November 9, 2023 • 59 mins
In Episode 30, join Jason to learn his tips and tricks for shooting with LED Lighting Outdoors During Daytime Hours for Optimal Results. This is a presentation that he livestreamed on Zoom and Youtube where he takes questions at the end of the presentation from the listening audience. Topics addressed in this episode include:
- Changes and Innonvations in LED Technology
- Differences in using traditional strobe and LED for portraits
- WHEN to use LED Lighting Outdoors
- WHERE to use LED Lighting Outdoors
- HOW TO Maximize Results
- Live Q&A Session
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hi guys, Welcome to episode thirty of my podcast. This
is how to do led lighting outdoors during the daytime scenarios.
So what you're going to be listening to is a
live stream broadcast that I did on my YouTube channel
as well as on zoom and you're going to hear.
Speaker 2 (00:20):
A presentation that I give.
Speaker 1 (00:22):
I hope it helps for those who are listening to
the podcast, and you hear a Q and A from
those who are joining me live at the end. So
there's some fun stuff in here, lots of great information,
and I hope it helps.
Speaker 2 (00:33):
So let's get to it.
Speaker 1 (00:35):
Thanks for listening to episode thirty and my podcast, and
don't forget to share this with other people.
Speaker 2 (00:40):
Thanks so much.
Speaker 1 (00:42):
So welcome everybody. This is a live stream that I'm doing.
I'm going to be doing a series of these. I'm
doing three of these over the next week. So if
you like this and it's beneficial to you and for you,
then you can join me on the other two. I'm
going to be doing a live stream two days from
now or on Sunday. All of them are ten am Pacific,
(01:03):
so everybody has the same time. It's easy for people
to follow. I'm going to be doing one at ten
am specific Pacific, which will allow people to come on
and learn about how I incorporate other aspects of like
smoke machines, fog machines, that kind of stuff into my
work with LED lighting.
Speaker 2 (01:20):
And then the last one, which.
Speaker 1 (01:22):
Will be a first for me, is I will be
showing people some tips and tricks for how I edit
LED images that I've taken with LED images led lighting,
I should say, because it is very very different, well
maybe not very very different, but it is different how
you approach the editing process depending on the light that
you are utilizing, whether it's natural light, flash or LED lighting.
(01:45):
So this is going to be a series of live
streams that I'm doing here. They will all be broadcasted
on YouTube, so if you don't get to watch it live,
at least you'll be able to watch it on YouTube.
That being said, if you want to be able to answer,
you know, ask questions and stuff like that, then you
know you you come on and enjoy me live if
you if you can. So with that being the case,
(02:08):
let's get started here.
Speaker 2 (02:10):
I'm going to.
Speaker 3 (02:13):
Recording in progress.
Speaker 1 (02:14):
Yes there is all right, So now we're going to
share my screen. I have a really handy dandy presentation
ready for you guys. So we're gonna shoot about how
we're going to talk today about how to use LED
lighting to shoot outdoor portraits and uh, I've been able,
I've been very blessed to be able to have used
(02:35):
the uh you know, all of the red light products
and non read light products. To be fair, I've used Stella,
I've used some godocs LEDs, and I've used Obviously, the
majority of the work that I've done has been with
the road a light LED and so I'm going to
talk to you guys about the stuff that I use
and how you can really maximize your work to get
(02:55):
the best results. Obviously, I'm still somebody who who uses
traditional so I will be able to answer those questions
because regardless of anything that I do, it always is
about finding the right gear that works for you and
finding the right gear that helps you deliver the images
and the work that you're looking to create. So at
the end of all of this, I'm happy to answer
any and all questions that that any of you have.
(03:20):
By the way, if you're watching this and you want
to register and this free register for the other sessions.
Just go to jasononard dot com slash Lighting and you
can register for the other two sessions that we're going
to be doing.
Speaker 2 (03:31):
All right.
Speaker 1 (03:32):
So I've been very fortunate to be to have used
again all of these different led lighting lights and I've
been able to really play with them and see what
I can do and can't do with the lights.
Speaker 2 (03:47):
Over the last month, A road Light has.
Speaker 1 (03:48):
Come out with a new product, you over Pro three,
and I'm going to be showing you a series of
shots that I've done with that, but also the AS
two pro to kind of address some of the issues
that I know, or maybe not issue, but the questions
that I know that people will have out there. You know,
the power differential between a NATO's two prone and a
over Pro three, some of the advantages so on and
(04:10):
so forth, and so let's get into it. So this
is one of the shoots that I did and you'll
see a video coming out on this later this week
with the beautiful model named Natasha and a beautiful dog
named Ozzy up in London, London area, and really beautiful shoot.
This is the an Overpro three and it kind of
(04:31):
exemplifies exactly what we're trying to work towards with our
work here. So the agenda for this live stream will
be we're going to talk about the changes in LED
technology and how that helps to benefit us. We're going
to talk about when and where to use LED lighting
outdoors for best results. We're going to talk about how
(04:52):
to maximize LED lighting. Because you know, one thing that
people will say to me is I'm doing some of
these presentations or when I some events, people come up
to me and say something like, Oh, I tried this
and it didn't work like it did in your video.
And the first thing I will always say to them is,
what did you do? Did you do what I did
in the video? Did you try something very different? If
(05:13):
you tried something very different, that's fine. You're courageous and
you're inventive and you're going out on your own, but
don't expect the same results if you're not doing something
as I'm showing you how to do it. So that
being the case, I'm going to talk to you about
how I maximize LED lighting and where I can use
it to get the results that I'm seeking. In this
(05:35):
demonstration or this presentation, I should say, we're going to
be talking about two main lights. We're gonna be talking
about AOS two Pro and then nover Pro three, And
I use these two examples of both shooting at the
beach to exemplify the difference between the two lights. There
is a power differential between the two lights. The nov
(05:58):
Pro three is obviously bright. Obviously, the brighter light gets
the the the more we can use it, uh, you know,
wherever we're shooting, and so they you can use them
in different circumstances. But the Unover Pro three, just because
of the the increased brightness opportunities, you can get some
better results with the Unover Pro three. You can talk
(06:22):
about the the advantage advantages from a portability standpoint with
Aos two Pro. So I'm gonna address both of those
two in this presentation also because I know I'm gonna
help and inevitably get some questions about it.
Speaker 2 (06:39):
You know.
Speaker 1 (06:39):
We obviously the other player in the mix in the
word of Like Family is the Neo three Pro. The
Neo three Pro is something that I'm not going to
address in this presentation only because the n over Pro
three is new that number one, number two. The n
over Pro three is where a lot of the questions
are gonna uh, with a lot of folks. And also
(07:02):
when it comes to shooting outdoors, we all all we
all of us already know or a lot of us
already know what we can do in darker situations or
darker conditions when we are utilizing LED lighting, but we
are continually asking the questions as to what we can
do in a you know, brighter situation where we're shooting
(07:24):
in daylight or something of that nature. And that's why
we're going to focus on those two lights and we're
going to focus on brighter daytime conditions two uh, to
help people understand what what the possibilities are.
Speaker 2 (07:40):
So, yeah, this is a shoot.
Speaker 1 (07:41):
That I did out in u in Toronto. Excuse me,
it's actually Nigra Falls. But this was done with the
Unover Pro three. I'm gonna you'll see this in an
upcoming video as well. But this is done with the
Uenover Pro three where I've really gone and and and
tested it to see what the possibilities are with the
light in a continuous and in a flash mode. And
(08:03):
that's why today we're going to be focusing on using
these lights in daylight conditions.
Speaker 2 (08:08):
All right, So now that we've set the.
Speaker 1 (08:09):
Parameters, Oh and by the way, at the very end
of all this is going to be a Q and
a saysion. You guys can ask me any and everything
that you want at that point related to this topic,
and then I'll do my utmost best to help you
in any way possible. Also, I just wanted to know
a quick note is that I am also recording this
(08:31):
as a podcast, So if you can't watch all of
this or whatever it may be, you will see some
of this or you'll see this come out as a
podcast to be able to listen to as well.
Speaker 2 (08:40):
I'm trying to.
Speaker 1 (08:42):
Simulcast, if you will, or use these opportunities to get
this information out there. So I hope you enjoy that.
For those who listen to my podcast, it's a lot
of fun. You should check it out. Changes in LED
technology obviously one of the first things that always, well,
not one of the first things. The first thing that
(09:04):
always is at the forefront of my interest when new
lights come out are.
Speaker 2 (09:10):
Power power power power power.
Speaker 1 (09:12):
When I have something like a traditional strobe come out,
it's funny to look at the differences between the two.
So when you have something like a goad ox or
a pro photo and you're looking at a new light
that comes out. Power is usually not the issue. The
issue is recycled time. The issue is if they've improved
it recycled time. The issue is if they've improved the
(09:34):
battery performance, because typically batteries will just evaporate in the
traditional strobes, especially if you're using using them in humid
or hot conditions. So when we're looking at advancements in
traditional strobe technology, those are the areas that we're always
looking for when we're looking at LED technology, the innovations
and changes that I'm looking for. Whenever a new light
(09:55):
comes out is is it brighter? And that's because we
don't worry about recycle time and we don't worry about
battery duration as it relates to using flash with LED technology.
So as a result, every time a new light comes out,
that's the main question I have.
Speaker 2 (10:12):
Is it brighter?
Speaker 1 (10:13):
So whether it's you know, the Neo three pro or
like the you know, when they come out with a
Neo four pro or an AOS three pro or whatever
new iteration of light that comes out, that's going to
be first and foremost how bright is it? So to
answer that question off the bat, the AOS two pro
or the excuse me, the Enova Pro three is definitely
(10:36):
brighter than the Aos two Pro. This is a photowalk
that I did. This is just a quick little BTS
that I did, a photowalk I did in Venice Beach
just a week ago, and that's the Nova Pro three
illuminating the model. This was just a simple shot taken
with my cell phone unedited, just quick cell phone shot
of some of the attendees who were shooting one of
(10:57):
the models while there were others who were shooting the
other model.
Speaker 2 (11:00):
You can see on the.
Speaker 1 (11:01):
Sand that there's there's light there that's not photoshopped in anyway.
You can see that there's there's light there and she's
rimlet by the sun. So that gives a great illustration
of the amount of output that you're going to look
at when you're getting when you're going to use the
Enova Pro three. This was shot at full one hundred
percent constant lighting with the Enover Pro three, and you
(11:25):
can tell that the model is completely illuminated from head
to toe.
Speaker 2 (11:30):
This is a.
Speaker 1 (11:31):
Real representation of what you could look at from a
brightness UH performance, you know from the from this light.
Speaker 2 (11:38):
Also the things.
Speaker 1 (11:39):
That we UH have watched over the years with led
technology and the changes that have come about have been
you know, they offer high speed seen flash, no recycled
time as well as you know, obviously the ability to
to you know, streamlight on your your subject in a
continuous manner. One thing that you know, somebody just brought
up because of the the new A ninety three and
(12:01):
the global shutter, and it can shoot it a one
hundred twenty frames per second. Just there's people on here
who are not Sony shooters, so I'm not going to
go down the Sony rabbit hole very far at all.
But when someone even mentions, you know, one hundred and
twenty frames per second, as you're talking about utilizing it
with flash, even at twenty frames per second, it's pretty
(12:22):
much imperceptible the opportunities that would exist with you know,
no recycled time flash. In other words, you really wouldn't
notice it. Even when I would shoot NFL games at
the old A nine and I would go at twenty
frames per second, the variance between the two is so little.
(12:42):
And for those who are video heads out there, for
those who love video, it's also worth noting that video
frame rates are typically shot unless you're looking at slow
motion video frame rates for a film are twenty four
frames per second. Video frame rates for typical video would
be at thirty frames per second. Slow motion would be
one hundred and twenty frames per second. So when any anytime,
(13:05):
anybody ever quotes or talks you specs about frames per
second and what you would look for if you tried
to shoot, or if you did shoot one hundred and
twenty frames per second with a flash that had and
no recycle time, you might as well just film video
because you're you're gonna be doing slow motion. That's that's
all slow motion work, because a twenty to twenty four
to thirty frames per second is all going to be.
(13:28):
The changes even if a model is dancing, if you
have a ballerina, the changes in what the model would
do and how that would be perceptible to your eye
would be so minute. Like her finger even if she's
moving her arms in a very quick manner, her fingers would.
Speaker 2 (13:43):
Be slightly slightly slightly different.
Speaker 1 (13:45):
When you're shooting at sixty, one hundred and twenty frames
per second. So just keep that in mind because I
know people are excited about that, and that's really cool
that Sony did that. But from a practicality standpoint. I
just wanted to address that quickly. From again, the other
advantages of the LEDs is you get RGB and white
balance capability with the road light, you're getting touchscreen, and
(14:08):
the new additions to the technology family as it relates
to what the Overpro three can do, or that you
get magic eye, and which is the lights light's ability.
It has censors inside the light that will pick up
either the white balance and just like your camera would
set an auto white balance, this is the first light
(14:29):
now that will actually set auto white balance on the light.
Speaker 2 (14:32):
Pretty cool stuff.
Speaker 1 (14:33):
And the other thing is that the an Overpro three
is water resistant. It's not waterproof, you can't submerge it,
but it is water resistant, which is a really big
benefit for some of the shoots that you're trying to do.
Whether it's you know, if you live in a rainy condition,
if you're trying to shoot in some sort of a rainforest,
if it's in a very humid environment where there's just
you know, condensation that's going to build up on the light,
(14:54):
things of that nature, or even if you're doing something
as simple as which I do a lot, setting the
light on the ground, the ground may be wet. Having
that water resistance can be beneficial to a lot of
photographers and a lot of different circumstances, depending on you know,
what it is that they're trying to do. So those
are some of the changes that we're seeing, and I
hope to see these changes continue in the future iterations
(15:16):
of like the Neo four Pro and the AOS three Pro,
and I'm hoping that the pro version lights of these
will all have this water resistance as well as the
Magic guy, and I always hope that they are brighter.
All right, So now let's talk about when to use
LED lighting outdoors again. I'm addressing the difference between the
(15:39):
two because I've gone around and I've done a lot
of demonstrations with this, and the questions I get online
almost all relate to the AOS two pro versus you know,
a Pro three, and that's why I'm addressing it here
to try to be as transparent and helpful as I
possibly can. So with AOS two pro, you're pretty much
gonna use it and shoot with it outdoors, either in
a continuous or in a flash mode. When you know
(16:02):
you're in a little bit of a darker condition. You're
not going to shoot it in the middle of the day.
I if there's no diffusion, if there's no sun, or
excuse me, if there's complete sun and no diffusion, you're
not going to use it in that circumstance. You're going
to use it something similar to what you would see
here where you have.
Speaker 2 (16:20):
You know, golden hour.
Speaker 1 (16:22):
Golden hours perfect for these kinds of lights. And one
big recommendation you'll see this in some of the tips
and tricks that I have at the end, but one
big recommendation to really maximize these lights is what you
can do two things, and.
Speaker 2 (16:35):
Again I'm just being as straight as I can. Two things.
Number one, if you're shooting with these lights and you're
shooting with the.
Speaker 1 (16:42):
Light to your back and you're using the light to
illuminate your subject, you can put the road a light
on them, but that's pretty much using a lot of
the sun's power. And then if you're looking to augment
it in a little bit of a way with the
road light, you can do that. But where you really
maximize the output on led portraiture outdoors with these types
(17:03):
of lights is when you put the sun to the
back of your subject. And the reason why that's so
important is you put their face in the shade. When
you do that, and when you do that, you give
the opportunity, you give the light the opportunity to be
able to illuminate, because otherwise it's not fighting against the sun,
it's working with it because you're shading that your subject's face.
So anytime you're shooting with led portraiture outside, try to
(17:28):
put their back to the sun and block the sun.
And that's kind of a good trigger, a good way
for you to know because if you are shooting and
their head or the sun is so bright that you
can't block the sun with their back, then that's kind
of a sign that it's not the right time to
use it, because it's going to be too bright anyways,
(17:50):
unless it's overcast.
Speaker 2 (17:51):
So this is the kind of environment.
Speaker 1 (17:53):
Is a good representation here of when you would use
the AOS two pro outdoors, and versely, this is a
great example of when you would use Uenover Pro three outdoors.
Both lights were used with the smart soft box on them,
and both as you can see, we're done at the
beach sun to the back of your subject. But as
(18:14):
you can see with the uenover Pro three, I was
able to use Unover Pro three in a much brighter environment.
So just hopping back real quick. When we look at
the AOS two pro, these are both shot at full power.
This is AOS two pro at the golden hour once
the sun is really deep dipping under the horizon there,
and we're getting those colors, which is very beautiful, but
(18:35):
trying to shoot it before then you're not going to
get as good a result as you want. Versus the
anover Pro three, you can truly see that increased amount
of power that is hitting your hitting the subject. The
model there, his name is Ryan, he's a really cool guy.
But you can see, yes, the sun is getting closer
to the horizon. That's just done for artistic purposes, but
(18:58):
you can see there's definitely an increase in light output
that I'm getting with the U Overpro three three versus
the AOS two pro. And if you really want a
good representation, if you want to be able to read
how much light is ambient light versus how much light
is being created by the light, look at the shadow
on the shoulder area here on his left shoulder as.
Speaker 2 (19:21):
We're looking at it. It's the right side of the
demonstration presentation.
Speaker 1 (19:26):
But right here, this this shadow area is exactly where
you can see just how much light is being pushed
out by the light itself versus ambient conditions. So you
can truly see how much the UNOVERPRO three is illuminating
him versus you know what I would get, you know,
with an AOS two pro. So there definitely is a
(19:47):
discernible difference in power output. Because that's that's one of
the number one questions I'm getting, and that's why I'm
trying to show you examples and be as you know
upfront and honese as I can about it. Where to
use the LED outdoors. This is the this is the
AOS two pro. This is using it in a dappled
light scenario. But in any of these scenarios, even though
(20:09):
dappled light may be behind you, you're still going to
want to put your subject in in a shaded area.
And even if I was shooting with traditional strope, I
would still do something similar because you want to mitigate
any harsh light that's coming in on them. Especially if
this is you know, two or three o'clock in the afternoon,
like which is when I shot this wedding, You're you're
(20:31):
still going to want to put them in in a
in an area or in an environment where there's some
shading that's occurring on your subject. So you would do
that for traditional strobe and for LED lighting, but for
LED lighting it's even more important than when you do
it with traditional strobe simply because traditional strobe is stronger
than LED lighting from a power output standpoint, So you
(20:52):
want to make sure when you're using LED lighting to
to definitely do this. You know this as an example.
Now you can see the modifier on the light here.
This is again the a's two pro with this modifier.
There's no modification on this light. You can't see that
in the presentation, but I have removed all of the
inner diffusion and outer diffusion on this modifier because otherwise
(21:15):
it wouldn't have enough light output to be able to
illuminate my subject, which is the model. Or excuse me,
this is a real wedding. This is a bride name Megan.
So why am I using a modifier. I'm using a
modifier to direct the light. So that's very important. Anytime
that you are in a scenario where you're trying to
use lighting, always use a modifier. Going back to these two,
(21:40):
the smart soft box is on, but if I'm not
getting enough light like in this circumstance here with Ryan,
this smart soft box is on the Anova Pro three,
but there's no diffusion on the light. I don't excuse Yeah,
there's no diffusion on the modifier on the smart soft box.
I'm using that smart soft box to help direct the light. Yes,
(22:00):
you could use barn doors, but barn doors kind of
just a personal preference. They kind of get in the
way for me. So I really like to use modifiers
to direct the light versus barn doors. Barn doors are noisy.
These again is a portional preference thing, but I really
do prefer to use a modifier to direct the light
one possible. I also like the multi use opportunities that
(22:22):
using a modifier present to me, because if I'm already
using a modifier with no diffusion on it, then when
I do need that diffusion, I don't have to reset up,
take the barn doors off, put the modifier back on.
Speaker 2 (22:34):
I already have the modifier.
Speaker 1 (22:35):
Now all I have to do is just you know,
put any modification diffusion layers, inner baffle that kind of
stuff into the modifier to be able to soften it
more when I start shooting into in a darker environment.
So as you can see here, this is when I
would use the AOS to Pro outdoors. Converse a as
(22:57):
a comparison, this is when I would use over Pro
three outdoors. So clearly you can see I'm still utilizing
the same aspects of shooting in a setting, my client,
my subject in a shady environment, and this is the
shots you're seeing here. This is this is the prime
video that you're going to see that I did with.
Speaker 2 (23:19):
This is a model named Natasha. You're gonna see this
in a video come.
Speaker 1 (23:22):
Out of her with a dog, being able to really
utilize this lighting outdoors. It should also be stated that
I shot with the the in over Pro three in
continuous mode. I I like to use it in continuous
(23:42):
mode because not only is it great four you know,
to be able to illuminate my subject, but I also
shot it with a continuous mode because it's honestly great
for my videos. So when you guys watch my videos,
you can actually see the light that's that's illuminating her
versus just that little quick pop a flash. So that's
done for from a practicality standpoint, to make sure that
(24:02):
I'm really showing what it can do. And you can
judge for yourself if it would work for you or not.
I also did take the opportunity to use the light
on as you can see on the picture on the right,
on the little doggie there Ozzie, and you can see
that her eyes. I know it's a guy's name, but
the dog is actually a girl. But the dog's eyes
(24:25):
are illuminated, so clearly that's being done by the light.
You can also see the light, the variance in light
between you know, the right ear and the left ear
of the dog. You can definitely see where that light
is impacting the subject and is illuminating exactly.
Speaker 2 (24:39):
What I want to do. And this was really fun
for me to.
Speaker 1 (24:42):
Do because you know, obviously I shoot a lot of
models and it's really fun. But I also I wanted
to show people some of the opportunities that existed when
I would do something like pet photography, because there are
tons of folks out there who make a lot of
money or just have a lot of fun shooting pets,
and so I'm trying to branch out and show some
show some different things that are possible with some of
(25:05):
the different lighting.
Speaker 2 (25:05):
Sets that we have.
Speaker 1 (25:07):
So you are still going to want to do the
overpro three or as it relates to the subject here,
where do you use the Noverpro three.
Speaker 2 (25:16):
You're still going to want to use this in a
shadier environment.
Speaker 1 (25:21):
But again, you know, if I was doing traditional strobe,
I would still want to do something similar because look
how beautiful that is. It's beautiful dappled lighting, beautiful leading lines,
and you can really get some really beautiful results. Also,
it should be stated that what you're looking at from
the images here are this is the Unovapro three, and
(25:44):
the any of the folks myself included, who have been
using the Unovapro three, we're not using them at full power.
We may it may say a hundred percent power on
the light, but we're not using them at full power
because they are not one hundred percent full power capable yet.
So that's a that's a good thing for those who
want to see power output on the lights. We should
(26:06):
get twenty to thirty more percent out of the production
model of the nover Pro three. Then we're getting out
of the model that all of us are testing right now.
So just anytime you do testing on you know, cameras
or lights, you know, the the first versions of these lights,
the prototypes come out and you test them, but then
the production models, you know, work out the kinks and
(26:26):
you get more power, more processing, whatever may be depending
on the product that you're using. And so just wanted
to make that point that you know, the the what
you're seeing out of this model here, this, this light
output on this on the model is not the full
capabilities of the anova Pro three. And as soon as
(26:46):
and I've said this rot light, as soon as they
can't get me a production model of the full capabilities,
I will share that with all of you as soon
as humanly possible. So a few more examples of the
anov Pro three that discernible increase in power. Again, this
was my number one question, which is why it's the
number one thing that I'm trying to show, because this
is what people want to know. It's a lot of money,
(27:08):
it's a lot of money to drop on a new
light and is it right for you? All of those questions,
and that's why I'm trying to show it to you.
So you can clearly see the light that's on the
model's face here.
Speaker 2 (27:19):
This is Brianna.
Speaker 1 (27:20):
You can see the light that's on her face there,
just coming straight in from the light. I like to
take production shots like this, so it actually shows the
lighting that's occurring on the front side of her chest,
her arms, her face, the side of the body that's
facing the light. You can see the light on her
versus the back end. You can see there's not that
light there. You can see the shadow area behind her
(27:41):
her head, another example of light output. You can see
the light that's coming in on her versus the shadow
on the light that's coming in, on the side of
the face that's facing light versus the light that is
not hitting her, and you can see the shadow pattern
behind her. One more quick example here again you can
(28:01):
see where and you'll see this in the video as well,
my friends, but you can see the light coming in,
the light hitting the front of her face, in the
front of her body, versus the fall off behind over
on the other side of the neck. So I hope
that this helps to answer some of the questions out there,
because I know if I was looking at a light,
or if I was interested in the light, I would
(28:22):
definitely want to know what it can do power wise, because,
as I said earlier, LED technology already does so much.
The key question for me and for nearly everyone out
there is where's the power? How much power do we have?
And again the reason for that is because the more power,
the more we can do with it. And one thing
that I should say that's very important to me and
(28:44):
should be important to other photographers is understanding that the
more power that you have. There's also a relationship between
the more power that you get out of a light,
the more you can modify the light. So more power,
more modification equals softer light. That's the holy grail of
soft light diagram according to me. So if we continually
(29:07):
get more power, then we can modify that light, which
increases the quality of the light, which in turn gives
you much better results if you are a soft light
fan like I am. All right, so let's talk about
how to maximize led lighting outdoors. These are some quick
tips and tricks of things that I've done over all
(29:28):
these many years, and I hope they help all of
you out there. For those wondering this shot with this
the gentleman here, Alio. This was a fire shot. This
was with the Aos two that I did and as
you can see, I shot it at the right time
of day to be able to bring out everything that
I wanted.
Speaker 2 (29:45):
So understanding when to shoot and use something.
Speaker 1 (29:48):
That's why I addressed when and where to use these lights,
because that is where you're going to get your best results.
So if you want great results, follow the tips and
tricks that I'm showing you. Use the lights when and
where I tell you to use them, and and that's
how you're going to get the results that you want
to get. Because nothing is more frustrating than having an
idea in your head. You want to get something done
and it doesn't come to fruition because you're not using
(30:10):
it when it can be used. It's like taking a
ferrari out into a mudpit, You're going to be disappointed.
Or it's like taking you know, a monster truck onto
a racetrack, You're going to be disappointed.
Speaker 2 (30:20):
You have to pick the right tool for the right job.
Speaker 1 (30:22):
And when you do so, take that ferrari out on
the racetrack or take the monster truck into the mud pit,
you're going to be happy. Just make sure to use
the right tools at the right times. So how to
maximize LED lighting outdoors, Avoid the middle hours of the
day unless there is diffusion from the sun. So you know,
going back to this this shoot here with Brianna with
(30:42):
the fall leaves. It's very beautiful up Niagara Falls right now,
we have beautiful fall leaves. This was done at two
o'clock in the afternoon, but it was a very it
was an overcast day, so I was able to get
some really nice results because it was the right tool
for the right job. But you have to again understand
that when you're going out there to do it, find
(31:04):
shade to allow your subject to open their eyes and
block harsh light. So I said it earlier, but even
if you were using traditional strobe, you would still want
to put somebody, uh when possible, into more of a
shadier environment, or at least have them rimlet by the
by the by the sun like like I said earlier,
put their back to the sun. And you do that
(31:26):
by putting them, you know, in those correct positions. That
also allows them to open their eyes. So unless you're
shooting somebody with sunglasses on, which some people like and
I definitely do it sometimes as well, But unless you
you know, really want to uh do only a sunglasses
only shoot, then you you you one hundred percent want
to try to find something something to block harsh light.
(31:50):
I will also say this natural light shooters. And I've
said it a million times. Natural light when it's when
it's perfect, there's nothing better than it. But it's only perfect,
you know, a couple hours if that a day, weather depending.
So what you want to do is know when and
where to use what. So I say all of that
(32:11):
because natural light shooters will also put their subjects into
the shade. Well, the difference with the natural light only shooter,
if they only shoot natural light, is they will get
a lot of color cast. So that's something that's very
important to understand. So if you're putting your subject, especially
if they have a lighter complexion, the more lighter complexion
your subject has, the more color casts are going to
pick up. So if they have complexion like me, you know,
(32:34):
a white guy, I'm going to get you know, if
I'm under a tree and the sun's coming through and
it's pushing green light through the leaves, my face is
going to turn green. And so that's another reason why
when you do put your subject into the shade, if
you can illuminate them with lighting, it makes a world
of difference, not only to give them catch light and
things of that nature, but also really enhances the look
(32:58):
of the image.
Speaker 2 (32:58):
Because you're control the shadows.
Speaker 1 (33:00):
And you are mitigating and eliminating color cast.
Speaker 2 (33:04):
That's very very important.
Speaker 1 (33:06):
The other thing that I was talking about earlier is
using a modifier or barn doors to direct the light.
Speaker 2 (33:12):
Again, when you're dealing with LED.
Speaker 1 (33:15):
Lighting, because it's not as powerful as traditional stroke, the
last thing you want to do is have any light loss.
So if you're going out there and you're just shooting it,
you know, and you're not directing that light at all,
that light spilling out the sides. So it's very, very
very important that you direct that light either with again
a modifier you know, or well a modifier. The only
(33:41):
time I'll ever really get into using umbrellas and such
is when I'm shooting in a very darker environment where
i really want to spread that light. That's when you
bring out the big seven foot parabolics and stuff. That's
a beautiful time to use those big umbrellas. But if
you really want to push the light get the most
out of your LED, don't use an umbrell outdoors in
(34:04):
brighter conditions.
Speaker 2 (34:04):
You're not going to get a very good result.
Speaker 1 (34:07):
Again, put the sun at your subjects, back at the subjects,
back to use as rim lighting, so you know, you
can always have two point lighting if you understand how
to use mother nature as an assistant. So always try
and do that. Make sure that you're putting their rim
light to your subjects back when possible, using flash mode
to conserve battery consumption. So you know, one advantage of
(34:31):
LEDs is that you know you can get a long, long,
long battery life out of the lights when you're using
them in flash mode, but if you're not, you will
go through the batteries pretty quick. So you know, like
the AOS two pro takes one vmount battery and the
anov Pro three takes two vmount batteries. Now they will
last a long time, but if you use them correctly.
(34:53):
So a couple points is I will always turn the
lights off when I'm not using them. I just don't
leave them on. Just think of it as leaving the
air conditioning on when you leave your home. It's just
a waste of money. And also I will put them
in flash mode when possible. One more point that's very
important on battery conservation is when you're using the lights,
(35:17):
if you can get away with using eighty percent or less,
especially on the road of lights, and this was true
when I shot Stella too.
Speaker 2 (35:25):
By the way, when you do.
Speaker 1 (35:27):
Eighty percent or less, the lights will stay cool enough
to where the fans will not have to kick on.
When those fans kick on is when the battery those
fans suck up so much battery consumption. So if you
can keep your lights seventy nine percent or less, you'll
really conserve a lot of battery for what it's worth
when you are shooting them in the brightest conditions. If
(35:49):
you're all out of options and you just need as
much light as you can get, you use bare bulb
on your LED lights. That's one benefit of being able
to use LED lighting, not Stella. Stella you can't shoot
bear bulb, but it does not look good. But with
Rotolo you can shoot bare bulb and get some really
great results because of the just the way the light
is made.
Speaker 2 (36:08):
That's just the truth.
Speaker 1 (36:09):
I mean, just the physical dimensions of the fact that
it's already spread out. You can shoot a bear bulb
and get some much better conditions or results, I should say,
than when you do that with the traditional strub or
other types of LEDs. And most importantly I'm going to
be doing and to try to demonstrate some of these
(36:31):
techniques and how I will edit for LED lighting. I'm
going to be doing a livestream on the fourteenth, so
make sure to pay attention to that. I'll also be
doing a live stream on Sunday, November twelfth from ten
am to so that's what three days from now, I'll
be doing a livestream On the twelfth, I'll be showing
(36:52):
you guys how to use smoking fog machines with your
LED lighting for great results.
Speaker 2 (36:57):
And just a quick pre you know tip on that.
Speaker 1 (37:00):
One of the main reasons I would choose to use
LED lighting for smoke and fog machines is you that
that whole thing I'm seeing, you know, what you see
is what you get is so amazing when you when
you incorporate LED lights with fog machines, it's it's incredible.
Speaker 2 (37:17):
And then again on the fourteenth, I'll be doing an editing.
Speaker 1 (37:22):
You know session where you'll get to watch me edit
some of my images and show you what I do
on some of the images that I've shown you to
to create the results that you see. So, if you
guys are interested in any of this stuff, you can
look at the Neo three pro or the Aos two
Pro and go to road light dot com slash Jason offers.
You can enter the password there it's Jason Lanier and
(37:44):
that'll get you in there and you'll get like twenty
percent off of these lights off of the Neo three
Pro Aos two Pro and Rhode Light is doing the
Nova Pro three on their Kickstarter right now, so you
can go to rotle light dot com slash Kickstarter and
pledge there. And one thing that is worth noting is
if you I didn't find this out until halfway during
the kickstarter, but if you do go and pledge one
(38:04):
buck on the kickstarter, it also opens up the store
for you to be able to get discounts on accessories
and stuff too, so that's worth noting. If you're a
current road light user, and my twenty twenty four workshop
schedules coming out this month, make sure to stay on
top of that because we're gonna have a blast in
twenty twenty four. And also feel free to join me
(38:26):
on my Patreon channel, which is www dot Patreon dot
com sas Jason Lanier Photography. So with that being said,
I'm now going to open it up into a question
and answer session for all of you out there, and
I hope this has been beneficial for all of you.
So I'm going to stop sharing my screen.
Speaker 2 (38:49):
I'm going to.
Speaker 1 (38:55):
Now I'm going to give you grant you, guys, the
opportunity to unmute yourself.
Speaker 2 (38:59):
So you can now unmute yourself and ask.
Speaker 1 (39:03):
A question whatever you may have, and I will do
everything in my power to answer it to the best
of my capabilities.
Speaker 3 (39:16):
Jason, Lisa, A great question.
Speaker 2 (39:19):
Go for it.
Speaker 3 (39:20):
What's the sweet spot with kNs?
Speaker 4 (39:23):
Like like a spraying fram like ten or twenty shots frames?
Speaker 3 (39:30):
Version of good?
Speaker 2 (39:31):
Yeah, we would you better like ten? Well, just it
just depends. I mean, we go crazy.
Speaker 1 (39:39):
And I've had to learn over the years for anybody
who's come to any of my events. You know, when
I demonstrate the no recycled time flash on the road light,
it's really cool, but you know, I hate going back
into my home and then I've got I look at
the memory card and I've got, you know, two hundred
and forty shots or three hundred whatever shots of the
same thing. So I I think you have to be
(40:00):
selective with what you want to do with it. You know,
also depends on the camera that you're utilizing. I shit
with a seven to four. So it depends on if
you want to you know, it depends on what you're doing.
But unless there's something very specific, I think twenty frames
a second is more than enough to be honest.
Speaker 3 (40:21):
Okay, thank you, welcome.
Speaker 2 (40:27):
What other questions do you guys have and ladies.
Speaker 5 (40:35):
Jason when you are out shooting with you another pro three?
What do you use in the rain for your hair
light in the back if you need one? Well, we
don't have anything other than the No Pro three that
they can handle it.
Speaker 3 (40:56):
I'm just curious what do you use.
Speaker 1 (40:59):
I'm only laughing because you know I still put my
aos too pro out there and just just do a
quick little prayer. But truthfully, truth, truthfully, I.
Speaker 2 (41:11):
Would probably say that I would do.
Speaker 1 (41:17):
I mean, if it was raining again, if you think
about the conditions, if it's raining, chances are that you're
gonna get you're gonna have street lights and stuff like
that on. So that's probably what I use for rim
light because you're gonna get a really darker environment. I
would try to find a street sign, a business sign. Again,
thinking about the conditions out there, if it if it's
(41:37):
going to be rainy, then it's gonna be dark or
at least dark. Yeah, it's gonna be pretty dark, and
so car lights. You know, I get pretty creative with
that kind of stuff. But I guess if you really
had to, you could you could take you could take
a big surround you could not surround wrap that would
choke the light, but you could take like a big
(41:58):
you know, plastic grocery bag and you can put your
Nova Pro three or your Aos two pro in there.
But understanding, you know, I've always found that I could
put my Ao's two or No New three on the
ground and if it got splashed a little bit, it
wasn't the end of the world. But it's what it's
that constant rain that would break it. So I guess
(42:20):
it depends set it on the ground and put an umbrella,
like like a fit, like a real umbrella over it.
I would do stuff like that. Turkey baking bags can
work to keep things dry.
Speaker 2 (42:31):
Here you go, So for all.
Speaker 1 (42:34):
The chefs out there, go get go get some turkey
baking bags.
Speaker 3 (42:39):
Keep an extra after Thanksgiving it exactly.
Speaker 2 (42:42):
That's all you gotta do. That's all you gotta do.
What else?
Speaker 5 (42:52):
What next rot away will be produced that will be
like the as.
Speaker 3 (43:00):
What one do you think.
Speaker 5 (43:01):
They'll go to to make that water resistance or water
proof outside?
Speaker 1 (43:05):
This is just my opinion. I have no insider information.
I haven't asked, but even on the presentations that I've
been doing, I I I'm hoping that the I'm hoping
that the like the Neo because right now we're on
the Neo three, so I'm hoping that the Neo four, uh,
and then the AOS two were on the AOS two,
So I'm hoping that the Neo four and the AOS
(43:25):
three regular versions will be non water resistant and just
come brighter and you know, whatever bells and most as
they come out with. But I'm hoping that the pro
versions of those lights will be water resistant. You know,
once you introduce that water resistance into the equation, you know,
it's hard for people to not want it on all
of the other, you know, versions of the lights.
Speaker 2 (43:46):
So that's that's what I would say.
Speaker 3 (43:51):
Okay, hey Jason, what's up? Man?
Speaker 2 (43:55):
What's up? Baby boy?
Speaker 3 (43:56):
Not much? Man? You told me how to shoot. I'm
grateful about that.
Speaker 2 (44:02):
You're welcome, brother. How can I help you?
Speaker 3 (44:04):
Yeah? This is Marty McFly. I sometimes posted.
Speaker 2 (44:08):
A group Yeah I saw I saw the post it
today shot. That's a pretty model.
Speaker 3 (44:12):
Oh thanks, many great shots.
Speaker 4 (44:15):
Yeah, Because I was in New York City, but now
I'm kind of like based in Brazil.
Speaker 3 (44:20):
Which is a getting electronic shift there, you know, as
you know.
Speaker 4 (44:25):
Now the unique situation that I'm in because I have
I've had everything pretty much except with the original Aos.
I had the Titans, the I now have the Noble
Pro twos. Also I have the Neo three pros a
couple of those. So the situation I had when I
(44:45):
went to the beach obviously.
Speaker 3 (44:49):
The power.
Speaker 4 (44:52):
And I wasn't shooting at twelve o'clock but more like
ten thirty in the morning because I try to get
there like five dam But as soon as it started,
if the sun started to creep out, I had a
little issue. So when I seen you guys come out
with an over Pro three, I've been talking with Ride
a little bit, you know, back and forth, and I'm
what I'm looking for, and it's okay if this can't happen.
Speaker 3 (45:14):
But the problem I had was balancing.
Speaker 4 (45:17):
Let's just say I'm going to eight thousand shure speed,
but I want to shoot at five point six, which
kind of leads me at a low is Snopes because
of me on the more I raised the ill, the
more the background comes up. Is the Ennova pro good
for those type of situations? And I think you kind
(45:39):
of answered it because you said it's it's a it's
not more of a direct sunlight thing, but more like
sun to the back kind of thing.
Speaker 3 (45:47):
And if it's not, it's okay. But it's just ordering
the light and finding out later on. In Brazil is
a night man.
Speaker 2 (45:55):
So now I hear I hear you.
Speaker 1 (45:56):
And that's why. That's precisely why I showed the examples
that I showed, and it's also why I am the
next video. I mean it's coming out in the next
day or two. The next video I'm coming out is
showing you when to use it. The only thing I
would say is I wish and I said this to
Rotal Light and I love them. But you know this
(46:17):
is true of any company, any company when they come
out with prototypes. It's just the way that it is.
Even when I did prototypes of Sony. It's the same.
But I wish I was able to use the light
at full power capacity right now because it would give
all of you out there, not only myself but everyone
else out there better representation of what it can truly do.
But you know, you did see the difference in the
(46:38):
shots that I showed where the guy in the bathing suit.
You know, it was clearly a much brighter condition. But
you know, if you're shooting, if you're shooting beat shots
at ten thirty in the morning, I mean, there's a
lot of variables that go into that, like are there
clouds or is it just direct sun?
Speaker 2 (46:54):
Because that makes an enormous difference.
Speaker 4 (46:57):
I mean Brazil, I mean, you know that's Juka Rio
Copa Cabana, like it's the sun is pretty powerphile here.
If you don't have sunscreen on every day, you will
get burnt up.
Speaker 2 (47:09):
And now you got very man Alottle stuck in my
Copa Cabana, New York.
Speaker 3 (47:18):
And the sun is never like this, not to it's extreme.
So it was kind of a shock.
Speaker 4 (47:23):
So I hear you, there's not really too many places
you can go to to get the shades on the
beach because they're like sprang beaches.
Speaker 3 (47:31):
So I said, oh, you know, I'm in a situation here.
I'm like, I just need to know.
Speaker 4 (47:35):
I'm kind of like what I was actually I just
did another shoot not posted the group once the pictures edited.
I was in a shoot it was like an overcast,
So in that case, I did kind of use what
you said even before I heard you today, kind of
using as the sun as like maybe a back like kicker,
and then using the shaded area to put those lights into,
(48:00):
you know, kind of blaster right there, and that kind
of works. So with the AOS Pro two's I think
it's probably the best shot I've done to date.
Speaker 3 (48:10):
In terms of composition, lighting and stuff like that.
Speaker 4 (48:13):
But yeah, it was overcast, so I did kind of
get like a bunt right there. But in most cases
moving forward, it probably won't be overcast.
Speaker 1 (48:24):
So now I hear you, I think that the To
answer your question, the full production model of the en
Over Pro three is supposed to be twice as bright
as the AOS two Pro. But again, I haven't been
able to use the full production model yet, So that's
what the full production model is supposed to do. In
regards to you know, it just depends, you know, if
(48:49):
anyone is and I love all the different products that
I use. We just spoke about race cars and swamp buggies,
but if anybody expects a road light to do with
a six hundred watt second model.
Speaker 2 (48:59):
I can do it, can't they can't. You got to
use the right tool for the right job.
Speaker 1 (49:04):
But then there's a lot of things ord lights can
do that the six hundred wat second model.
Speaker 2 (49:07):
I can't do. So true that it's just using the
right tool for the right job.
Speaker 4 (49:13):
Right, And let me on one of the questions before
I go, because I'm kind of new, because I kind
of just moved out here in the.
Speaker 3 (49:19):
End of August.
Speaker 4 (49:22):
If I were to go into the Kickstart and I
obviously it's international delivery, and I've tried to order like
one another electronic and I got when I saw like
the taxes, it was like literally it was actually the
Osmo Pocket three. I was like, oh, this is pretty cool.
(49:42):
Let me order it. So it was like six ninety nine,
but the taxes were six ninety nine. I said, this
is crazy.
Speaker 2 (49:47):
They're selling Osmo's on road a lighte.
Speaker 3 (49:51):
No, no, no, no. I was just saying, as an example,
I was ordering it. No, I hear you yeah, as
much items.
Speaker 1 (50:00):
And that I have no idea, brother, I have no idea.
You're you're the crazy dude who moved to Brazil. But
I'll have to come visit you sometime.
Speaker 2 (50:09):
But but we do.
Speaker 3 (50:11):
Man, it's great out here.
Speaker 2 (50:12):
No, but I have no idea to be I have
no idea on that.
Speaker 3 (50:16):
Okay, yeah, that's all I need to know, because it's like.
Speaker 4 (50:19):
If the I don't know an overpro is what is
it twenty two ninety nine or something like that.
Speaker 2 (50:24):
Yeah, but the only thing I could say is knowing me.
I mean, well, I have no other people.
Speaker 1 (50:32):
I haven't had to do this since I live in
the States, but I know other people who will fly
to the United States, buy something and take it home
because that's cheaper than the taxes.
Speaker 3 (50:41):
You're actually right, that is literally cheaper.
Speaker 4 (50:45):
Now this leads me in the conundrum like now I'm
waiting for that thirty percent kick in in terms of
the power. I want to see that, but I don't.
Speaker 2 (50:54):
When is the kickstart that That is a little bit
of a conundrum.
Speaker 4 (50:58):
I agree with you, so that this is like a
suit because now I have to buy a ticket and
then do I get.
Speaker 3 (51:04):
This thing when a kickstarter, Like I'm like cornered.
Speaker 1 (51:09):
I'm I'm hoping I can get one of those sooner
than later because I understand exactly what you're saying.
Speaker 4 (51:15):
Yeah, and I will be watching when you do, because
I'm I'm on every post talking to Rod.
Speaker 3 (51:20):
Hey, I need to see this. He's like, all right,
so I will be paying close attention.
Speaker 2 (51:26):
All right, my man. Well, thank you so much for
your time.
Speaker 3 (51:30):
Okay, thank you, good luck.
Speaker 1 (51:31):
Good luck on Brazil. I gotta come out there and
shoot the carnival with you sometime.
Speaker 3 (51:35):
Oh man, it's gonna be awesome.
Speaker 2 (51:37):
Okay, all right, brother, it'd be good. Yes, my friendye
and I can't wait to hear this. You're always a
bag of You're always a lot of funny, and so
this would be interesting for those of you who are
watching this. It'll be it's about to get crazy. I'm
mentioned what.
Speaker 1 (51:56):
Emmerdale. Oh oh yeah, yeah, don't even start with your cows. Anyways,
go ahead.
Speaker 6 (52:03):
I just want to reiterate again what we discussed at Manchester.
Speaker 2 (52:08):
This should be rich.
Speaker 3 (52:12):
The people at my end. Yea, the spectrum. I don't
mean the autistic. I'm in the photographics question.
Speaker 6 (52:21):
As I said to you at Manchester, you can blind
a model with an original neo.
Speaker 1 (52:29):
Well, if you're in a dark alley you can exactly.
But but if you're but if you're outside, you won't even.
Speaker 3 (52:36):
See it exactly. I took your point to literally on
that one.
Speaker 6 (52:41):
So to me, the most important thing that Rota Like
can do is to build the Mark four Neo NA
of three with the Magic Ei, which looks incredible, it
really does. I know you've got the app, you've got
the app where you can color match at present, but
(53:03):
it's not going to do the same as you would
with the.
Speaker 3 (53:07):
Magic Eye. Obviously. The waterproofing is the other thing as well.
Speaker 6 (53:13):
If they can incorporate that, and there's something else which
I've forgotten about, but don't worry about it. If they
can incorporate those two new features in the next versions
of the.
Speaker 3 (53:22):
The Neo and the AOS.
Speaker 2 (53:24):
What did I forget I mentioned magic iy.
Speaker 6 (53:28):
Yeah, they've got the new the Magic Eye and the waterproofing.
Speaker 3 (53:33):
There's something else on an over pro as well. Not
to worry, but those are the two.
Speaker 6 (53:40):
Those are the two gangs, because, as we said at Manchester.
Speaker 3 (53:44):
This.
Speaker 6 (53:46):
New and over it is obviously targeted at a specific
end of the market.
Speaker 2 (53:53):
YEA, no, but no, I hear you.
Speaker 1 (53:55):
But you know what, it's funny that you say that,
because just like the A nine is targeted at not
many of us.
Speaker 2 (54:05):
This to be real. Even when the A one came out,
Sony got pissed off because I called it steak sauce.
Speaker 1 (54:12):
It's the A one wasn't targeted, and and the A
nine to three at six grand.
Speaker 2 (54:18):
Yeah.
Speaker 1 (54:18):
I know some people out there who are you know,
who are rich, They're like, oh, that's no big deal.
But for most people it is a big deal. So
I think that for everyone involved, the the hope and
I mentioned this too in Manchester, the hope is that
anytime new gear comes out, I'm like, right, that's cool.
I can't afford that, or that doesn't work for me,
(54:39):
but I'm that's some of some of that is going
to trickle down into these other versions of the of
the lights or the cameras that I do use. And
so I think that's that's the benefit of, you know,
seeing what they're coming out with, an Overpro.
Speaker 3 (54:53):
Three, it's just like Formuly one.
Speaker 2 (54:56):
Down yep, just like just just like NASA. Baby, do
you think we got tang?
Speaker 3 (55:02):
Too true? Too true? All right? Thank you?
Speaker 2 (55:06):
Take care brother? Do what other questions do you lovely
folks have? All right?
Speaker 1 (55:20):
I'm brand new to outdoor led for someone just starting out.
Which world light would you recommend? I primarily shoot seniors
AOS two pro. That would be for you, Sandy, Aos
two pro. Excited to see the twenty twenty four workshop schedule.
Absolutely same here me too?
Speaker 2 (55:40):
What else?
Speaker 3 (55:40):
Here?
Speaker 2 (55:48):
What was this?
Speaker 1 (55:50):
Do you guys have any more questions? Or are you
guys good to go? I mean, I can sing a
dance for you, but I don't think you guys want that.
And we've got let me say, I'm reading the messages here,
have you hi, Jason, have you got used to the
way of the Nova Pro three?
Speaker 2 (56:09):
Paul? Oh, Paul, he's such a He's such a tosser.
Speaker 1 (56:16):
The nover Pro three is the great thing about the
over Pro three is that you will you will work,
you will get you get more defined arms, you will.
Speaker 2 (56:28):
Get a workout.
Speaker 1 (56:30):
I back to Ian's point, I do think that for
the vast majority of you know, again back, I think
that's what's so important. Like the A seven four is
what I use, and it's what the majority of that
type of camera is, the majority of what photographers use.
Speaker 2 (56:45):
That's where the AOS two pro is or the.
Speaker 1 (56:47):
AOS two whereas the the A nine to three, those
types of cameras would be like an over Pro three.
It's it's it's for a different segment. All right, who
was talking to me? Somebody was talking. Well, I've enjoyed
(57:10):
this time with you guys. If you have any other questions,
let me know. But I have really enjoyed this time
with you. I hope this this live stream has been
beneficial for all of you. I really am looking forward
to the twenty twenty four workshop schedule. It's definitely going
to be a lot of fun. I'm definitely planning some
excursions to some crazy and fun places in the world.
(57:32):
This world, as we all see, is blowing up, and
so I'm going to do everything in my power just
to have fun that brings some love and peace and
some happiness to the world.
Speaker 2 (57:43):
Let people, no pun intended.
Speaker 1 (57:45):
Blow off some steam and you know, get away from
the rigors of life and be able to enjoy this
beautiful thing called life, this beautiful thing called love, and
this beautiful thing called photography. So I love y'all. Until
next time, keep shooting. Ever up on your dreams. Ever,
never ever give up on your dreams. And by the way,
there's a really good documentary on Netflix by about Sylvester Stallone.
Speaker 2 (58:08):
You guys should watch it, even if.
Speaker 1 (58:09):
You're like younger or older or whatever you may be.
It's a really good documentary. Talks about the things that
he's gone through, and it really resonated with me because
he talks about, you know how chasing your dreams is
what led him to where he's at today, and it's
what's led me to where I'm at. So never give
up on your dreams, find the right gear that works
(58:31):
for you, and remember you only have one chance to
get it right.
Speaker 2 (58:33):
I love you, guys, I'll talk to you later. Peace.
Hi guys, Welcome to episode thirty of my podcast. This
is how to do led lighting outdoors during the daytime scenarios.
So what you're going to be listening to is a
live stream broadcast that I did on my YouTube channel
as well as on zoom and you're going to hear.
Speaker 2 (00:20):
A presentation that I give.
Speaker 1 (00:22):
I hope it helps for those who are listening to
the podcast, and you hear a Q and A from
those who are joining me live at the end. So
there's some fun stuff in here, lots of great information,
and I hope it helps.
Speaker 2 (00:33):
So let's get to it.
Speaker 1 (00:35):
Thanks for listening to episode thirty and my podcast, and
don't forget to share this with other people.
Speaker 2 (00:40):
Thanks so much.
Speaker 1 (00:42):
So welcome everybody. This is a live stream that I'm doing.
I'm going to be doing a series of these. I'm
doing three of these over the next week. So if
you like this and it's beneficial to you and for you,
then you can join me on the other two. I'm
going to be doing a live stream two days from
now or on Sunday. All of them are ten am Pacific,
(01:03):
so everybody has the same time. It's easy for people
to follow. I'm going to be doing one at ten
am specific Pacific, which will allow people to come on
and learn about how I incorporate other aspects of like
smoke machines, fog machines, that kind of stuff into my
work with LED lighting.
Speaker 2 (01:20):
And then the last one, which.
Speaker 1 (01:22):
Will be a first for me, is I will be
showing people some tips and tricks for how I edit
LED images that I've taken with LED images led lighting,
I should say, because it is very very different, well
maybe not very very different, but it is different how
you approach the editing process depending on the light that
you are utilizing, whether it's natural light, flash or LED lighting.
(01:45):
So this is going to be a series of live
streams that I'm doing here. They will all be broadcasted
on YouTube, so if you don't get to watch it live,
at least you'll be able to watch it on YouTube.
That being said, if you want to be able to answer,
you know, ask questions and stuff like that, then you
know you you come on and enjoy me live if
you if you can. So with that being the case,
(02:08):
let's get started here.
Speaker 2 (02:10):
I'm going to.
Speaker 3 (02:13):
Recording in progress.
Speaker 1 (02:14):
Yes there is all right, So now we're going to
share my screen. I have a really handy dandy presentation
ready for you guys. So we're gonna shoot about how
we're going to talk today about how to use LED
lighting to shoot outdoor portraits and uh, I've been able,
I've been very blessed to be able to have used
(02:35):
the uh you know, all of the red light products
and non read light products. To be fair, I've used Stella,
I've used some godocs LEDs, and I've used Obviously, the
majority of the work that I've done has been with
the road a light LED and so I'm going to
talk to you guys about the stuff that I use
and how you can really maximize your work to get
(02:55):
the best results. Obviously, I'm still somebody who who uses
traditional so I will be able to answer those questions
because regardless of anything that I do, it always is
about finding the right gear that works for you and
finding the right gear that helps you deliver the images
and the work that you're looking to create. So at
the end of all of this, I'm happy to answer
any and all questions that that any of you have.
(03:20):
By the way, if you're watching this and you want
to register and this free register for the other sessions.
Just go to jasononard dot com slash Lighting and you
can register for the other two sessions that we're going
to be doing.
Speaker 2 (03:31):
All right.
Speaker 1 (03:32):
So I've been very fortunate to be to have used
again all of these different led lighting lights and I've
been able to really play with them and see what
I can do and can't do with the lights.
Speaker 2 (03:47):
Over the last month, A road Light has.
Speaker 1 (03:48):
Come out with a new product, you over Pro three,
and I'm going to be showing you a series of
shots that I've done with that, but also the AS
two pro to kind of address some of the issues
that I know, or maybe not issue, but the questions
that I know that people will have out there. You know,
the power differential between a NATO's two prone and a
over Pro three, some of the advantages so on and
(04:10):
so forth, and so let's get into it. So this
is one of the shoots that I did and you'll
see a video coming out on this later this week
with the beautiful model named Natasha and a beautiful dog
named Ozzy up in London, London area, and really beautiful shoot.
This is the an Overpro three and it kind of
(04:31):
exemplifies exactly what we're trying to work towards with our
work here. So the agenda for this live stream will
be we're going to talk about the changes in LED
technology and how that helps to benefit us. We're going
to talk about when and where to use LED lighting
outdoors for best results. We're going to talk about how
(04:52):
to maximize LED lighting. Because you know, one thing that
people will say to me is I'm doing some of
these presentations or when I some events, people come up
to me and say something like, Oh, I tried this
and it didn't work like it did in your video.
And the first thing I will always say to them is,
what did you do? Did you do what I did
in the video? Did you try something very different? If
(05:13):
you tried something very different, that's fine. You're courageous and
you're inventive and you're going out on your own, but
don't expect the same results if you're not doing something
as I'm showing you how to do it. So that
being the case, I'm going to talk to you about
how I maximize LED lighting and where I can use
it to get the results that I'm seeking. In this
(05:35):
demonstration or this presentation, I should say, we're going to
be talking about two main lights. We're gonna be talking
about AOS two Pro and then nover Pro three, And
I use these two examples of both shooting at the
beach to exemplify the difference between the two lights. There
is a power differential between the two lights. The nov
(05:58):
Pro three is obviously bright. Obviously, the brighter light gets
the the the more we can use it, uh, you know,
wherever we're shooting, and so they you can use them
in different circumstances. But the Unover Pro three, just because
of the the increased brightness opportunities, you can get some
better results with the Unover Pro three. You can talk
(06:22):
about the the advantage advantages from a portability standpoint with
Aos two Pro. So I'm gonna address both of those
two in this presentation also because I know I'm gonna
help and inevitably get some questions about it.
Speaker 2 (06:39):
You know.
Speaker 1 (06:39):
We obviously the other player in the mix in the
word of Like Family is the Neo three Pro. The
Neo three Pro is something that I'm not going to
address in this presentation only because the n over Pro
three is new that number one, number two. The n
over Pro three is where a lot of the questions
are gonna uh, with a lot of folks. And also
(07:02):
when it comes to shooting outdoors, we all all we
all of us already know or a lot of us
already know what we can do in darker situations or
darker conditions when we are utilizing LED lighting, but we
are continually asking the questions as to what we can
do in a you know, brighter situation where we're shooting
(07:24):
in daylight or something of that nature. And that's why
we're going to focus on those two lights and we're
going to focus on brighter daytime conditions two uh, to
help people understand what what the possibilities are.
Speaker 2 (07:40):
So, yeah, this is a shoot.
Speaker 1 (07:41):
That I did out in u in Toronto. Excuse me,
it's actually Nigra Falls. But this was done with the
Unover Pro three. I'm gonna you'll see this in an
upcoming video as well. But this is done with the
Uenover Pro three where I've really gone and and and
tested it to see what the possibilities are with the
light in a continuous and in a flash mode. And
(08:03):
that's why today we're going to be focusing on using
these lights in daylight conditions.
Speaker 2 (08:08):
All right, So now that we've set the.
Speaker 1 (08:09):
Parameters, Oh and by the way, at the very end
of all this is going to be a Q and
a saysion. You guys can ask me any and everything
that you want at that point related to this topic,
and then I'll do my utmost best to help you
in any way possible. Also, I just wanted to know
a quick note is that I am also recording this
(08:31):
as a podcast, So if you can't watch all of
this or whatever it may be, you will see some
of this or you'll see this come out as a
podcast to be able to listen to as well.
Speaker 2 (08:40):
I'm trying to.
Speaker 1 (08:42):
Simulcast, if you will, or use these opportunities to get
this information out there. So I hope you enjoy that.
For those who listen to my podcast, it's a lot
of fun. You should check it out. Changes in LED
technology obviously one of the first things that always, well,
not one of the first things. The first thing that
(09:04):
always is at the forefront of my interest when new
lights come out are.
Speaker 2 (09:10):
Power power power power power.
Speaker 1 (09:12):
When I have something like a traditional strobe come out,
it's funny to look at the differences between the two.
So when you have something like a goad ox or
a pro photo and you're looking at a new light
that comes out. Power is usually not the issue. The
issue is recycled time. The issue is if they've improved
it recycled time. The issue is if they've improved the
(09:34):
battery performance, because typically batteries will just evaporate in the
traditional strobes, especially if you're using using them in humid
or hot conditions. So when we're looking at advancements in
traditional strobe technology, those are the areas that we're always
looking for when we're looking at LED technology, the innovations
and changes that I'm looking for. Whenever a new light
(09:55):
comes out is is it brighter? And that's because we
don't worry about recycle time and we don't worry about
battery duration as it relates to using flash with LED technology.
So as a result, every time a new light comes out,
that's the main question I have.
Speaker 2 (10:12):
Is it brighter?
Speaker 1 (10:13):
So whether it's you know, the Neo three pro or
like the you know, when they come out with a
Neo four pro or an AOS three pro or whatever
new iteration of light that comes out, that's going to
be first and foremost how bright is it? So to
answer that question off the bat, the AOS two pro
or the excuse me, the Enova Pro three is definitely
(10:36):
brighter than the Aos two Pro. This is a photowalk
that I did. This is just a quick little BTS
that I did, a photowalk I did in Venice Beach
just a week ago, and that's the Nova Pro three
illuminating the model. This was just a simple shot taken
with my cell phone unedited, just quick cell phone shot
of some of the attendees who were shooting one of
(10:57):
the models while there were others who were shooting the
other model.
Speaker 2 (11:00):
You can see on the.
Speaker 1 (11:01):
Sand that there's there's light there that's not photoshopped in anyway.
You can see that there's there's light there and she's
rimlet by the sun. So that gives a great illustration
of the amount of output that you're going to look
at when you're getting when you're going to use the
Enova Pro three. This was shot at full one hundred
percent constant lighting with the Enover Pro three, and you
(11:25):
can tell that the model is completely illuminated from head
to toe.
Speaker 2 (11:30):
This is a.
Speaker 1 (11:31):
Real representation of what you could look at from a
brightness UH performance, you know from the from this light.
Speaker 2 (11:38):
Also the things.
Speaker 1 (11:39):
That we UH have watched over the years with led
technology and the changes that have come about have been
you know, they offer high speed seen flash, no recycled
time as well as you know, obviously the ability to
to you know, streamlight on your your subject in a
continuous manner. One thing that you know, somebody just brought
up because of the the new A ninety three and
(12:01):
the global shutter, and it can shoot it a one
hundred twenty frames per second. Just there's people on here
who are not Sony shooters, so I'm not going to
go down the Sony rabbit hole very far at all.
But when someone even mentions, you know, one hundred and
twenty frames per second, as you're talking about utilizing it
with flash, even at twenty frames per second, it's pretty
(12:22):
much imperceptible the opportunities that would exist with you know,
no recycled time flash. In other words, you really wouldn't
notice it. Even when I would shoot NFL games at
the old A nine and I would go at twenty
frames per second, the variance between the two is so little.
(12:42):
And for those who are video heads out there, for
those who love video, it's also worth noting that video
frame rates are typically shot unless you're looking at slow
motion video frame rates for a film are twenty four
frames per second. Video frame rates for typical video would
be at thirty frames per second. Slow motion would be
one hundred and twenty frames per second. So when any anytime,
(13:05):
anybody ever quotes or talks you specs about frames per
second and what you would look for if you tried
to shoot, or if you did shoot one hundred and
twenty frames per second with a flash that had and
no recycle time, you might as well just film video
because you're you're gonna be doing slow motion. That's that's
all slow motion work, because a twenty to twenty four
to thirty frames per second is all going to be.
(13:28):
The changes even if a model is dancing, if you
have a ballerina, the changes in what the model would
do and how that would be perceptible to your eye
would be so minute. Like her finger even if she's
moving her arms in a very quick manner, her fingers would.
Speaker 2 (13:43):
Be slightly slightly slightly different.
Speaker 1 (13:45):
When you're shooting at sixty, one hundred and twenty frames
per second. So just keep that in mind because I
know people are excited about that, and that's really cool
that Sony did that. But from a practicality standpoint. I
just wanted to address that quickly. From again, the other
advantages of the LEDs is you get RGB and white
balance capability with the road light, you're getting touchscreen, and
(14:08):
the new additions to the technology family as it relates
to what the Overpro three can do, or that you
get magic eye, and which is the lights light's ability.
It has censors inside the light that will pick up
either the white balance and just like your camera would
set an auto white balance, this is the first light
(14:29):
now that will actually set auto white balance on the light.
Speaker 2 (14:32):
Pretty cool stuff.
Speaker 1 (14:33):
And the other thing is that the an Overpro three
is water resistant. It's not waterproof, you can't submerge it,
but it is water resistant, which is a really big
benefit for some of the shoots that you're trying to do.
Whether it's you know, if you live in a rainy condition,
if you're trying to shoot in some sort of a rainforest,
if it's in a very humid environment where there's just
you know, condensation that's going to build up on the light,
(14:54):
things of that nature, or even if you're doing something
as simple as which I do a lot, setting the
light on the ground, the ground may be wet. Having
that water resistance can be beneficial to a lot of
photographers and a lot of different circumstances, depending on you know,
what it is that they're trying to do. So those
are some of the changes that we're seeing, and I
hope to see these changes continue in the future iterations
(15:16):
of like the Neo four Pro and the AOS three Pro,
and I'm hoping that the pro version lights of these
will all have this water resistance as well as the
Magic guy, and I always hope that they are brighter.
All right, So now let's talk about when to use
LED lighting outdoors again. I'm addressing the difference between the
(15:39):
two because I've gone around and I've done a lot
of demonstrations with this, and the questions I get online
almost all relate to the AOS two pro versus you know,
a Pro three, and that's why I'm addressing it here
to try to be as transparent and helpful as I
possibly can. So with AOS two pro, you're pretty much
gonna use it and shoot with it outdoors, either in
a continuous or in a flash mode. When you know
(16:02):
you're in a little bit of a darker condition. You're
not going to shoot it in the middle of the day.
I if there's no diffusion, if there's no sun, or
excuse me, if there's complete sun and no diffusion, you're
not going to use it in that circumstance. You're going
to use it something similar to what you would see
here where you have.
Speaker 2 (16:20):
You know, golden hour.
Speaker 1 (16:22):
Golden hours perfect for these kinds of lights. And one
big recommendation you'll see this in some of the tips
and tricks that I have at the end, but one
big recommendation to really maximize these lights is what you
can do two things, and.
Speaker 2 (16:35):
Again I'm just being as straight as I can. Two things.
Number one, if you're shooting with these lights and you're
shooting with the.
Speaker 1 (16:42):
Light to your back and you're using the light to
illuminate your subject, you can put the road a light
on them, but that's pretty much using a lot of
the sun's power. And then if you're looking to augment
it in a little bit of a way with the
road light, you can do that. But where you really
maximize the output on led portraiture outdoors with these types
(17:03):
of lights is when you put the sun to the
back of your subject. And the reason why that's so
important is you put their face in the shade. When
you do that, and when you do that, you give
the opportunity, you give the light the opportunity to be
able to illuminate, because otherwise it's not fighting against the sun,
it's working with it because you're shading that your subject's face.
So anytime you're shooting with led portraiture outside, try to
(17:28):
put their back to the sun and block the sun.
And that's kind of a good trigger, a good way
for you to know because if you are shooting and
their head or the sun is so bright that you
can't block the sun with their back, then that's kind
of a sign that it's not the right time to
use it, because it's going to be too bright anyways,
(17:50):
unless it's overcast.
Speaker 2 (17:51):
So this is the kind of environment.
Speaker 1 (17:53):
Is a good representation here of when you would use
the AOS two pro outdoors, and versely, this is a
great example of when you would use Uenover Pro three outdoors.
Both lights were used with the smart soft box on them,
and both as you can see, we're done at the
beach sun to the back of your subject. But as
(18:14):
you can see with the uenover Pro three, I was
able to use Unover Pro three in a much brighter environment.
So just hopping back real quick. When we look at
the AOS two pro, these are both shot at full power.
This is AOS two pro at the golden hour once
the sun is really deep dipping under the horizon there,
and we're getting those colors, which is very beautiful, but
(18:35):
trying to shoot it before then you're not going to
get as good a result as you want. Versus the
anover Pro three, you can truly see that increased amount
of power that is hitting your hitting the subject. The
model there, his name is Ryan, he's a really cool guy.
But you can see, yes, the sun is getting closer
to the horizon. That's just done for artistic purposes, but
(18:58):
you can see there's definitely an increase in light output
that I'm getting with the U Overpro three three versus
the AOS two pro. And if you really want a
good representation, if you want to be able to read
how much light is ambient light versus how much light
is being created by the light, look at the shadow
on the shoulder area here on his left shoulder as.
Speaker 2 (19:21):
We're looking at it. It's the right side of the
demonstration presentation.
Speaker 1 (19:26):
But right here, this this shadow area is exactly where
you can see just how much light is being pushed
out by the light itself versus ambient conditions. So you
can truly see how much the UNOVERPRO three is illuminating
him versus you know what I would get, you know,
with an AOS two pro. So there definitely is a
(19:47):
discernible difference in power output. Because that's that's one of
the number one questions I'm getting, and that's why I'm
trying to show you examples and be as you know
upfront and honese as I can about it. Where to
use the LED outdoors. This is the this is the
AOS two pro. This is using it in a dappled
light scenario. But in any of these scenarios, even though
(20:09):
dappled light may be behind you, you're still going to
want to put your subject in in a shaded area.
And even if I was shooting with traditional strope, I
would still do something similar because you want to mitigate
any harsh light that's coming in on them. Especially if
this is you know, two or three o'clock in the afternoon,
like which is when I shot this wedding, You're you're
(20:31):
still going to want to put them in in a
in an area or in an environment where there's some
shading that's occurring on your subject. So you would do
that for traditional strobe and for LED lighting, but for
LED lighting it's even more important than when you do
it with traditional strobe simply because traditional strobe is stronger
than LED lighting from a power output standpoint, So you
(20:52):
want to make sure when you're using LED lighting to
to definitely do this. You know this as an example.
Now you can see the modifier on the light here.
This is again the a's two pro with this modifier.
There's no modification on this light. You can't see that
in the presentation, but I have removed all of the
inner diffusion and outer diffusion on this modifier because otherwise
(21:15):
it wouldn't have enough light output to be able to
illuminate my subject, which is the model. Or excuse me,
this is a real wedding. This is a bride name Megan.
So why am I using a modifier. I'm using a
modifier to direct the light. So that's very important. Anytime
that you are in a scenario where you're trying to
use lighting, always use a modifier. Going back to these two,
(21:40):
the smart soft box is on, but if I'm not
getting enough light like in this circumstance here with Ryan,
this smart soft box is on the Anova Pro three,
but there's no diffusion on the light. I don't excuse Yeah,
there's no diffusion on the modifier on the smart soft box.
I'm using that smart soft box to help direct the light. Yes,
(22:00):
you could use barn doors, but barn doors kind of
just a personal preference. They kind of get in the
way for me. So I really like to use modifiers
to direct the light versus barn doors. Barn doors are noisy.
These again is a portional preference thing, but I really
do prefer to use a modifier to direct the light
one possible. I also like the multi use opportunities that
(22:22):
using a modifier present to me, because if I'm already
using a modifier with no diffusion on it, then when
I do need that diffusion, I don't have to reset up,
take the barn doors off, put the modifier back on.
Speaker 2 (22:34):
I already have the modifier.
Speaker 1 (22:35):
Now all I have to do is just you know,
put any modification diffusion layers, inner baffle that kind of
stuff into the modifier to be able to soften it
more when I start shooting into in a darker environment.
So as you can see here, this is when I
would use the AOS to Pro outdoors. Converse a as
(22:57):
a comparison, this is when I would use over Pro
three outdoors. So clearly you can see I'm still utilizing
the same aspects of shooting in a setting, my client,
my subject in a shady environment, and this is the
shots you're seeing here. This is this is the prime
video that you're going to see that I did with.
Speaker 2 (23:19):
This is a model named Natasha. You're gonna see this
in a video come.
Speaker 1 (23:22):
Out of her with a dog, being able to really
utilize this lighting outdoors. It should also be stated that
I shot with the the in over Pro three in
continuous mode. I I like to use it in continuous
(23:42):
mode because not only is it great four you know,
to be able to illuminate my subject, but I also
shot it with a continuous mode because it's honestly great
for my videos. So when you guys watch my videos,
you can actually see the light that's that's illuminating her
versus just that little quick pop a flash. So that's
done for from a practicality standpoint, to make sure that
(24:02):
I'm really showing what it can do. And you can
judge for yourself if it would work for you or not.
I also did take the opportunity to use the light
on as you can see on the picture on the right,
on the little doggie there Ozzie, and you can see
that her eyes. I know it's a guy's name, but
the dog is actually a girl. But the dog's eyes
(24:25):
are illuminated, so clearly that's being done by the light.
You can also see the light, the variance in light
between you know, the right ear and the left ear
of the dog. You can definitely see where that light
is impacting the subject and is illuminating exactly.
Speaker 2 (24:39):
What I want to do. And this was really fun
for me to.
Speaker 1 (24:42):
Do because you know, obviously I shoot a lot of
models and it's really fun. But I also I wanted
to show people some of the opportunities that existed when
I would do something like pet photography, because there are
tons of folks out there who make a lot of
money or just have a lot of fun shooting pets,
and so I'm trying to branch out and show some
show some different things that are possible with some of
(25:05):
the different lighting.
Speaker 2 (25:05):
Sets that we have.
Speaker 1 (25:07):
So you are still going to want to do the
overpro three or as it relates to the subject here,
where do you use the Noverpro three.
Speaker 2 (25:16):
You're still going to want to use this in a
shadier environment.
Speaker 1 (25:21):
But again, you know, if I was doing traditional strobe,
I would still want to do something similar because look
how beautiful that is. It's beautiful dappled lighting, beautiful leading lines,
and you can really get some really beautiful results. Also,
it should be stated that what you're looking at from
the images here are this is the Unovapro three, and
(25:44):
the any of the folks myself included, who have been
using the Unovapro three, we're not using them at full power.
We may it may say a hundred percent power on
the light, but we're not using them at full power
because they are not one hundred percent full power capable yet.
So that's a that's a good thing for those who
want to see power output on the lights. We should
(26:06):
get twenty to thirty more percent out of the production
model of the nover Pro three. Then we're getting out
of the model that all of us are testing right now.
So just anytime you do testing on you know, cameras
or lights, you know, the the first versions of these lights,
the prototypes come out and you test them, but then
the production models, you know, work out the kinks and
(26:26):
you get more power, more processing, whatever may be depending
on the product that you're using. And so just wanted
to make that point that you know, the the what
you're seeing out of this model here, this, this light
output on this on the model is not the full
capabilities of the anova Pro three. And as soon as
(26:46):
and I've said this rot light, as soon as they
can't get me a production model of the full capabilities,
I will share that with all of you as soon
as humanly possible. So a few more examples of the
anov Pro three that discernible increase in power. Again, this
was my number one question, which is why it's the
number one thing that I'm trying to show, because this
is what people want to know. It's a lot of money,
(27:08):
it's a lot of money to drop on a new
light and is it right for you? All of those questions,
and that's why I'm trying to show it to you.
So you can clearly see the light that's on the
model's face here.
Speaker 2 (27:19):
This is Brianna.
Speaker 1 (27:20):
You can see the light that's on her face there,
just coming straight in from the light. I like to
take production shots like this, so it actually shows the
lighting that's occurring on the front side of her chest,
her arms, her face, the side of the body that's
facing the light. You can see the light on her
versus the back end. You can see there's not that
light there. You can see the shadow area behind her
(27:41):
her head, another example of light output. You can see
the light that's coming in on her versus the shadow
on the light that's coming in, on the side of
the face that's facing light versus the light that is
not hitting her, and you can see the shadow pattern
behind her. One more quick example here again you can
(28:01):
see where and you'll see this in the video as well,
my friends, but you can see the light coming in,
the light hitting the front of her face, in the
front of her body, versus the fall off behind over
on the other side of the neck. So I hope
that this helps to answer some of the questions out there,
because I know if I was looking at a light,
or if I was interested in the light, I would
(28:22):
definitely want to know what it can do power wise, because,
as I said earlier, LED technology already does so much.
The key question for me and for nearly everyone out
there is where's the power? How much power do we have?
And again the reason for that is because the more power,
the more we can do with it. And one thing
that I should say that's very important to me and
(28:44):
should be important to other photographers is understanding that the
more power that you have. There's also a relationship between
the more power that you get out of a light,
the more you can modify the light. So more power,
more modification equals softer light. That's the holy grail of
soft light diagram according to me. So if we continually
(29:07):
get more power, then we can modify that light, which
increases the quality of the light, which in turn gives
you much better results if you are a soft light
fan like I am. All right, so let's talk about
how to maximize led lighting outdoors. These are some quick
tips and tricks of things that I've done over all
(29:28):
these many years, and I hope they help all of
you out there. For those wondering this shot with this
the gentleman here, Alio. This was a fire shot. This
was with the Aos two that I did and as
you can see, I shot it at the right time
of day to be able to bring out everything that
I wanted.
Speaker 2 (29:45):
So understanding when to shoot and use something.
Speaker 1 (29:48):
That's why I addressed when and where to use these lights,
because that is where you're going to get your best results.
So if you want great results, follow the tips and
tricks that I'm showing you. Use the lights when and
where I tell you to use them, and and that's
how you're going to get the results that you want
to get. Because nothing is more frustrating than having an
idea in your head. You want to get something done
and it doesn't come to fruition because you're not using
(30:10):
it when it can be used. It's like taking a
ferrari out into a mudpit, You're going to be disappointed.
Or it's like taking you know, a monster truck onto
a racetrack, You're going to be disappointed.
Speaker 2 (30:20):
You have to pick the right tool for the right job.
Speaker 1 (30:22):
And when you do so, take that ferrari out on
the racetrack or take the monster truck into the mud pit,
you're going to be happy. Just make sure to use
the right tools at the right times. So how to
maximize LED lighting outdoors, Avoid the middle hours of the
day unless there is diffusion from the sun. So you know,
going back to this this shoot here with Brianna with
(30:42):
the fall leaves. It's very beautiful up Niagara Falls right now,
we have beautiful fall leaves. This was done at two
o'clock in the afternoon, but it was a very it
was an overcast day, so I was able to get
some really nice results because it was the right tool
for the right job. But you have to again understand
that when you're going out there to do it, find
(31:04):
shade to allow your subject to open their eyes and
block harsh light. So I said it earlier, but even
if you were using traditional strobe, you would still want
to put somebody, uh when possible, into more of a
shadier environment, or at least have them rimlet by the
by the by the sun like like I said earlier,
put their back to the sun. And you do that
(31:26):
by putting them, you know, in those correct positions. That
also allows them to open their eyes. So unless you're
shooting somebody with sunglasses on, which some people like and
I definitely do it sometimes as well, But unless you
you know, really want to uh do only a sunglasses
only shoot, then you you you one hundred percent want
to try to find something something to block harsh light.
(31:50):
I will also say this natural light shooters. And I've
said it a million times. Natural light when it's when
it's perfect, there's nothing better than it. But it's only perfect,
you know, a couple hours if that a day, weather depending.
So what you want to do is know when and
where to use what. So I say all of that
(32:11):
because natural light shooters will also put their subjects into
the shade. Well, the difference with the natural light only shooter,
if they only shoot natural light, is they will get
a lot of color cast. So that's something that's very
important to understand. So if you're putting your subject, especially
if they have a lighter complexion, the more lighter complexion
your subject has, the more color casts are going to
pick up. So if they have complexion like me, you know,
(32:34):
a white guy, I'm going to get you know, if
I'm under a tree and the sun's coming through and
it's pushing green light through the leaves, my face is
going to turn green. And so that's another reason why
when you do put your subject into the shade, if
you can illuminate them with lighting, it makes a world
of difference, not only to give them catch light and
things of that nature, but also really enhances the look
(32:58):
of the image.
Speaker 2 (32:58):
Because you're control the shadows.
Speaker 1 (33:00):
And you are mitigating and eliminating color cast.
Speaker 2 (33:04):
That's very very important.
Speaker 1 (33:06):
The other thing that I was talking about earlier is
using a modifier or barn doors to direct the light.
Speaker 2 (33:12):
Again, when you're dealing with LED.
Speaker 1 (33:15):
Lighting, because it's not as powerful as traditional stroke, the
last thing you want to do is have any light loss.
So if you're going out there and you're just shooting it,
you know, and you're not directing that light at all,
that light spilling out the sides. So it's very, very
very important that you direct that light either with again
a modifier you know, or well a modifier. The only
(33:41):
time I'll ever really get into using umbrellas and such
is when I'm shooting in a very darker environment where
i really want to spread that light. That's when you
bring out the big seven foot parabolics and stuff. That's
a beautiful time to use those big umbrellas. But if
you really want to push the light get the most
out of your LED, don't use an umbrell outdoors in
(34:04):
brighter conditions.
Speaker 2 (34:04):
You're not going to get a very good result.
Speaker 1 (34:07):
Again, put the sun at your subjects, back at the subjects,
back to use as rim lighting, so you know, you
can always have two point lighting if you understand how
to use mother nature as an assistant. So always try
and do that. Make sure that you're putting their rim
light to your subjects back when possible, using flash mode
to conserve battery consumption. So you know, one advantage of
(34:31):
LEDs is that you know you can get a long, long,
long battery life out of the lights when you're using
them in flash mode, but if you're not, you will
go through the batteries pretty quick. So you know, like
the AOS two pro takes one vmount battery and the
anov Pro three takes two vmount batteries. Now they will
last a long time, but if you use them correctly.
(34:53):
So a couple points is I will always turn the
lights off when I'm not using them. I just don't
leave them on. Just think of it as leaving the
air conditioning on when you leave your home. It's just
a waste of money. And also I will put them
in flash mode when possible. One more point that's very
important on battery conservation is when you're using the lights,
(35:17):
if you can get away with using eighty percent or less,
especially on the road of lights, and this was true
when I shot Stella too.
Speaker 2 (35:25):
By the way, when you do.
Speaker 1 (35:27):
Eighty percent or less, the lights will stay cool enough
to where the fans will not have to kick on.
When those fans kick on is when the battery those
fans suck up so much battery consumption. So if you
can keep your lights seventy nine percent or less, you'll
really conserve a lot of battery for what it's worth
when you are shooting them in the brightest conditions. If
(35:49):
you're all out of options and you just need as
much light as you can get, you use bare bulb
on your LED lights. That's one benefit of being able
to use LED lighting, not Stella. Stella you can't shoot
bear bulb, but it does not look good. But with
Rotolo you can shoot bare bulb and get some really
great results because of the just the way the light
is made.
Speaker 2 (36:08):
That's just the truth.
Speaker 1 (36:09):
I mean, just the physical dimensions of the fact that
it's already spread out. You can shoot a bear bulb
and get some much better conditions or results, I should say,
than when you do that with the traditional strub or
other types of LEDs. And most importantly I'm going to
be doing and to try to demonstrate some of these
(36:31):
techniques and how I will edit for LED lighting. I'm
going to be doing a livestream on the fourteenth, so
make sure to pay attention to that. I'll also be
doing a live stream on Sunday, November twelfth from ten
am to so that's what three days from now, I'll
be doing a livestream On the twelfth, I'll be showing
(36:52):
you guys how to use smoking fog machines with your
LED lighting for great results.
Speaker 2 (36:57):
And just a quick pre you know tip on that.
Speaker 1 (37:00):
One of the main reasons I would choose to use
LED lighting for smoke and fog machines is you that
that whole thing I'm seeing, you know, what you see
is what you get is so amazing when you when
you incorporate LED lights with fog machines, it's it's incredible.
Speaker 2 (37:17):
And then again on the fourteenth, I'll be doing an editing.
Speaker 1 (37:22):
You know session where you'll get to watch me edit
some of my images and show you what I do
on some of the images that I've shown you to
to create the results that you see. So, if you
guys are interested in any of this stuff, you can
look at the Neo three pro or the Aos two
Pro and go to road light dot com slash Jason offers.
You can enter the password there it's Jason Lanier and
(37:44):
that'll get you in there and you'll get like twenty
percent off of these lights off of the Neo three
Pro Aos two Pro and Rhode Light is doing the
Nova Pro three on their Kickstarter right now, so you
can go to rotle light dot com slash Kickstarter and
pledge there. And one thing that is worth noting is
if you I didn't find this out until halfway during
the kickstarter, but if you do go and pledge one
(38:04):
buck on the kickstarter, it also opens up the store
for you to be able to get discounts on accessories
and stuff too, so that's worth noting. If you're a
current road light user, and my twenty twenty four workshop
schedules coming out this month, make sure to stay on
top of that because we're gonna have a blast in
twenty twenty four. And also feel free to join me
(38:26):
on my Patreon channel, which is www dot Patreon dot
com sas Jason Lanier Photography. So with that being said,
I'm now going to open it up into a question
and answer session for all of you out there, and
I hope this has been beneficial for all of you.
So I'm going to stop sharing my screen.
Speaker 2 (38:49):
I'm going to.
Speaker 1 (38:55):
Now I'm going to give you grant you, guys, the
opportunity to unmute yourself.
Speaker 2 (38:59):
So you can now unmute yourself and ask.
Speaker 1 (39:03):
A question whatever you may have, and I will do
everything in my power to answer it to the best
of my capabilities.
Speaker 3 (39:16):
Jason, Lisa, A great question.
Speaker 2 (39:19):
Go for it.
Speaker 3 (39:20):
What's the sweet spot with kNs?
Speaker 4 (39:23):
Like like a spraying fram like ten or twenty shots frames?
Speaker 3 (39:30):
Version of good?
Speaker 2 (39:31):
Yeah, we would you better like ten? Well, just it
just depends. I mean, we go crazy.
Speaker 1 (39:39):
And I've had to learn over the years for anybody
who's come to any of my events. You know, when
I demonstrate the no recycled time flash on the road light,
it's really cool, but you know, I hate going back
into my home and then I've got I look at
the memory card and I've got, you know, two hundred
and forty shots or three hundred whatever shots of the
same thing. So I I think you have to be
(40:00):
selective with what you want to do with it. You know,
also depends on the camera that you're utilizing. I shit
with a seven to four. So it depends on if
you want to you know, it depends on what you're doing.
But unless there's something very specific, I think twenty frames
a second is more than enough to be honest.
Speaker 3 (40:21):
Okay, thank you, welcome.
Speaker 2 (40:27):
What other questions do you guys have and ladies.
Speaker 5 (40:35):
Jason when you are out shooting with you another pro three?
What do you use in the rain for your hair
light in the back if you need one? Well, we
don't have anything other than the No Pro three that
they can handle it.
Speaker 3 (40:56):
I'm just curious what do you use.
Speaker 1 (40:59):
I'm only laughing because you know I still put my
aos too pro out there and just just do a
quick little prayer. But truthfully, truth, truthfully, I.
Speaker 2 (41:11):
Would probably say that I would do.
Speaker 1 (41:17):
I mean, if it was raining again, if you think
about the conditions, if it's raining, chances are that you're
gonna get you're gonna have street lights and stuff like
that on. So that's probably what I use for rim
light because you're gonna get a really darker environment. I
would try to find a street sign, a business sign. Again,
thinking about the conditions out there, if it if it's
(41:37):
going to be rainy, then it's gonna be dark or
at least dark. Yeah, it's gonna be pretty dark, and
so car lights. You know, I get pretty creative with
that kind of stuff. But I guess if you really
had to, you could you could take you could take
a big surround you could not surround wrap that would
choke the light, but you could take like a big
(41:58):
you know, plastic grocery bag and you can put your
Nova Pro three or your Aos two pro in there.
But understanding, you know, I've always found that I could
put my Ao's two or No New three on the
ground and if it got splashed a little bit, it
wasn't the end of the world. But it's what it's
that constant rain that would break it. So I guess
(42:20):
it depends set it on the ground and put an umbrella,
like like a fit, like a real umbrella over it.
I would do stuff like that. Turkey baking bags can
work to keep things dry.
Speaker 2 (42:31):
Here you go, So for all.
Speaker 1 (42:34):
The chefs out there, go get go get some turkey
baking bags.
Speaker 3 (42:39):
Keep an extra after Thanksgiving it exactly.
Speaker 2 (42:42):
That's all you gotta do. That's all you gotta do.
What else?
Speaker 5 (42:52):
What next rot away will be produced that will be
like the as.
Speaker 3 (43:00):
What one do you think.
Speaker 5 (43:01):
They'll go to to make that water resistance or water
proof outside?
Speaker 1 (43:05):
This is just my opinion. I have no insider information.
I haven't asked, but even on the presentations that I've
been doing, I I I'm hoping that the I'm hoping
that the like the Neo because right now we're on
the Neo three, so I'm hoping that the Neo four, uh,
and then the AOS two were on the AOS two,
So I'm hoping that the Neo four and the AOS
(43:25):
three regular versions will be non water resistant and just
come brighter and you know, whatever bells and most as
they come out with. But I'm hoping that the pro
versions of those lights will be water resistant. You know,
once you introduce that water resistance into the equation, you know,
it's hard for people to not want it on all
of the other, you know, versions of the lights.
Speaker 2 (43:46):
So that's that's what I would say.
Speaker 3 (43:51):
Okay, hey Jason, what's up? Man?
Speaker 2 (43:55):
What's up? Baby boy?
Speaker 3 (43:56):
Not much? Man? You told me how to shoot. I'm
grateful about that.
Speaker 2 (44:02):
You're welcome, brother. How can I help you?
Speaker 3 (44:04):
Yeah? This is Marty McFly. I sometimes posted.
Speaker 2 (44:08):
A group Yeah I saw I saw the post it
today shot. That's a pretty model.
Speaker 3 (44:12):
Oh thanks, many great shots.
Speaker 4 (44:15):
Yeah, Because I was in New York City, but now
I'm kind of like based in Brazil.
Speaker 3 (44:20):
Which is a getting electronic shift there, you know, as
you know.
Speaker 4 (44:25):
Now the unique situation that I'm in because I have
I've had everything pretty much except with the original Aos.
I had the Titans, the I now have the Noble
Pro twos. Also I have the Neo three pros a
couple of those. So the situation I had when I
(44:45):
went to the beach obviously.
Speaker 3 (44:49):
The power.
Speaker 4 (44:52):
And I wasn't shooting at twelve o'clock but more like
ten thirty in the morning because I try to get
there like five dam But as soon as it started,
if the sun started to creep out, I had a
little issue. So when I seen you guys come out
with an over Pro three, I've been talking with Ride
a little bit, you know, back and forth, and I'm
what I'm looking for, and it's okay if this can't happen.
Speaker 3 (45:14):
But the problem I had was balancing.
Speaker 4 (45:17):
Let's just say I'm going to eight thousand shure speed,
but I want to shoot at five point six, which
kind of leads me at a low is Snopes because
of me on the more I raised the ill, the
more the background comes up. Is the Ennova pro good
for those type of situations? And I think you kind
(45:39):
of answered it because you said it's it's a it's
not more of a direct sunlight thing, but more like
sun to the back kind of thing.
Speaker 3 (45:47):
And if it's not, it's okay. But it's just ordering
the light and finding out later on. In Brazil is
a night man.
Speaker 2 (45:55):
So now I hear I hear you.
Speaker 1 (45:56):
And that's why. That's precisely why I showed the examples
that I showed, and it's also why I am the
next video. I mean it's coming out in the next
day or two. The next video I'm coming out is
showing you when to use it. The only thing I
would say is I wish and I said this to
Rotal Light and I love them. But you know this
(46:17):
is true of any company, any company when they come
out with prototypes. It's just the way that it is.
Even when I did prototypes of Sony. It's the same.
But I wish I was able to use the light
at full power capacity right now because it would give
all of you out there, not only myself but everyone
else out there better representation of what it can truly do.
But you know, you did see the difference in the
(46:38):
shots that I showed where the guy in the bathing suit.
You know, it was clearly a much brighter condition. But
you know, if you're shooting, if you're shooting beat shots
at ten thirty in the morning, I mean, there's a
lot of variables that go into that, like are there
clouds or is it just direct sun?
Speaker 2 (46:54):
Because that makes an enormous difference.
Speaker 4 (46:57):
I mean Brazil, I mean, you know that's Juka Rio
Copa Cabana, like it's the sun is pretty powerphile here.
If you don't have sunscreen on every day, you will
get burnt up.
Speaker 2 (47:09):
And now you got very man Alottle stuck in my
Copa Cabana, New York.
Speaker 3 (47:18):
And the sun is never like this, not to it's extreme.
So it was kind of a shock.
Speaker 4 (47:23):
So I hear you, there's not really too many places
you can go to to get the shades on the
beach because they're like sprang beaches.
Speaker 3 (47:31):
So I said, oh, you know, I'm in a situation here.
I'm like, I just need to know.
Speaker 4 (47:35):
I'm kind of like what I was actually I just
did another shoot not posted the group once the pictures edited.
I was in a shoot it was like an overcast,
So in that case, I did kind of use what
you said even before I heard you today, kind of
using as the sun as like maybe a back like kicker,
and then using the shaded area to put those lights into,
(48:00):
you know, kind of blaster right there, and that kind
of works. So with the AOS Pro two's I think
it's probably the best shot I've done to date.
Speaker 3 (48:10):
In terms of composition, lighting and stuff like that.
Speaker 4 (48:13):
But yeah, it was overcast, so I did kind of
get like a bunt right there. But in most cases
moving forward, it probably won't be overcast.
Speaker 1 (48:24):
So now I hear you, I think that the To
answer your question, the full production model of the en
Over Pro three is supposed to be twice as bright
as the AOS two Pro. But again, I haven't been
able to use the full production model yet, So that's
what the full production model is supposed to do. In
regards to you know, it just depends, you know, if
(48:49):
anyone is and I love all the different products that
I use. We just spoke about race cars and swamp buggies,
but if anybody expects a road light to do with
a six hundred watt second model.
Speaker 2 (48:59):
I can do it, can't they can't. You got to
use the right tool for the right job.
Speaker 1 (49:04):
But then there's a lot of things ord lights can
do that the six hundred wat second model.
Speaker 2 (49:07):
I can't do. So true that it's just using the
right tool for the right job.
Speaker 4 (49:13):
Right, And let me on one of the questions before
I go, because I'm kind of new, because I kind
of just moved out here in the.
Speaker 3 (49:19):
End of August.
Speaker 4 (49:22):
If I were to go into the Kickstart and I
obviously it's international delivery, and I've tried to order like
one another electronic and I got when I saw like
the taxes, it was like literally it was actually the
Osmo Pocket three. I was like, oh, this is pretty cool.
(49:42):
Let me order it. So it was like six ninety nine,
but the taxes were six ninety nine. I said, this
is crazy.
Speaker 2 (49:47):
They're selling Osmo's on road a lighte.
Speaker 3 (49:51):
No, no, no, no. I was just saying, as an example,
I was ordering it. No, I hear you yeah, as
much items.
Speaker 1 (50:00):
And that I have no idea, brother, I have no idea.
You're you're the crazy dude who moved to Brazil. But
I'll have to come visit you sometime.
Speaker 2 (50:09):
But but we do.
Speaker 3 (50:11):
Man, it's great out here.
Speaker 2 (50:12):
No, but I have no idea to be I have
no idea on that.
Speaker 3 (50:16):
Okay, yeah, that's all I need to know, because it's like.
Speaker 4 (50:19):
If the I don't know an overpro is what is
it twenty two ninety nine or something like that.
Speaker 2 (50:24):
Yeah, but the only thing I could say is knowing me.
I mean, well, I have no other people.
Speaker 1 (50:32):
I haven't had to do this since I live in
the States, but I know other people who will fly
to the United States, buy something and take it home
because that's cheaper than the taxes.
Speaker 3 (50:41):
You're actually right, that is literally cheaper.
Speaker 4 (50:45):
Now this leads me in the conundrum like now I'm
waiting for that thirty percent kick in in terms of
the power. I want to see that, but I don't.
Speaker 2 (50:54):
When is the kickstart that That is a little bit
of a conundrum.
Speaker 4 (50:58):
I agree with you, so that this is like a
suit because now I have to buy a ticket and
then do I get.
Speaker 3 (51:04):
This thing when a kickstarter, Like I'm like cornered.
Speaker 1 (51:09):
I'm I'm hoping I can get one of those sooner
than later because I understand exactly what you're saying.
Speaker 4 (51:15):
Yeah, and I will be watching when you do, because
I'm I'm on every post talking to Rod.
Speaker 3 (51:20):
Hey, I need to see this. He's like, all right,
so I will be paying close attention.
Speaker 2 (51:26):
All right, my man. Well, thank you so much for
your time.
Speaker 3 (51:30):
Okay, thank you, good luck.
Speaker 1 (51:31):
Good luck on Brazil. I gotta come out there and
shoot the carnival with you sometime.
Speaker 3 (51:35):
Oh man, it's gonna be awesome.
Speaker 2 (51:37):
Okay, all right, brother, it'd be good. Yes, my friendye
and I can't wait to hear this. You're always a
bag of You're always a lot of funny, and so
this would be interesting for those of you who are
watching this. It'll be it's about to get crazy. I'm
mentioned what.
Speaker 1 (51:56):
Emmerdale. Oh oh yeah, yeah, don't even start with your cows. Anyways,
go ahead.
Speaker 6 (52:03):
I just want to reiterate again what we discussed at Manchester.
Speaker 2 (52:08):
This should be rich.
Speaker 3 (52:12):
The people at my end. Yea, the spectrum. I don't
mean the autistic. I'm in the photographics question.
Speaker 6 (52:21):
As I said to you at Manchester, you can blind
a model with an original neo.
Speaker 1 (52:29):
Well, if you're in a dark alley you can exactly.
But but if you're but if you're outside, you won't even.
Speaker 3 (52:36):
See it exactly. I took your point to literally on
that one.
Speaker 6 (52:41):
So to me, the most important thing that Rota Like
can do is to build the Mark four Neo NA
of three with the Magic Ei, which looks incredible, it
really does. I know you've got the app, you've got
the app where you can color match at present, but
(53:03):
it's not going to do the same as you would
with the.
Speaker 3 (53:07):
Magic Eye. Obviously. The waterproofing is the other thing as well.
Speaker 6 (53:13):
If they can incorporate that, and there's something else which
I've forgotten about, but don't worry about it. If they
can incorporate those two new features in the next versions
of the.
Speaker 3 (53:22):
The Neo and the AOS.
Speaker 2 (53:24):
What did I forget I mentioned magic iy.
Speaker 6 (53:28):
Yeah, they've got the new the Magic Eye and the waterproofing.
Speaker 3 (53:33):
There's something else on an over pro as well. Not
to worry, but those are the two.
Speaker 6 (53:40):
Those are the two gangs, because, as we said at Manchester.
Speaker 3 (53:44):
This.
Speaker 6 (53:46):
New and over it is obviously targeted at a specific
end of the market.
Speaker 2 (53:53):
YEA, no, but no, I hear you.
Speaker 1 (53:55):
But you know what, it's funny that you say that,
because just like the A nine is targeted at not
many of us.
Speaker 2 (54:05):
This to be real. Even when the A one came out,
Sony got pissed off because I called it steak sauce.
Speaker 1 (54:12):
It's the A one wasn't targeted, and and the A
nine to three at six grand.
Speaker 2 (54:18):
Yeah.
Speaker 1 (54:18):
I know some people out there who are you know,
who are rich, They're like, oh, that's no big deal.
But for most people it is a big deal. So
I think that for everyone involved, the the hope and
I mentioned this too in Manchester, the hope is that
anytime new gear comes out, I'm like, right, that's cool.
I can't afford that, or that doesn't work for me,
(54:39):
but I'm that's some of some of that is going
to trickle down into these other versions of the of
the lights or the cameras that I do use. And
so I think that's that's the benefit of, you know,
seeing what they're coming out with, an Overpro.
Speaker 3 (54:53):
Three, it's just like Formuly one.
Speaker 2 (54:56):
Down yep, just like just just like NASA. Baby, do
you think we got tang?
Speaker 3 (55:02):
Too true? Too true? All right? Thank you?
Speaker 2 (55:06):
Take care brother? Do what other questions do you lovely
folks have? All right?
Speaker 1 (55:20):
I'm brand new to outdoor led for someone just starting out.
Which world light would you recommend? I primarily shoot seniors
AOS two pro. That would be for you, Sandy, Aos
two pro. Excited to see the twenty twenty four workshop schedule.
Absolutely same here me too?
Speaker 2 (55:40):
What else?
Speaker 3 (55:40):
Here?
Speaker 2 (55:48):
What was this?
Speaker 1 (55:50):
Do you guys have any more questions? Or are you
guys good to go? I mean, I can sing a
dance for you, but I don't think you guys want that.
And we've got let me say, I'm reading the messages here,
have you hi, Jason, have you got used to the
way of the Nova Pro three?
Speaker 2 (56:09):
Paul? Oh, Paul, he's such a He's such a tosser.
Speaker 1 (56:16):
The nover Pro three is the great thing about the
over Pro three is that you will you will work,
you will get you get more defined arms, you will.
Speaker 2 (56:28):
Get a workout.
Speaker 1 (56:30):
I back to Ian's point, I do think that for
the vast majority of you know, again back, I think
that's what's so important. Like the A seven four is
what I use, and it's what the majority of that
type of camera is, the majority of what photographers use.
Speaker 2 (56:45):
That's where the AOS two pro is or the.
Speaker 1 (56:47):
AOS two whereas the the A nine to three, those
types of cameras would be like an over Pro three.
It's it's it's for a different segment. All right, who
was talking to me? Somebody was talking. Well, I've enjoyed
(57:10):
this time with you guys. If you have any other questions,
let me know. But I have really enjoyed this time
with you. I hope this this live stream has been
beneficial for all of you. I really am looking forward
to the twenty twenty four workshop schedule. It's definitely going
to be a lot of fun. I'm definitely planning some
excursions to some crazy and fun places in the world.
(57:32):
This world, as we all see, is blowing up, and
so I'm going to do everything in my power just
to have fun that brings some love and peace and
some happiness to the world.
Speaker 2 (57:43):
Let people, no pun intended.
Speaker 1 (57:45):
Blow off some steam and you know, get away from
the rigors of life and be able to enjoy this
beautiful thing called life, this beautiful thing called love, and
this beautiful thing called photography. So I love y'all. Until
next time, keep shooting. Ever up on your dreams. Ever,
never ever give up on your dreams. And by the way,
there's a really good documentary on Netflix by about Sylvester Stallone.
Speaker 2 (58:08):
You guys should watch it, even if.
Speaker 1 (58:09):
You're like younger or older or whatever you may be.
It's a really good documentary. Talks about the things that
he's gone through, and it really resonated with me because
he talks about, you know how chasing your dreams is
what led him to where he's at today, and it's
what's led me to where I'm at. So never give
up on your dreams, find the right gear that works
(58:31):
for you, and remember you only have one chance to
get it right.
Speaker 2 (58:33):
I love you, guys, I'll talk to you later. Peace.
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