He explains about good light and bad light and how the flash can be used in a non-optimal scene, how it can be used in conjunction with light from a doorway, and even how to use the flash to make it appear that the sun is rising on a cloudy day.
Part III, "Two or More," now gets into shooting with multiple lights. The problem with shooting with a single light is that in situations where there is no other fill lights such as from an open window, the one light can leave shadows and harsh areas. This is especially true if that one light is the pop-up flash on your camera. According to the author, the pop-up flash should only be used in a pinch when you don’t care about the image, or for taking a picture of someone you don't like.
On the other hand, the pop-up can be used as a driver for a handheld or remote wireless flash. In these situations then you will have better luck. In this section you will explore how McNally uses a couple of flashes to light a situation.
"Lotsa Lights," the topic of Part IV, are what you need when lighting full scenes or large objects. In this section you will see what is needed to light more complex situations. Imagine you want to photograph a person in a garage scene. Well two or three lights will be fine for the person, but what about the background? You may need some for around the bench, some for the walls, etc.
The examples in this chapter includes low light scenes that need many lights to convey a mood, to outdoor projects that need to move quickly because of the heat and sun, to how to build a backyard studio, to lighting an Air Force plane using 47 Speedlights.
So in this part you will see how to get a scene to give up its nooks and crannies. To do that you have to plan what you are going to frame in your shoot so you can see what you need to light. You will also explore other areas to do complex lighting.
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