translate the skills you learned in Lighting 101 to the real world. These posts include many of my own assignments from the last ten years, and you'll see my lighting skills growing right along with your own.

Each On Assignment post links to the next. So if you want, you can eat 'em like peanuts. Enjoy.

-DH


Wind Tunnel
Abstract Concrete
Archeologists
Cicada
Star Gazer
Real Estate Developer
Blind Snoot Portrait
Conference Room Quickie
Lighting Prep Basketball
Taming Harsh Sunlight
Big Gym, Little Lights
Light the Little Stuff
Thinking Outside of The Box
Designing a Backdrop
Lighting for Detail
Guy on a Boat
Dealing with TV's and CRT's
Simple Wall/Snoot Portrait
Make the Ambient Work For You
Use a Second Light to Create Tension
Womens Lacrosse Cover
Lacrosse Cover, v2.0
Free Custom Backdrops: Using Flash into a Sunset
Ant Upton: Soccer Preview Shot
Robert McNary: Shoot Your Kid
Developing an Idea, Part 1: Compact Fluorescent Bulb
Developing an Idea, Part 2: Compact Fluorescent Bulb
5-Minute Test Shot
Shiny, Pretty Things
Pool Portrait
Strobe on a Rope
Tupperware and Trash Bags, Pt. 1 of 3
Tupperware and Trash Bags, Pt. 2 of 3
Tupperware and Trash Bags, Pt. 3 of 3
Soup Up Your $10 DIY Macro Studio
How To Light A Comet
Test Driving the DIY Softbox Grid Spot
Medical Illustrator
Fourth and Long? Punt With a Plant
Shade is Your Friend
Sometimes it's Not the Photo, it's the Process
Zebra Fish and Zygotes
David X. Tejada: Kicking Butt with Small Flashes
Stainless Steel and Cookies
How to Photograph Christmas Lights
Hit for Average
Always Look for a Detail
Book Club Illustration
Lighting a Large Interior
Found Backdrops, Pt. 1
Macaroni and Cheese
Speedlighting a College Gym
Special Q&A: Speedlighting a Gym
Flavored Vodkas
Light the Details
Spring Arts Guide
Munchies
Hero Fan
Spring Desserts
Group Shot: 2 Speedlights, 34 People
Michael in Paris
Eke in Paris
Steve at Google
Nest Egg
Peter Yang: Admiral William Fallon
Golf Feature
Controlling Daylight, Pt. 1
Controlling Daylight, Pt. 1
Night Chopper, Pt. 1
Night Chopper, Pt. 2
Fifty Years
One-Light Real Estate Shoot
Reluctant Poet
WiMAX
Manil Suri
Monteverde Institute
Planes and Arrows
Prep Quarterback
Shooting for Social Media
STB: John McIntyre
Climber Hands
Glass Menagerie
Trip Jennings
STB: Gus Sentementes
Earth Treks Pt. 1
Earth Treks Pt. 2
Earth Treks Pt. 3
Gas Station Tacos
Nathan Carlisle
The Soprano
STB: Sian Meades
Guitarist Mark Edwards
Betty Allison
Cellist Caleb Jones
STB: J.D. Roth
Nataniel Welch, Men's Journal
Bionic Arm
Summer Reading
Stink Bugs
Radio Silence
Newspaper Man
David Tejada
Bullet-Proof Glass
HoCoPoLitSo
Frickin' Lasers
Brian England
Inside the Black Box
Plain and Simple Light
Martin Prihoda for Cosmo
Miller Mobley: Chaplain
Finn O'Hara: Mixing Light
John Keatley: Best in Show
Chris Crisman: Self-Investment
Brad Trent: Ocean Master Pt. 1
Brad Trent: Ocean Master Pt. 2
Concert Pianist
Hi-Def Asparagus
Mathieu Young, Moonlighting
Inside the Soft Box
Open Air Studio
Tweaking Dusk
Stephanie Barnes
Theresa Daytner Pt. 1
Theresa Daytner Pt. 2
Soccer Through Sunset
Inside the Box
Caleb Vaughn-Jones
Night Soprano Pt. 1
Night Soprano Pt. 2
Trattoria
Reed Quintet
Hiding Your Flash
Samantha McEwen
Tenor Luke Grooms
On Axis, On Budget
Antonio Beverly
Greg Funnell: Joe Wright
Mathieu Young's Harvest
Smokin' Joe
Toufic Araman's Sunset Resort
ATM Man
Man on a Mission
86-Second Portrait
MarchFourth Marching Band
Light That Isn't There
Hide Key w/Fill
Cheap Portable Studio Pt. 1
Cheap Portable Studio Pt. 2
Cafeteria Lunches
Bluebirds and Stink Bugs
Rebecca Hargrove Pt. 1
Pianist Duo
Martin Prihoda: Priyanka Copra
Flute Duo
Hall Studio
Rebecca Hargrove Pt. 2
Evoking Expression
Scout and a Shoot, Pt. 1
Scout and a Shoot, Pt. 2
Don't Deny the Obvious
Chasing Light: Actress Margo Seibert
Follow-Up QA: Margo Seibert
Loren Wohl's Chokra and Awe
Cellist Carolyn Rosinsky
Avatar
Full-Sun Group Shot
Actor Ben Lurye
Lighting Like Leo
The Light You Don't See
Studio in the Wild
Mum for Fuji
A Leaf and a Dish
Nayan Khanolkar: Alley Cat


__________

New to Strobist? Start here | Or jump right to Lighting 101
Got a question? Hit me on Twitter: @Strobist
Have a passport? Join me in Hanoi: X-Peditions Location Workshops



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Sometimes it's Not the Photo, it's the Process

On some photos, you take satisfaction not so much from the photo itself but from the process that got you to it. Such was the case a couple of weeks ago, when I was assigned to shoot an up-and-coming rap artist in Baltimore.

I arrive at his house a couple of minutes early for the assignment as he is finishing up the interview with the reporter. He tells me he is very tight for time, and offers to e-mail the paper a handout photo in lieu of the assigned photo.

Well, my editors are not exactly gonna like that, I think. So my first thought is to come up with an idea that I can pull off quickly.

To make matters worse, after talking for a few minutes with the guy I get the feeling he is just not really into being photographed on this particular day.

Alrighty, then. Time for Plan B.

At this point, you have to recognize a decaying situation for what it is and circle the wagons a little. You have to remind your subject how, with just a little time, you can work together to make something that looks cool and unique. I tell him I brought lights - I always have lights - and have a good idea for a photo in his home studio.

This much is true. I always try to preconceive a photo if for no other reason than to have a foundation on which to improvise.

Turns out he is not interested in having a shot done in the home studio. So I backpedal a little more and find out what he might be interested in doing.

Mind you, all of this is happening in real-time, over the span of about 30 seconds. I don't want to lose this guy. But I do not want to come back with a lame photo, either.

Parked outside the rapper's house is a conversion van on which he has painted with his logo and the logo of Virgin Records, who has recently signed him to a recording contract.

The van is not my first choice for a photo. Or my second or third, for that matter. But it is clear that it is somewhat of a point of pride for the guy. So I do not resist when he repeatedly steers the conversation to it as a possible backdrop.

(Hey, at least we are talking about actually shooting a photo at this point.)

So I tell him to go ahead and get ready to leave, and to meet me outside at his van in five minutes for about a two-minute shoot.

Now all I have to do is to come up with an idea (and a way to light it, and to set up the lights) in 5 minutes.

No prob.

First step is to put your lights, stands and syncs together in one fell swoop. While you are doing this, you assess the scene and try to visualize a finished photo.

The van is black, so I decide to go with a dark key for the photo. Luckily, it's cloudy, which gives me more light ratio options on the small flashes. Thank goodness for that, at least.

I quickly decide on something overly-lit and a little theatrical. I am going to shoot him leaning against the van and light him from two directions.

The strongest light - and the one that will determine the look of the photo - will be a direct backlight. I decide to use direct flash, (a Nikon SB-800) on full power, with a CTO gel for color separation.

So, I set that light up and pop a test shot at 1/250th (max sync speed) to see where me ambient ends up with the very small aperture (f/16, I think) that the full-power flash gave me.

Remember, the flash is aiming back at me, so I shield the light with my hand for the test shot. The ambient goes to darn-near black while the light rims my hand and lights the van at the same time. Great. I have all of the lighting control that I need.

Now to light the front of him.

With my working aperture at f/16, I bring another manual flash (a Nikon SB-24) in from upper camera right. This one is set to 1/4 power, which is what it took to light my hand to the correct exposure using the already established exposure of f/16 @ 1/250th. Again, a couple of test pop verified it. After a while, you get pretty close on the first try, then you fine-tune it with a shot or two.

I set the flash zoom setting on 105mm, to control the beam spread of the light. Now, by aiming the flash a little high, I can get a nice falloff on the bottom of the guy and seal off the photo a little with the darkened bottom.

Here's the setup:


And here he comes, right on cue, walkin' fast and lookin' late.

But I have him all ready to go. One quick test confirms that my exposure is on target. (If it wasn't, a quick adjust and another test shot, and I'd be in business.)

I then shoot about 20 frames, so I am covered if the guy really has to bolt. But I want to get a little more time out of him to try two or three variation.

Here's one of my favorite tricks for squeezing a little more time out of a subject.

Up until now, my demeanor has been one of efficient professionalism: Shoot quick. "Look this way." Got it, thank you. "Chin up a little." Thank you. Etc.

To try for the extra time, I stop and make a point of taking a look at the back of the camera.

Now, all of the sudden, I am "surprised" by how well this is turning out. (Not really - I knew exactly what I was gonna get. But he didn't.)

"Cool! Check this out - this looks great!" I tell him.

Of course, he'll wanna look. It's a photo of him. Yeah, it does look good, he agrees.

(I mean, how could it not, with such fine raw material to work with, right?)

And, in an instant, here's the deal as it now exists:

If he loves it, he'll almost certainly find a few more minutes to keep shooting. Why short-change the viewing public, after all?

If he hates it, he'll show you with his expression. Even if he lies and says it's okay. Just ask him what is bothering him, and introduce a variation to fix it with a few more minutes' shooting time.

He's not editing you - you already have what you were gonna get in the can. But you are bringing him into the portrait process in exchange for what is almost certainly going to yield more shooting time.

I have had five-minute corporate CEO shoots turn into 30-minute sessions this way.

They all want to look good.


In this case, I got a few extra minutes to play with different shutter speeds and try some flash-drag-camera-jerk stuff.

I preferred the original setup, and we went with that.

But the important point is that I went from "sorry, no photos today please," to multiple shooting setups, lit for effect and quickly produced - with variations on the visual theme as a bonus.

It's not enough to know how to light. You need to have a selection of techniques that you already know, and can go to quickly. And that includes setup time.

But beyond that, you need to cultivate the interpersonal skills to bring someone along (while you quietly panic on the inside) and work to make something out of nothing.

Always remember that for most people, the thought of being photographed - especially for publication - is a bit of a head rush. Sometimes you have to use that, and appeal to the person's ego, to overcome the natural shyness and self-consciousness that we all have to some degree.

And if you can do it quickly and smoothly, that's just bonus points for you.

Next: Zebra Fish and Zygotes


__________

New to Strobist? Start here | Or jump right to Lighting 101
Got a question? Hit me on Twitter: @Strobist
Have a passport? Join me in Hanoi: X-Peditions Location Workshops



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