Beauty Photography: OnSet with Daniel Norton
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- čas přidán 7. 09. 2024
- Learn Lighting and Posing for Beauty Photography
Beauty photography is a subset of fashion and requires a certain precision in lighting to master.
Join Daniel Norton OnSet as he walks you through the process of lighting the face to create great images right out of the camera.
While ALL beauty photos receive extensive retouching, to maintain a client a photographer must deliver as close to perfect an image out of the camera as possible.
Learn: What types of lighting work best for beauty
Learn: How to achieve accurate color in your photos
Daniel Norton is a Photographer, Creative Director, and Educator with 20+ years in the advertising and editorial markets. Daniel also produces and hosts FREE weekly training for Adorama and on his CZcams channel as well as the Adorama TV series On Set with Daniel Norton
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THANKS SO MUCH FOR WATCHING!
All lighting seminars should be like this -- play with lights and watch the results. As usual, thank Daniel -- good stuff!
Love you guys really good session.
I was late Live but going to watch the whole thing over again!
Thank you!
Great vlog Daniel! Thank you for this vlog and the tips/lessons!
Good to see danial say make the shadow gentler not softer
Daniel! Nice work! I appreciate your thinking on your feet and using what's at hand for different lighting schemes.
D - I appreciate you mentioning which metering method you use while ttl - i’ve been wondering that very thing!
There is always something new to learn. Great video guys!!!
This was fantastic. Daniel is funny AND knows his stuff! Thanks Daniel, Sharinna...and Seth!
That was great and there is always something to learn. Thanks Daniel, Sharinna, Seth and Dave!
Nice! Glad to see you all working together again! :)
Maritza? On the cover is Mariza
Any idea why Adorama is not shipping to Australia?
go to 2:45 for actual start of video.
Loved this Thanks Gang!
At the end of this your light is facing away from the silk frame or might be a grid cloth frame Are you bouncing your main light of the studio ceiling or off a bounce board???
if you ever get a chance can you do a lighting demo using a "pack and head" system?...best practices and tips...thanks
That Chimera cloth is $60 bucks: Chimera Fabric for Frame/Panel Reflectors, 42x42", 1/2 Grid Cloth SKU: CM5142 MFR: 5142
what are your floors made from in this room, are they just painted wood?
Forgive me for being picky, but just referred to Z6ii manual, TTL. It’s not nearly as clear and complete as I would like, but this is what I gather, and it reminds me of things said by Thom Hogan.You said you use Matrix metering. That selects I-TTL, Balanced fill, but you black out the background which suggests you want Standard TTL. You get that by choosing Spot Metering. Does that make a significant difference? Dunno, I’m just an Electrical Engineer, not a pro photographer, but I’d like it if you would do an experiment and check. Also, the manual says using FV Lock uses a centre area for metering. They don’t say an area around the active focus spot. And, there is a confusing statement about how this works when their radio system is used, but you (and I) don’t use Nikon radios. Yours is Profoto, mine Godox. And, Thom warns Nikon sometimes changes the rules. Sigh.
There are no universal ISO (institute) regulated metering modes. The names and what these modes do are proprietary and even between models of one vendor there can be differences. The ISO (norm by ISO institute) does not define proper exposure in a strict way and many modern cameras don't apply a continuous ISO scale but may be fixed-ISO in raw recording, potentially applying one of two amplification levels when scanning the photosites in the sensor.
In a mirrorless (ML) camera like the Z series, in available light, the camera uses the sensor as lightmeter - which it basically is.
In my book, TTL is subject metering and I use a handheld lightmeter to measure (incident) light - and this lightmeter can measure flash as well and indicate flash/available relations (Sekonic 758). Using a discrete lightmeter requires deeper knowledge or experience too. The normal mode for measuring light is with the "half dome" out and this is sensitive to orientation in that it will take more or less shadow into account. With the flat disc (old meters) or the half-dome retracted, the meter must be pointed at a light source directly and we can use this to meter individual sources in a studio in order to figure out their exposure ratios.
That seems sophisticated to an engineer, maybe, but it abstracts away from subject dynamic range and potential choices to be made. This is why my lightmeter has a spot-meter too that allows me to meter the darkest and lightest area in the subject. Having calibrated my camera with the meter, the meter knows the camera's dynamic range and indicates these measurement values relative to that in order to advise the correct exposure.
That sophistication is convenient in a slow process shooting 8" x 10" size sheet film in a camera that takes several minutes to precisely adjust in basic cases and each shot would cost $15 or more in film and processing only.
In digital we aren't wasting silver and chemicals, just waste pixels and clicks. We have histograms and a viewfinder that shows you what your shot will look like. That viewfinder presentation has its own brightness and color adjustments, by the way. This is why some pro photographers with a side-job in CZcams tell you, forget metering, set exposure based on experience, check what the camera gives you and with your adjusted setting shoot a sequence with the same lighting. They have a point, but still have that discrete meter.
In ML cameras, imagine the camera measures the light value (LV) of all photosites and applies a summation/averaging formula to that. Center-weighted, matrix, whatever are supposedly plain formulae, but these cameras are able to do some image interpretation and might recognize you doing a portrait or a landscape and adjust for that.
After these formulae, the camera has concluded the exposure value (EV) and depending on the mode (Aperture, Shutter or Manual) the camera makes adjustments for ISO and exposure correction. Your older SLR had a separate simple metering system with its own sensor/sensors and if it is a dSLR, it will switch to the photosensor in LiveView again to give you a version of what the ML do.
With flash, the camera can do TTL only if the camera and flash system allow for a tiny pre-flash that the camera uses to measure - basically do the same as with available light. This is followed by the required power of flash and the photo is recorded at that.
That TTL pre-flash again is manufacturer dependent and camera model specific. It might even change with a firmware update of your camera. The Nikon system has menu/profile dependent settings to compensate for the background exposure, by the way.
For critical exposure setting of a camera in a studio, I would always use manual exposure aperture/shutter/ISO settings and not rely on the camera's computer and firmware. This leaves TTL flash exposure open, by the way. I use PocketWizard radios (expensive and very reliable) with Nikon SB-910 speedlights (in Profoto RFi softboxes) and this all works very well. If I need more than 3 groups (a group has one or more speedlights/strobes with its own exposure setting), I use two transmitters but this forces the second transmitter into non-TTL only, as the camera can only communicate exposure with one.
To get "manual" flash even if the camera is set to manual, I need to take the speedlights (radios) off auto and set flash level.
My PocketWizard/Nikon flash choice had everything to do with mobility and having more use cases than with a broncolor studio pack (historically, maybe hysterically today, broncolor was the real pro brand as the other one wasn't consistent in flash duration and color, and gave too long flash durations - which they fixed a couple years ago and I believe the Holy Cow (*) brand did that too.)
Nikon Z cameras have an option to "expose for the highlights" and this simply looks for the brightest photosite in the sensor and adjusts exposure from there. You will generally feel that this underexposes your shots by two or three f-stops, but there are no blown out highlights. This is easily corrected by lowering the "white point" in LR but in C1 the white point adjustment is fundamentally flawed. It seems there is some intelligence going on in the Z, as it seems to ignore the sun itself when that directly blasts its radiation into the camera. In wedding photography, you'll never have blown out white dresses, but you may lack some detail on the groom's black suit. The quality criterion in wedding photography in all photos with the bride is the bride - if she's good, all is good.
When you shoot like a professional, you'll often arrive at compositions that deviate from the snapshots that the electrical engineers used when they designed your camera's matrix metering, so you'll always have to make choices when the subject's dynamic range (DR) is wider than the DR of the camera (given ISO and amount of light). As I always shoot raw, auto-WB is off and my camera by default is at "Cloudy". Color temperature is just a label used by LR or C1 when it opens your raw file. And auto-WB increases shutter-release latency. And the camera's white balance choices in auto mode are dependent on the color patterns in the subject paired with the camera's ability to figure out what it is looking at (cf. "computer vision" - a branch of AI).
Auto exposure and TTL metering are exactly like that auto WB. It's like an autopilot in your car, plane or yacht - you are the captain at all times. I have heard electrical engineers say, if you don't know what you are doing than don't do it. That was rude of course and just a silly excuse for the limitations in the automatons they had designed and built. Then they started blabbering about budgets, managers, market, tech evolution and vertical price discrimination over time (monopolist behavior).
Bottom line, practice use cases with your camera, try to understand what use cases are served well by its metering, irrespective of auto or manual. It's probably best to do that one metering mode at a time. Avoid spot metering at all times, if you don't know what you are doing. If you meter a Caucasian face you have a fair chance of proper exposure, but meter a black person's face and you overexpose.
I personally would generally avoid automatic flash compensation for the background, meaning I need some metering and maybe a test shot. And in many cases, if you let camera/flash do some kind of auto, then setting the system to distance dependent exposure setting may work very well - this ignores the brightness of subject and background and adjusts flash intensity for correct exposure at the focusing distance. Which again poses challenges. Imagine bride and groom at different distances and 3 ft between their heads, now focus on the nearest head and it will be correctly exposed, the one farther away darker (but not a problem in modern digital). Focus on the farthest face and the nearest will be overexposed, losing exposure detail (it will no doubt be out of focus).
(Assuming distance to exposure level conversion by the camera, the camera "knowing" the power of the speedlight, etc., and the speedlight can handle this.)
We can replace camera by car and electrical by mechanical engineer. My handyman, we live in a completely flat country, had taken his Borg-Warner automatic car into the mountains and when he returned told me he was selling the car, as it was not able to properly climb the slopes in the mountains. He did not know, he did not know what he was doing. And blamed technology and did not spend his money very wisely.
Making mistakes in relying on auto in cars, planes or boats can take lives. With cameras we only have to set up experiments to teach ourselves how the camera's auto modes relate to our photography. JFDI, and American friend said, Just F Do It and did not want to tell what the F stands for. It helps to Finely maintain track of subject characteristics and go through modes in a structured way.
(*) The proper translation of the Chinese brand name God Ox. The other one implied is Profoto.
Do you feel her dark hair blends into the black background too much?
Super cool to get the behind the scenes view here on youtube! : >
The universe square law? Is that like the inverse square law!
You eventually wound Seth up 😂😂