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Please Daniel, do a video on lighting ratios!

Yes want to know more

Sometimes I get frustrated with my photography, but all I have to do is watch you Daniel, and I want to immediately go out and get my camera! You make photography a joy!

How wonderful is Marisa's attitude. Bravo.

It's a no brainer--a light meter.

Which stands would you recommend for being able to set up a 10 foot backdrop on location?

Hi Daniel thanks for this awesome video, I currently own all second hand Nikon camera bodies and lenses and I also have a second hand Sigma 85mm f1.4 lens I am very happy with all of this gear. Thanks from Australia

Thanks for sharing.

A light meter in a studio environment is not a big deal for single portrait work, it only take seconds to dial in a digital camera when tethered. I learnt this from you a couple of years ago when I first discovered your channel and have since become reasonably proficient in low key portrait photograph, it has boosted my confidence no end, in fact I am now taking a photographic course and working towards a diploma, thank you.

I act professional with models when doing personal projects along time ago. I switch to product photography as a hobby since I am retired.

When I switch to E-TTL Canon flash with a pair of 580ex flashes in 2004 I realized the best gauge for exposure and lighting ratios were white and black terry wash rags draped on a stand where the subject would stand and the histogram. It was so simple, fast and accurate I also started using it with my studio lights. 1) Set aperture for desired DOF on face (e.g. f/8 to keep entire head in focus) 2) Turn on FILL centered on camera axis first and raise power until detail is seen in black towel and its histogram spike kisses left side of graph. 3) Turn on KEY and raise its power until highlights on towel clip in the JPG playback and then back off until they don’t with histogram kissing the right side of graph That baseline approach fits a full range from black and white at the distance of the stand to the range of sensor EXACTLY. If you then measure manual flash with an incident meter correctly (dome down pointed at each light separately) you will find the KEY light about 2x brighter (1 f/stop) in incident strength. From that full range baseline for ‘softer’ looking lighting just started with more fill beyond the point where detail in black towel is seen, rendering it gray instead of back. For ‘harder’ (darker) shadows start with less fill sacrificing detail. I always set lights to record the full range and made the adjustments from that baseline with LEVELS, CURVES plus burning and dodging in Photoshop. How fast highlights become dark shadow is function of inverse-square fall off. An easy way to remember how light falls off from source is to memorize the f/stop numbers: 32, 22, 16, 11, 8, 5.6, 4, 2.8, 2, 1.4, 1 If you moved a light in from 32 feet or meters in those distance increments the intensity will change by 2x or 1-f/stop with each move of the light forward and it will fall off on a subjects face the same way. If you want very gradual shadow gradients keep the lights further away. If you want a very sharp drop off in intensity then you need to have the lights closer to the face of the subject. The challenge for hobbyists is having enough space to move the lights back far enough to get the desired transitions without the light spilling all over the room bouncing off ceiling and walls creating a muddle of the lighting pattern. If you really want to understand what your light modifiers are doing and how distance affects shadow gradients take a subject outdoors at night with a pair of speed lights or your studio lights and compare the results with the same set-up indoors with spill fill bouncing around the room.

A meter is only going to be accurate if you are using T-stops rather than f-stops. Only cinematography lens have T-stop marking.

Thanks for another great video. In my opinion TTL+Tethering in C1 and you’re good to go. You touched on the subject of using spot metering to get exposure. That would be a great and very useful video if you made it 😉

With digitall cameras light metter is something that you don't need to shoot with flash. Shoot, check on screen, apply correction and shoot again.

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Which is better? The hammer or the screwdriver? I prefer Daniel 's point of view over others who never need a light meter. But have to add that my camera has a metering mode "highlight-weighted" that - while not idiot proof - gives excellent starting point exposures with zero loss of highlight detail.

Fundamentalist point: one is light metering the other is subject metering😊

a light meter is always the best choice when you HAVE a choice. but today with mirrorless cameras the ttl is almost as good. when it comes to complex lighting setups, i use a light meter, it’s safer and i know im going to get the shot ‘in camera.’

Great video as usual and very good information on how to do it.👍

Great Tutorial !!!! If we do not do this on a regular basis,, this is a great reminder how to get Pro Photos,, with Flash :) :) :)

Thanks for the great info, Daniel. I've used assistants in the past but have never been sure if you should specifically bill your client for them or just keep the payment of an assistant separate from the client invoicing.

Love these short vids that zoom in on the subject and teaches something useful! Thanks Daniel!

Is the light feathering the model or it’s directly hitting her models eyes? Have had subjects complain about the light in the eyes in the past. These photos came out so great!

I'll start with auto in Lightroom, then I'll work from there and make my changes. I always like to see what the software comes up with, but I always end up tweaking the image.

Not using a pro head hurts my soul

I'm a scatterbrain and have had priceless and worthless assistance. I've also had models who'd act in that capacity during a shoot. In an ideal situation, I want to be able to just focus on the shoot and know that the assistant will take care of the rest. A GOOD assistant should anticipate what you need and stay engaged throughout the photo shoot and not their PHONE. It really helps when the assistant is a talented photographer or artist. I've also had assistants who just enjoy contributing to the creative process. If I could turn back time, I would've been an assistant, I could've saved a lot of time learning the hard way. Back in my day when everything was "groovy" an accomplished photographer would've been honored that someone would ask, when it's the assistant that the honor would be bestowed on.

Great video! Not much about about this topic. Thanks for sharing. 😃

Simple is best, two lights maximum for me, otherwise it'll get too artificial. Nice.

Hi Daniel, great video. You mentioned rates from the 90's. What are today's rates?

I'm kind of a brat photographer and even when i know the shooting may not require an assistant, I'm bringing mine no matter what, in my particular case i trained my oldest son and he not only understand the job (sometimes better than me) but is fully aware of what is needed and when to provide it. is like I'm thinking to change angle and want another lens he will have it on his hand before i even look at him, offer me discreetly ideas to not intervene between me and my client, i pay him full rate which in my country is around 100usd it can be full day or half he is getting that amount and if the client is big ill bump a little extra when is possible, the main thing is when i have to shoot alone is boring, not the same smooth experience and i feel i don't even want to do it, so yes, an assistant can bring more than just help to a shoot.

Great info, and always inspiring! I'd love to see a vid on becoming a photo assistant.

Really fine work, thanks for sharing your experience. I wonder if photo schools look for this sort of tutorial to add to their curriculum?

Yes, great information as always. I like what you say about taking care of the assistant. I also do the same because I want them to want to work with me again when I need them and it's simply doing the right thing. Thank you, Daniel!!!

Dude you're a 🐐. Your work is excellent, and you're a real dude!

Thank you Daniel

I want to thank you for this video. I finally invested in a strobe, and I'm learning how to adjust using a light meter. This video helped me reinforce what I already knew, and gave me confidence for my first commercial shoot this week.

I'm very interested in any content you might make about breaking into assisting or how to go about assisting as a new photographer

Thanks Daniel, great video ... I am getting into photography very late (I'm 70!) it would be fun to learn as an assistant, but I am currently living in Colombia, so not very practical.Looking forward to more videos - Thanks again!

Hi Daniel, thanks for the great video with all the insigths! 👍

Good to hear about the skills that an assistant can bring to the game. They are so much more than just a walking C-stand!

What a brilliant video. Thank you.

I couldn't make it without my assistant. She understands photography and lighting, what I'm looking for out of each production, how to catalog well, how my filesystem works! She's also active in the Army Reserve - punctual 100%. Absolutely couldn't make it without her. Great points and well done as always, Daniel. Thank you!

Great video as always!! I would like to see a video on what is needed to be a great assistant!!! Thank you

Great advice for assisting photographers

Ive hires assistants that were so good at what they did that i hired them again as a "co-photographer" for additional shoots.

Thanks for sharing.

Great video. Would love to see a video about becoming an assistant. What should they be expected to know?

yes please some content about photo assistants could be handy, mainly so I can show them to some one this side that I am looking to perhaps hire as a full time assistant

Love your thought process on this. Everyone, think of assistants as your #1 - I tend to use Cinema Production Assistants with photography background. I pay $200-$250. I will also use assistants on non shoot days, prep, build, clean, etc... As to when to pay, absolutely pay them end of day. I have some that work with me often and I pay them weekly.

Very nice presentation