Hey Everyone! Quick question, I used to add the retouching parts of the work into these videos, did you want that back, or just keep it about the lighting?
I like just the lighting part. Retouching is another beast. Quick question - are your key umbrellas white or silver? I'm gonna guess white, but am curious.
Beautiful light and excellent video! I would have loved to see a photo of just A, just B, just C as well as a, a+b, & a+b+c. I'm looking forward to your next video
I dont have such backdrop but yes i will definitely try this setup, though i dont have such large Scrim but instead i will use my white walls of the room to bounce back the light to make a large soft box
Even though ive worked with studio lighting for years now it's still nice to see and observe and learn even for entertainment....and it's such a breath of fresh air to have someone like you being to the point and helpful without having to toot your own horn and be ego based. Great job and keep up the amazing work.
Another great video! I liked the length of this video with just your lighting. If you add in your editing process, maybe do it in a Part 2 video of similar or shorter length. Really enjoying this renaissance of your "How I Got the Shot" series. Beautiful photos as always.
Nathan, exceptional work as usual 😊👌🏾. You’re not only an amazing photographer, but an excellent teacher as well. Looking forward to your workshop at the end of the month. I know all these videos are a lot of work, and to answer your question…yes, the retouching portion is nice too.
Hello Nathan, You mentioned that you "When you combine the two lights you got the meter reading of Aperture: F8, S: 1/200 and ISO: 100" and then for the fill light you got the meter reading of Aperture:F 2.8, S: 1/200 and ISO: 100". I am learning indoor portrait photography and bit confused with the process. the way I understand is: Step 1: Take a first shot to eliminate all the ambient light. Basically, the first pic should be complete dark. This will be the baseline to begin with. So if at Aperture:F 5.6, S: 1/200 and ISO: 100, we are getting a complete dark image, this would be my starting point. I understand I have to be within the flash sync speed and lowest possible ISO. So, there is a bit of a freedom to change the aperture. For shallow depth of field, I will have to open the aperture a bit and vice versa. Step 2: Set the light meter to S 1/200 and ISO: 100 and take the reading by keeping the light meter dome in front of the model, pointing towards the key light until we get F 5.6. At this time, my light meter and camera settings must be in sync to get the correct exposure. Depending on the result, we can adjust the light. Question 1: Is that the correct process if I going with just one light setup? Question 2: If I am using a 2nd light (fill light), do I need to repeat step 1 and step 2? Is that the correct process? I look forward to hearing back from you.
1 : yes 2 : you need to repeat step 2 with the second light if you want accurate measure like F2.8. Or you can just trust your eyes and adjust by trial and error, there is no "correct" exposure for a fill light so there is no need to measure it except if you know exactly how many stops under the key light you want it.
Love your videos and your work. I really dig the backdrop setup! Mixing those textures really work with the model. I do enjoy the post processing videos but for ones like these where subject is further, it’s more about the lighting in my opinion. Cheers and thank you for all you do.
Thanks Martin! I haven't decided on whether to bring the editing back into them yet... my retouching has become pretty minimal so I have been focused on the lighting, but if enough people want it to come back, then yes ;)
interesting video. Just out of curiosity, why not just put a standard reflector on the two AD600s and back them up until the whole scrim is being lit with them? Unless you need an additional stop of power, you could probably just do it with one AD600 as you're losing a lot of light power bouncing them out of those umbrellas, and it's just simpler. A standard 7 inch reflector gives about a 45 degree beam spread, so to mostly fill a scrim that big, you only need to be about 6 or 7 feet behind it with the light. 4 or 5 feet behind it will put a really big light spot on it. Alternatively, it looks like that wall behind the scrim is white. If you're willing to clear the wall a little, you could also just use a standard reflector again and turn the wall into the light source and just control how big it is by how far away from the wall you place the light. Food for thought.
Another great video. I currently shoot with a Nikon D800 and use Westcott FJ400 (1), FJ200 (3) for my lighting. I'm considering upgrading to the Z6 II or waiting for the rumored Z8 later in the year. Can you share what you like and don't like about Z6 II when shooting portraits?
I moved from the D800 (used it for 10 years) to the Z6II and I've really enjoyed the switch. Less megapixels but equally as good dynamic range and I don't miss the extra file size. I found the colors to be a little different and had to adjust for that, but that's going to happen with any new camera system you move to.
Nathan, what are the dimensions of your studio space; how far were you from the model and how far was she from the background? Thanks a lot. Great lesson and work!
Studio is 1800 sq ft with 24 ft ceilings. I was maybe 12' away from the model to get full body with my 85mm, and she was maybe 2 - 3' away from the backdrop.
Hi Nathan! Amazing video as always! I wanted to know if the large reflective umbrella is the one you've listed on the description? It looks a lot larger than 51". Is it possible it might be a 65" ? Let me know! Thank you so much!
HI. Really enjoyed your video. I'm wondering how the light would be different if you pointed lights A&B to the white wall on camera left instead of through the scrim?
Bigger spread of light, less focused / controlled, but I've used giant white walls as bounce for a larger light source in the past when I had no other options :)
Nathan. Noobie here. Shouldnt the fill light be couple of stops under the main lights? Will it not overs expose the subject with all three light fired at the same time.
The fill light is a few stops under the key light. My main light is metered to f/8, and my camera is set to f/8, with the fill light around f/2.8, so if you fired just the fill light, that light would be underexposed, hence not overpowering the main light hence overexposing the image.
Great video as usual! Just curious if you find that you're actually able to use the modeling lights effectively on the AD600 pros or if they're too weak, especially at that distance from the subject? In a large softbox I find them almost useless, but interested to know if your experience is different. Thank you and please keep up the superb quality of these videos!
I don't use the modelling lights to see where my light is landing, just to help my camera focus. I've been doing this a long time now so I know where the light is going to land when I place my lighting so the only time I usually turn the modeling lights on is if I am making a video and it helps to show the lighting or my camera is having issues focusing and needs that extra bit of light to help.
@@NathanElson No worries. I'll just keep doing my thing and adapting techniques from photographers with big studios and expensive equipment for this small time photographer. Almost sounds like a video idea you can make, right?
I wouldn't be able to do this without the 650w modelling lights in my Broncolor heads. Not being able to see in real time what is going on would be frustrating.
I've gotten so used to studio lighting that I don't use the modeling lights for anything but helping my camera focus with the extra light. Likely because I started out more on location and could never use the modeling lights when shaping my lighting.
Great and educational. I was struggling a bit to see the difference between A and A+B when they were side by side. Would have been interesting to see A then A+B, then A, then A+B on top of each other (sort of like when you go back and forth between an image in lightroom), so it is easier to pick out what changes. Anyway, great and very interesting. Thanks again! :) Ps. I really liked that you added the cloth in the background for extra visual interest. Ds.
Thanks Johannes! Sometimes with my lighting there are subtleties that are not super easy to notice (depending what you are viewing them on) but do make a difference in the final image, so they are not always easy to show but they are what drive me to constantly refine my work :) Glad you enjoyed the video!
No, you would either have to choose between having more contrast or losing the shaping of the light. In order to have control you need more than one light.
Hey Everyone! Quick question, I used to add the retouching parts of the work into these videos, did you want that back, or just keep it about the lighting?
I like just the lighting part. Retouching is another beast. Quick question - are your key umbrellas white or silver? I'm gonna guess white, but am curious.
Also, it would be interesting to see the effect of the fill alone. I'm surprised it has so much effect at 4 stops below the key
I enjoy the retouching part as it helps learn how to create these images. Even if it is broken out into a separate video, I would love to see it.
definately show your own re-touching nathan,really like your style of lighting and photography,many many thanks.
@@healthid You are correct, they are white. I find silver umbrellas too harsh.
Beautiful light and excellent video! I would have loved to see a photo of just A, just B, just C as well as a, a+b, & a+b+c. I'm looking forward to your next video
Next time!
really amazing! It is very instructive to be able to see the effect of each light separately. Thank you very much for such videos.
You're very welcome! Thanks for taking the time to check them out!
Helpful info for how to get a good shot with a generous budget!
You are my indirect Guru in photography> I love your work so much ....
Regards from India
Thanks Sanjay! I appreciate that my friend.
Hello Nathan. Great video. Love your work.
Great work Nathan, thank you for sharing.
Anytime Jon! Thanks for checking it out.
Another cracking video, thanks. Its great to see what each light adds to the final shot and why you put it where you put it. And lovely images.
Glad you enjoyed it Andy, I appreciate you taking the time to check ti out.
Another great video Nathan! Keep on going on the videos; I know you will grow!
Thanks Bryan! I appareciate you taking the time to check it out.
I enjoy both..........
Thanks Pim!
Another nice one, thanks for it from Germany
Anytime. Greetings from Canada ;)
I dont have such backdrop but yes i will definitely try this setup, though i dont have such large Scrim but instead i will use my white walls of the room to bounce back the light to make a large soft box
Interesting theory how you placed your lighting. Great video.
Glad you enjoyed it!
Thanks.
Even though ive worked with studio lighting for years now it's still nice to see and observe and learn even for entertainment....and it's such a breath of fresh air to have someone like you being to the point and helpful without having to toot your own horn and be ego based. Great job and keep up the amazing work.
Thanks man, also, you win the day with your YT handle. Well played.
Another great video! I liked the length of this video with just your lighting. If you add in your editing process, maybe do it in a Part 2 video of similar or shorter length. Really enjoying this renaissance of your "How I Got the Shot" series. Beautiful photos as always.
Solid idea, that might be the approach going forward. Thanks for the input!
Love it Nathan, keep the knowledge coming 💡❤️
Thanks! The next video (coming next week) features your v-flats ;)
Always fire 🔥 content!!
Thanks Will!
Wonderful work as always!
Thanks dude!
Great great work there 👏😜
Thank you! Cheers!
Nathan, exceptional work as usual 😊👌🏾. You’re not only an amazing photographer, but an excellent teacher as well. Looking forward to your workshop at the end of the month. I know all these videos are a lot of work, and to answer your question…yes, the retouching portion is nice too.
Looking forward to meeting you!
Thanks for sharing !
Anytime!
I hope the young lady liked the photos. They were excellent.
She's a fan for sure :)
Very enlightening video thank you
Glad you enjoyed it
very well explained, cheers👍
Thanks Kiran! Glad you got something out of it.
Hello Nathan,
You mentioned that you "When you combine the two lights you got the meter reading of Aperture: F8, S: 1/200 and ISO: 100" and then for the fill light you got the meter reading of Aperture:F 2.8, S: 1/200 and ISO: 100".
I am learning indoor portrait photography and bit confused with the process. the way I understand is:
Step 1: Take a first shot to eliminate all the ambient light. Basically, the first pic should be complete dark. This will be the baseline to begin with. So if at Aperture:F 5.6, S: 1/200 and ISO: 100, we are getting a complete dark image, this would be my starting point. I understand I have to be within the flash sync speed and lowest possible ISO. So, there is a bit of a freedom to change the aperture. For shallow depth of field, I will have to open the aperture a bit and vice versa.
Step 2: Set the light meter to S 1/200 and ISO: 100 and take the reading by keeping the light meter dome in front of the model, pointing towards the key light until we get F 5.6. At this time, my light meter and camera settings must be in sync to get the correct exposure. Depending on the result, we can adjust the light.
Question 1: Is that the correct process if I going with just one light setup?
Question 2: If I am using a 2nd light (fill light), do I need to repeat step 1 and step 2?
Is that the correct process? I look forward to hearing back from you.
1 : yes
2 : you need to repeat step 2 with the second light if you want accurate measure like F2.8. Or you can just trust your eyes and adjust by trial and error, there is no "correct" exposure for a fill light so there is no need to measure it except if you know exactly how many stops under the key light you want it.
Super useful video !
Congrats!
Glad you liked it!
Muy buen video
Love your videos and your work. I really dig the backdrop setup! Mixing those textures really work with the model.
I do enjoy the post processing videos but for ones like these where subject is further, it’s more about the lighting in my opinion.
Cheers and thank you for all you do.
Awesome, thank you!
thanks for sharing :D
No problem 😊
Again a great Video! Love this Series - and your personality in these videos. Do you plan to bring the editing parts back into this Series?
Thanks Martin! I haven't decided on whether to bring the editing back into them yet... my retouching has become pretty minimal so I have been focused on the lighting, but if enough people want it to come back, then yes ;)
Great work Nathan, Can you tell us where you get your large cloth backgrounds. Maybe a link as well. Thanks
It's just a large painters cloth. Check your hardware stores and see if they have anything available.
@@NathanElson thanks Nathan.
interesting video. Just out of curiosity, why not just put a standard reflector on the two AD600s and back them up until the whole scrim is being lit with them? Unless you need an additional stop of power, you could probably just do it with one AD600 as you're losing a lot of light power bouncing them out of those umbrellas, and it's just simpler. A standard 7 inch reflector gives about a 45 degree beam spread, so to mostly fill a scrim that big, you only need to be about 6 or 7 feet behind it with the light. 4 or 5 feet behind it will put a really big light spot on it.
Alternatively, it looks like that wall behind the scrim is white. If you're willing to clear the wall a little, you could also just use a standard reflector again and turn the wall into the light source and just control how big it is by how far away from the wall you place the light.
Food for thought.
As I always say in my videos, there is no one way to do anything, this is just how I chose to do it.
@@NathanElson No doubt, I was just curious.
Another great video. I currently shoot with a Nikon D800 and use Westcott FJ400 (1), FJ200 (3) for my lighting. I'm considering upgrading to the Z6 II or waiting for the rumored Z8 later in the year. Can you share what you like and don't like about Z6 II when shooting portraits?
I moved from the D800 (used it for 10 years) to the Z6II and I've really enjoyed the switch. Less megapixels but equally as good dynamic range and I don't miss the extra file size. I found the colors to be a little different and had to adjust for that, but that's going to happen with any new camera system you move to.
Nathan, what are the dimensions of your studio space; how far were you from the model and how far was she from the background? Thanks a lot. Great lesson and work!
Studio is 1800 sq ft with 24 ft ceilings. I was maybe 12' away from the model to get full body with my 85mm, and she was maybe 2 - 3' away from the backdrop.
@@NathanElson Thank you so much for taking the time to respond to such a simple question. Laying out my studio, so that info really is helpful.
Hi Nathan! Amazing video as always! I wanted to know if the large reflective umbrella is the one you've listed on the description? It looks a lot larger than 51". Is it possible it might be a 65" ? Let me know! Thank you so much!
HI. Really enjoyed your video. I'm wondering how the light would be different if you pointed lights A&B to the white wall on camera left instead of through the scrim?
Bigger spread of light, less focused / controlled, but I've used giant white walls as bounce for a larger light source in the past when I had no other options :)
Nathan. Noobie here. Shouldnt the fill light be couple of stops under the main lights? Will it not overs expose the subject with all three light fired at the same time.
The fill light is a few stops under the key light. My main light is metered to f/8, and my camera is set to f/8, with the fill light around f/2.8, so if you fired just the fill light, that light would be underexposed, hence not overpowering the main light hence overexposing the image.
Great video as usual! Just curious if you find that you're actually able to use the modeling lights effectively on the AD600 pros or if they're too weak, especially at that distance from the subject? In a large softbox I find them almost useless, but interested to know if your experience is different. Thank you and please keep up the superb quality of these videos!
I don't use the modelling lights to see where my light is landing, just to help my camera focus. I've been doing this a long time now so I know where the light is going to land when I place my lighting so the only time I usually turn the modeling lights on is if I am making a video and it helps to show the lighting or my camera is having issues focusing and needs that extra bit of light to help.
This is great information but I'm never going to replicate this without a lot more kit.
One day though :)
@@NathanElson No worries. I'll just keep doing my thing and adapting techniques from photographers with big studios and expensive equipment for this small time photographer. Almost sounds like a video idea you can make, right?
@@drpepper998 ua-cam.com/video/eV7dVnvEdUY/v-deo.html in case you haven't seen it ;)
I wouldn't be able to do this without the 650w modelling lights in my Broncolor heads. Not being able to see in real time what is going on would be frustrating.
I've gotten so used to studio lighting that I don't use the modeling lights for anything but helping my camera focus with the extra light. Likely because I started out more on location and could never use the modeling lights when shaping my lighting.
Great and educational. I was struggling a bit to see the difference between A and A+B when they were side by side. Would have been interesting to see A then A+B, then A, then A+B on top of each other (sort of like when you go back and forth between an image in lightroom), so it is easier to pick out what changes. Anyway, great and very interesting. Thanks again! :)
Ps. I really liked that you added the cloth in the background for extra visual interest. Ds.
Thanks Johannes! Sometimes with my lighting there are subtleties that are not super easy to notice (depending what you are viewing them on) but do make a difference in the final image, so they are not always easy to show but they are what drive me to constantly refine my work :) Glad you enjoyed the video!
Could the lighting effect have been created with one light source?
No, you would either have to choose between having more contrast or losing the shaping of the light. In order to have control you need more than one light.
@@NathanElson Thank you!!!
👍👏
Nice... but honestly just the sheer size of your setup is going to exclude 90% of the photographers out there from being able to mimic it.