It's like a sitcom up in there, the goofy but gorgeous Marisa, the dad-comic Daniel, and the slightly surly friend with a heart of gold - Seth! Thoroughly enjoyable content. :)
"There's only one sun." Daniel Norton Amazing show all of you! When I look at CZcams, if there's an Adorama video in my notifications, it's my first click. The unique personalities of Adorama's cast, the incredible lessons. the unscripted banter is like a next episode of my favorite TV series. I feel like I hang out with all of you. If I went to New York and saw you on the street, I would hug you and probably say, "It's so good to see you again!" And then you'd get me arrested, and I would think Daniel or Seth or Marissa or Gavin or David put me in jail. What a trip! Lightbulbs go off in my head when I watch your videos while being so thoroughly entertained. Great individual channels too (I'm a sub)! This channel is unique and it's all because of the people in front of the camera. I love being enrolled in the University of Adorama without any tuition. Thank you all!
Daniel for you and those who need a little help in understanding in camera RGB color/luminous histogram and the importance of getting it right in camera. Understanding the RGB HISTOGRAM and how tones effect it. Histograms organize and present pixel values in a way that can be extremely informative, and they often function as an essential complement to a holistic evaluation of the image itself. A standard histogram has pixel values that increase as you move from left to right along the horizontal axis. A RGB histogram gives us clear information about the contrast of an image, and we can also use changes in a histogram to better understand the effects of modifying contrast in some way. As contrast increases, the pixel values shift farther toward the left or right side of the histogram. In an image like this one, which emphasizes dark and light tones with relatively few midtone pixels, increasing the contrast makes the distribution more bimodal: the two peaks are moved farther apart and the “valley” in between the peaks becomes more pronounced. The effect is somewhat different in an image that emphasizes midtones. The medium-contrast image has one dominant peak near the middle of the pixel-value range. If we decrease contrast, even more pixels are concentrated into this primary peak. If we increase contrast, we create a more even distribution of pixels across the range and secondary peaks become more prominent. The effect is somewhat different in an image that emphasizes midtones,the medium-contrast image has one dominant peak near the middle of the pixel-value range. If we decrease contrast, even more pixels are concentrated into this primary peak. If we increase contrast, we create a more even distribution of pixels across the range and secondary peaks become more prominent. Tonal range in a HISTOGRAM: The region where most of the brightness values are present is called the "tonal range." Tonal range can vary drastically from image to image, so developing an intuition for how numbers map to actual brightness values is often critical. There is no one "ideal histogram" which all images should try to mimic; histograms should merely be representative of the tonal range in the scene and what the photographer wishes to convey. Although most cameras will produce midtone-centric histograms when in an automatic exposure mode, the distribution of peaks within a histogram also depends on the tonal range of the subject matter. Images where most of the tones occur in the shadows are called "low key," whereas with "high key" images most of the tones are in the highlights. An image of a high key subject like a white flower against a white piece of paper, would have more on the right side near the 255 point but still should not clip the brights. And a low key would have more near the 0 point on the left. And an image of a grey subject against a background of a midtone would be near the 128 point in the center. CONTRAST A histogram can also describe the amount of contrast. Contrast is a measure of the difference in brightness between light and dark areas in a scene. Broad histograms reflect a scene with significant contrast, whereas narrow histograms reflect less contrast and may appear flat or dull. This can be caused by any combination of subject matter and lighting conditions. Photos taken in the fog will have low contrast, while those taken under strong daylight will have higher contrast. A low contrast will have more centered graph a high contrast image will often produce a histogram with a broad distribution along the tonal range, or several narrow prominences set far apart. A “good” or balanced histogram satisfies several requirements: There is no massive overflow of the contours near the left or right edges of the histogram, which means that, the contours are contained within the histogram. If you see the contours extend well beyond the left or right edges, it means there are lots of pure black (under exposure) and pure white pixels (over exposure). There are pixels in each brightness interval. A picture like this feels “richer” in color and has a more smooth transition among tones which is not abrupt or sudden. Image for post. A picture will have a better contrast and a more impressive visual effect if the ends are higher and the middle is lower in the histogram. Image for post Of course none of the above requirements are necessary to produce a stunning photo. These are guidelines to provide you a quick understanding about the exposure level of the image. Luminous and RGB Histogram: With luminous histogram averages the three color channels so color has no function in representing your image. It only defines the brightness of the tones in the image. There are 256 shades of grey. Darks on left at 0 and brights on the right at 255. All other tones fall in between with 18% grey midtone at 128.
Hey Daniel, Thank you. This is the video I've been searching for on flash settings. You have helped me more than you know. Thank You Seth and Marisa also. Enjoy a great and wonderful day.
Fantastic as always andfabulous to get Daniels lessons and insights and this session was packed full - perfect for a refresh of techniques for this photographer that had to switch back to design and motion and product shots work for a while due to covid and now circling back to actors and model shoots - i cant wait
Hey Daniel. Really enjoy your content. As a location photography, would you ever consider tossing on a ND filter rather than going to high speed sync? Thanks.
David Bailey was being interviewed by a reporter anxious to show off his knowledge of photography. He asked Bailey what lighting he preferred. "Available light," replied Bailey. "You mean 'natural' light?" asked the reporter. David Bailey's reply was typical for him: "No, I mean any f***ing light!"
Daniel....How do I get notified of your upcoming Onset streams? I always find out about them afterwards and didn't know you'd done this one until just a few moments ago. Thanks.
@Pavan Fire (real time comments) - if you shoot raw, then the WB is only a number in the file's meta data that informs C1 or LrC how to open the file. Auto WB causes the camera to do in-depth analysis of the frame, only to change that number. I always shoot fixed WB and generally at "Cloudy" (with Nikon D and Z). If you also shoot JPEG, next to raw, you need to take WB into account better or else you need to regenerate all JPEGs from raw again. To me, "Cloudy" works well for flash. Also note, that Auto WB changes the tone of light towards neutral. If that happens, then sunrise or sunset warmth will become more neutral and midsummer-day's hard blue light becomes neutral too.
Good tips. Hope to see Daniel teaching again or earlier episode this month on this channel.
It's like a sitcom up in there, the goofy but gorgeous Marisa, the dad-comic Daniel, and the slightly surly friend with a heart of gold - Seth! Thoroughly enjoyable content. :)
The dream team! Daniel, Marisa and Seth 🙌🙌🙌
Love your show, If every need another camera in 5 years. I will look at Sony, Canon, and Nikon.
"There's only one sun." Daniel Norton
Amazing show all of you!
When I look at CZcams, if there's an Adorama video in my notifications, it's my first click. The unique personalities of Adorama's cast, the incredible lessons. the unscripted banter is like a next episode of my favorite TV series. I feel like I hang out with all of you. If I went to New York and saw you on the street, I would hug you and probably say, "It's so good to see you again!"
And then you'd get me arrested, and I would think Daniel or Seth or Marissa or Gavin or David put me in jail. What a trip!
Lightbulbs go off in my head when I watch your videos while being so thoroughly entertained. Great individual channels too (I'm a sub)! This channel is unique and it's all because of the people in front of the camera. I love being enrolled in the University of Adorama without any tuition.
Thank you all!
Daniel for you and those who need a little help in understanding in camera RGB color/luminous histogram and the importance of getting it right in camera.
Understanding the RGB HISTOGRAM and how tones effect it.
Histograms organize and present pixel values in a way that can be extremely informative, and they often function as an essential complement to a holistic evaluation of the image itself. A standard histogram has pixel values that increase as you move from left to right along the horizontal axis.
A RGB histogram gives us clear information about the contrast of an image, and we can also use changes in a histogram to better understand the effects of modifying contrast in some way.
As contrast increases, the pixel values shift farther toward the left or right side of the histogram. In an image like this one, which emphasizes dark and light tones with relatively few midtone pixels, increasing the contrast makes the distribution more bimodal: the two peaks are moved farther apart and the “valley” in between the peaks becomes more pronounced.
The effect is somewhat different in an image that emphasizes midtones.
The medium-contrast image has one dominant peak near the middle of the pixel-value range. If we decrease contrast, even more pixels are concentrated into this primary peak. If we increase contrast, we create a more even distribution of pixels across the range and secondary peaks become more prominent.
The effect is somewhat different in an image that emphasizes midtones,the medium-contrast image has one dominant peak near the middle of the pixel-value range. If we decrease contrast, even more pixels are concentrated into this primary peak. If we increase contrast, we create a more even distribution of pixels across the range and secondary peaks become more prominent.
Tonal range in a HISTOGRAM:
The region where most of the brightness values are present is called the "tonal range." Tonal range can vary drastically from image to image, so developing an intuition for how numbers map to actual brightness values is often critical.
There is no one "ideal histogram" which all images should try to mimic; histograms should merely be representative of the tonal range in the scene and what the photographer wishes to convey. Although most cameras will produce midtone-centric histograms when in an automatic exposure mode, the distribution of peaks within a histogram also depends on the tonal range of the subject matter. Images where most of the tones occur in the shadows are called "low key," whereas with "high key" images most of the tones are in the highlights.
An image of a high key subject like a white flower against a white piece of paper, would have more on the right side near the 255 point but still should not clip the brights. And a low key would have more near the 0 point on the left. And an image of a grey subject against a background of a midtone would be near the 128 point in the center.
CONTRAST
A histogram can also describe the amount of contrast. Contrast is a measure of the difference in brightness between light and dark areas in a scene. Broad histograms reflect a scene with significant contrast, whereas narrow histograms reflect less contrast and may appear flat or dull. This can be caused by any combination of subject matter and lighting conditions. Photos taken in the fog will have low contrast, while those taken under strong daylight will have higher contrast. A low contrast will have more centered graph a high contrast image will often produce a histogram with a broad distribution along the tonal range, or several narrow prominences set far apart.
A “good” or balanced histogram satisfies several requirements:
There is no massive overflow of the contours near the left or right edges of the histogram, which means that, the contours are contained within the histogram. If you see the contours extend well beyond the left or right edges, it means there are lots of pure black (under exposure) and pure white pixels (over exposure).
There are pixels in each brightness interval. A picture like this feels “richer” in color and has a more smooth transition among tones which is not abrupt or sudden.
Image for post.
A picture will have a better contrast and a more impressive visual effect if the ends are higher and the middle is lower in the histogram.
Image for post
Of course none of the above requirements are necessary to produce a stunning photo. These are guidelines to provide you a quick understanding about the exposure level of the image.
Luminous and RGB Histogram:
With luminous histogram averages the three color channels so color has no function in representing your image.
It only defines the brightness of the tones in the image. There are 256 shades of grey. Darks on left at 0 and brights on the right at 255. All other tones fall in between with 18% grey midtone at 128.
Hey Daniel, Thank you. This is the video I've been searching for on flash settings. You have helped me more than you know. Thank You Seth and Marisa also. Enjoy a great and wonderful day.
Thanks, Daniel, Marisa, and Seth. Always fun to see where these things go, and Marisa's "hamitude" makes it that much more fun. :)
Loved this. Everyone was on point. All three make a great team!
Best show yet😎😎🤘🏻🤘🏻🤘🏻🤘🏻
Great stuff! Thanks Daniel, Marisa and Seth!😎👍🇨🇦
Great video Daniel. Definitely added some knowledge to my studio flash skills 😊📷👍🏽
Fantastic as always andfabulous to get Daniels lessons and insights and this session was packed full - perfect for a refresh of techniques for this photographer that had to switch back to design and motion and product shots work for a while due to covid and now circling back to actors and model shoots - i cant wait
SUPER. SUPER , THE BEST VIDEOS
நன்றாக இருக்கிறது வாழ்த்துக்கள் R.MANOHAR- INDIA,* CHENNAI
Hey Daniel. Really enjoy your content. As a location photography, would you ever consider tossing on a ND filter rather than going to high speed sync? Thanks.
G E T Hyped ! 🔥🔥🔥🔥🔥🔥🔥🔥
- Swole Beast🤙🏽🙏🏽✌🏽
L E S S S Gooo ! 💙💙💙💙💙💙💙
⚡️⚡️⚡️⚡️⚡️⚡️⚡️⚡️⚡️⚡️⚡️⚡️
You and your fancy smantzy TTL to manual settings! I've got ancient Elinchroms with analogue power sliders - but they still work.
A hand held light meter is an incedent meter which is far more accurate than TTL.metering in camera reflected meter system.
Seth, please use a mic.
Most of the time I can’t hear your comments
Daniel, the more videos I watch, the more I enjoy them and learn from them
Thanks
David Bailey was being interviewed by a reporter anxious to show off his knowledge of photography. He asked Bailey what lighting he preferred. "Available light," replied Bailey. "You mean 'natural' light?" asked the reporter. David Bailey's reply was typical for him: "No, I mean any f***ing light!"
Would be fun to see one of these videos on 35mm film especially hss.
Loving the show. One suggestion - please add a mic for Seth. Too often we hear only half of a conversation.
Good job!
Love this creative group
Is Marissa going to WPPI?
My flashes do go to 11, for that little extra push over the cliff ;)
Daniel....How do I get notified of your upcoming Onset streams? I always find out about them afterwards and didn't know you'd done this one until just a few moments ago. Thanks.
Subscribe to the channel (Adorama) and next click the bell icon in order to get notificatied
@Pavan Fire (real time comments) - if you shoot raw, then the WB is only a number in the file's meta data that informs C1 or LrC how to open the file. Auto WB causes the camera to do in-depth analysis of the frame, only to change that number. I always shoot fixed WB and generally at "Cloudy" (with Nikon D and Z). If you also shoot JPEG, next to raw, you need to take WB into account better or else you need to regenerate all JPEGs from raw again.
To me, "Cloudy" works well for flash. Also note, that Auto WB changes the tone of light towards neutral. If that happens, then sunrise or sunset warmth will become more neutral and midsummer-day's hard blue light becomes neutral too.
Tem que dar mais tempo na segunda cortina
Marissa is hilarious 😂😂😂
💯
What brand/model are the c stands??
All I could hear was 'These boots are made for walking' as background.
Get Seth a microphone