She was a fantastic model and a great person. I was in the Czechia and she did not speak English. I think she was amazing considering she had no idea what I was saying the entire time. 10/10. I'd work with her any day. :)
Dear Mark Wallace, as I am not a native speaker the written subtitles in your video make that I completely understand what you are telling. And I learn new words. Thank you so much for that help! Your videos ar so helpful.
Thanks for the video. I tend to balance indoor and outdoor light when shooting group portraits and interior architecture. I also prefer to use lenses with leaf shutters instead of cameras with focal plane shutters. The leaf shutters give me higher flash sync speeds. Since most of my cameras do not have a TTL flash feature, I prefer to use the manual method for balancing ambient indoor light with outdoor light.
A flash is one of the lowest-cost accessories for photography and one of the most useful. The very good but low-cost 3rd party flash greatly expands your options for about $50, an umbrella might be $10 or less and a light stand would be $14. The umbrella and light stand are not essential so there is almost nothing in photography that increases options more than a flash. I built my own high power strobes of my own design but they are too big and heavy to use outside the studio, so I bought a flash from my camera brand, Nikon that was about $600. Evenutally I bought 3 of them but needed a 4th for a project so I got as cheap $50 flash and found so little difference that I ended up getting more advanced models for $150 that included important wireless functions that became my main flash units that allowed complete control from the camera of external lights by radio connection. None of my 7 speed lights have failed except my more expensive Nikon SB-900 but I was able to repair that with a $1.6- capacitor. I used these in pro sessions all the time and seldom use the large studio strobes. The two main manufacturers of low-cost speed lights, although there are many others, are Yongnuo which I have, and Godox. The latter are more expensive possibly because they heavily advertise and both are reliable. My main speed lights with wireless remote control are the Yongnuo YN968N (N for Nikon but they have models for other major camera brands ) so the flash can act as a 4-channel controller of additional lights or as a slave. Other features include built-in video light. My first Speedlight from that brand is the YN568 for $50 and it would be effective for most photographers. For location or studio portraiture or still life, light modifiers are very reasonable, with umbrellas being very low cost, and for a bit more softboxes are available so learning to use augmented light is one of the lowest cost and most dramatic improvement in options for a photographer. I would much rather have good lighting than more expensive lenses because light and control of it IS photography. It is not just having more light but its direction, width and speed, so you have two or more sources of light, ambient that can be more or less strength than the scene requires, plus you control the speed lights that give additional options in speed of capture because the speed light or studio strobe has a very short light pulse duration. That means you have more control of ambient light exposure of any duration plus the Speedlight at a very short duration that allows balancing the two to cover almost any lighting conditions, even in bright outdoor sunlight. Good luck!
Love learning so much from all Adorama videos. I got a problem with this kind of shot last week, it's in a medium sized hotel room with windows facing a great nightview of glittering Skyskappers. I couldn't make the view outside appear. I hope you guys could make a video tutorial from this kind of scenario.
Shoot on a tripod. All your shots will have the dark window with no view. At the end, turn off the lights in the room and set your shutter speed slow enough to get a good exposure on the outside view. Then use Photoshop masking & layers to underlay that well-exposed view into the window area of any of the shots that have a dark view. Might have to be a blend between the 2 shots to preserve some of the reflection of the glass.
Nice video, Mark. I always enjoy the posts by you and Gavin. I was wondering if a polarizing filter would reduce the glare of the flash on the model's face? I'd rather not take a large amount of equipment to a site, and a polarizer would fit in my pocket better than an Octobox. Thanks.
The best way is to get the relative light source diameter larger but get closer to the subject and additionally control natural oil from the skin with blotting papers or matte powder. A small Speedlight with a small umbrella close into the subject can solve that problem for close-ups but if you need to have the subject illuminated by a more distant source, the light sources must be large relative to the subject. Using the rear wall and ceiling as a gigantic softbox can do that if the lights are pointed towards the rear and rear ceiling. Oil on the skin is highly variable with age and skin condition. I have a favorite subject, a very pretty jazz singer who is but the second half of the first set looks like an oil well, 36 years old who is really beautiful so I only shoot performances for the first song of each set. But it is also a sign that their skin will look great far longer than people with drier skin. She will still be in demand for modeling assignments into her 40s and 50s, while her age cohorts have given up modeling years before. I always carry blotting paper and a few different matte powders in my sling bag with 1-2 wireless flashes, 2 lenses and a camera when out and about in the city.
Mark. I decided to experiment all your videos and started with this. I am not sure how to meter with the camera, is there a episode on how to do it. I dont want to buy any meter reading gear for now. Thx
You need a hand-held light meter with INCIDENT mode and place it near the model but pointed towards the studio light. Keep adjusting the studio light power when doing the test flash until the F-stop reading matches the outdoor F-stop reading. Buy a used digital hand-held light meter, you'll save some money.
Oh now I get it. I found it in one of your reply from your viewer's question: Troy Durrance 4 years ago Why, in the first technique, was the flash set to 'high speed sync' and not just ettl? Mark Wallace 4 years ago Because the shutter speed was faster than sync speed. You need HSS to shoot with faster shutter speeds.
if you have to use a large soft box flash, why not setup a large soft box always on bright lamp in its place? What would be the difference? Why would you use flash instead of a large light source is my question? I'm still learning and curious about things like this.
...great video ...kinda reminded me of a question i had about locations ...say a client requires a hotel for location ...who pays for the hotel ...the photographer or the client?
Thank you for the explanations. But what if I wanted a shallow depth of field while using a Profoto 1200 pack? it would be pretty tricky to handle this window light with your x-sync (1/200th) and not having a HSS on your remote.
love this video. im lost in one part. when you set your camera to manual, 1/200 iso 100 to meter off the trees...how does it set the f stop to f4.0 Im confused!
In the last example Mark used manual settings and the flash speed was set to the camera's sync speed of 1/200. But two of the "after" photos showed flash speed at 1/400. Did Mark change to HSS? If so, why?
In this video, I noticed that the huge help comes from that light meter device but I checked-so expensive 😂.. any good way to learn how to flash meter by eye/guess?
I agree. I personally take a shot with only ambient light, then add the flash adjusting till properly exposed. It takes a few extra shots and isn't scientific but works well.
Save money by buying a used digital hand-held light meter with incident and reflected modes. All my photo gear were bought used, except for one camera.
I wouldn't call this is a mixed lighting scenario with regards to colour temperature. Sunlight and flash have approximately the same colour temperature. A WB setting for one should be fine for the other.
The Leica M is not really made to be used with flash. You can do it... but the system is not something most photographers would be using, so I borrowed a Canon.
Mark Wallace the GOAT of teaching photography fundamentals.
Got to congratulate this model for being in a constant mood throughout. What a joy to work with I'm sure!
She was a fantastic model and a great person. I was in the Czechia and she did not speak English. I think she was amazing considering she had no idea what I was saying the entire time. 10/10. I'd work with her any day. :)
Robo-model :D. Thanks for the content though!!
Dear Mark Wallace, as I am not a native speaker the written subtitles in your video make that I completely understand what you are telling. And I learn new words. Thank you so much for that help! Your videos ar so helpful.
This is the best explanation ever!
That final picture is PERFECTION..
U make others looks easy n in proper way step by step ... What a teacher salute 🫡🫡🫡🫶
I always love these instructional videos using flash.
Thank you so much for sharing this tutorial video.
Always great teaching!
Great teacher
Thanks for the video.
I tend to balance indoor and outdoor light when shooting group portraits and interior architecture.
I also prefer to use lenses with leaf shutters instead of cameras with focal plane shutters. The leaf shutters give me higher flash sync speeds.
Since most of my cameras do not have a TTL flash feature, I prefer to use the manual method for balancing ambient indoor light with outdoor light.
very nice pictures,learning to more
Great video. I really like Mark's teaching style. Natasha is stunning!
Many thanks Mark , brilliant video
Mark, you're stil the king of photo tuts!
Are you still 'walking the earth'?
Great tutorial, thanks. Most of us don't have option 2 and 3. There's perhaps an option 4: multiple flash
Sir by seeing your video's we learn more subject... Thank you sir
This is very useful video for newcomers in photography.
Muy buen video, Mark. Gracias por compartir tus conocimientos.
Very good video, Mark. Thank you for sharing your knowledge.
Perfect balance of the light!
Excellent Mark.
Ceiling photo was awesome for me!Nice video!
So good ! Thanks!
nice tutorial and beautiful model
Looking at some flowers and thinking it's, err... spring. Classic!
Just excellent!
You always make it look easy!
Thank You So Much for this Wonderful Video. You can be a great Teacher.. No You are a great Teacher.
Thanks Mark for the great advice !!!
"hoo it's spring"
now you have a story to tell in your picture :D
Nice video man! Always enjoy viewing your vids!
This is very useful. My brother is the strobist. He's too busy working to explain all this to me, lol.
Very useful video , I learned lot from it, looking forward more videos like this keep it up good work, R.manohar , india,chennai
Nice video. My only question is where can i get an android like Natasha?
Love your tutorials! Very good instructional video. Thank you very much for the same 👍😎
Super vid 👍 thank you mister flash, great job, i like it ❤️
thank you very much Mark
Great tutorial
This was very helpful, thank you. It would be nice to be able to do this for people on a budget.
A flash is one of the lowest-cost accessories for photography and one of the most useful. The very good but low-cost 3rd party flash greatly expands your options for about $50, an umbrella might be $10 or less and a light stand would be $14. The umbrella and light stand are not essential so there is almost nothing in photography that increases options more than a flash. I built my own high power strobes of my own design but they are too big and heavy to use outside the studio, so I bought a flash from my camera brand, Nikon that was about $600. Evenutally I bought 3 of them but needed a 4th for a project so I got as cheap $50 flash and found so little difference that I ended up getting more advanced models for $150 that included important wireless functions that became my main flash units that allowed complete control from the camera of external lights by radio connection. None of my 7 speed lights have failed except my more expensive Nikon SB-900 but I was able to repair that with a $1.6- capacitor. I used these in pro sessions all the time and seldom use the large studio strobes.
The two main manufacturers of low-cost speed lights, although there are many others, are Yongnuo which I have, and Godox. The latter are more expensive possibly because they heavily advertise and both are reliable. My main speed lights with wireless remote control are the Yongnuo YN968N (N for Nikon but they have models for other major camera brands ) so the flash can act as a 4-channel controller of additional lights or as a slave. Other features include built-in video light. My first Speedlight from that brand is the YN568 for $50 and it would be effective for most photographers.
For location or studio portraiture or still life, light modifiers are very reasonable, with umbrellas being very low cost, and for a bit more softboxes are available so learning to use augmented light is one of the lowest cost and most dramatic improvement in options for a photographer. I would much rather have good lighting than more expensive lenses because light and control of it IS photography. It is not just having more light but its direction, width and speed, so you have two or more sources of light, ambient that can be more or less strength than the scene requires, plus you control the speed lights that give additional options in speed of capture because the speed light or studio strobe has a very short light pulse duration. That means you have more control of ambient light exposure of any duration plus the Speedlight at a very short duration that allows balancing the two to cover almost any lighting conditions, even in bright outdoor sunlight. Good luck!
Thanks for sharing valuable information
Long time since I caught up with your work Mark. Nice job, as always!
Thank you for this information and many thanks to the very pretty model :-)
Great content guys! Keep it up!
Love learning so much from all Adorama videos. I got a problem with this kind of shot last week, it's in a medium sized hotel room with windows facing a great nightview of glittering Skyskappers. I couldn't make the view outside appear. I hope you guys could make a video tutorial from this kind of scenario.
Shoot on a tripod. All your shots will have the dark window with no view. At the end, turn off the lights in the room and set your shutter speed slow enough to get a good exposure on the outside view. Then use Photoshop masking & layers to underlay that well-exposed view into the window area of any of the shots that have a dark view. Might have to be a blend between the 2 shots to preserve some of the reflection of the glass.
fantastic dear
Great video
Excellent video Mark. Natasha seems a little camera shy. Also, what is with the bare foot photographer?
Nice Teaching, I Love It.
Thank you so much for this video
Nice video, thank you !
Great stuff
Nice demo of balancing daylight and flash. No discussion of light source color temperatures?
Daylight and flash are both around 5200K, so no gel needed in this setup. Perhaps I'll cover mixed color temps in a future video.
Yes, please do.
Genial Mark, saludos desde Costa Rica.
Gracias! Pura Vida!
Great tutorial as always. One question though, when metering ambient light, you use matrix mode I guess in all three situations.
Window light lends itself as a soft box in itself. This is one time I'd actually go natural light, this is subjective of course.
Nice video, Mark. I always enjoy the posts by you and Gavin. I was wondering if a polarizing filter would reduce the glare of the flash on the model's face? I'd rather not take a large amount of equipment to a site, and a polarizer would fit in my pocket better than an Octobox. Thanks.
Did it work using the polarizer?
The best way is to get the relative light source diameter larger but get closer to the subject and additionally control natural oil from the skin with blotting papers or matte powder. A small Speedlight with a small umbrella close into the subject can solve that problem for close-ups but if you need to have the subject illuminated by a more distant source, the light sources must be large relative to the subject. Using the rear wall and ceiling as a gigantic softbox can do that if the lights are pointed towards the rear and rear ceiling.
Oil on the skin is highly variable with age and skin condition. I have a favorite subject, a very pretty jazz singer who is but the second half of the first set looks like an oil well, 36 years old who is really beautiful so I only shoot performances for the first song of each set. But it is also a sign that their skin will look great far longer than people with drier skin. She will still be in demand for modeling assignments into her 40s and 50s, while her age cohorts have given up modeling years before. I always carry blotting paper and a few different matte powders in my sling bag with 1-2 wireless flashes, 2 lenses and a camera when out and about in the city.
*Hey this is great stuff. :-)*
_Thank you so much!_
*_LIKED, SUBSCRIBED & SHARED!_*
Mark. I decided to experiment all your videos and started with this. I am not sure how to meter with the camera, is there a episode on how to do it. I dont want to buy any meter reading gear for now. Thx
You need a hand-held light meter with INCIDENT mode and place it near the model but pointed towards the studio light. Keep adjusting the studio light power when doing the test flash until the F-stop reading matches the outdoor F-stop reading. Buy a used digital hand-held light meter, you'll save some money.
thanks for the info mark.
I'm glad to help. :)
Love your show but I am still confused at why shooting still or non movable objects whit Hi Speed flash while same can be achieve with TTL
Troy Durrance
4 years ago
Why, in the first technique, was the flash set to 'high speed sync' and not just ettl?
Mark Wallace
4 years ago
Because the shutter speed was faster than sync speed. You need HSS to shoot with faster shutter speeds.
Shooting in bare feet.... like a boss!
thanks, for most power full tips i lik
Very interesting and helpful. How do the arms feel after using that big heavy camera hahaha, just kidding love the Canon
Thanks for sharing
Lot of thank
Just goes to show the best artist don"t need shoes !
great!!!!
Great explanations for me. But why set your speedlight to HIGH SPEED SYNC? I may have to read up on that one.
Oh now I get it. I found it in one of your reply from your viewer's question:
Troy Durrance
4 years ago
Why, in the first technique, was the flash set to 'high speed sync' and not just ettl?
Mark Wallace
4 years ago
Because the shutter speed was faster than sync speed. You need HSS to shoot with faster shutter speeds.
if you have to use a large soft box flash, why not setup a large soft box always on bright lamp in its place? What would be the difference? Why would you use flash instead of a large light source is my question? I'm still learning and curious about things like this.
I swear you people are blind. She gives a smile at 3:37.
THANK YOU
Great thanks
Can you please detail about how to take in-camera meter readinng (you have taken f-value of the light coming from the rees, in this video). Thanks
He set the camera on APERTURE PREFERRED, set the ISO at maximum flash setting for his camera at 200, and let the camera set the shutter speed.
I would need this outside and large house first...
Great! Keep it up!
...great video ...kinda reminded me of a question i had about locations ...say a client requires a hotel for location ...who pays for the hotel ...the photographer or the client?
Photographer pays and includes the cost in the bill to the client.
Mark, would you do a video on shooting in a room with florescent lights using a speed light.
Thank you for the explanations. But what if I wanted a shallow depth of field while using a Profoto 1200 pack? it would be pretty tricky to handle this window light with your x-sync (1/200th) and not having a HSS on your remote.
I was also thinking HSS 1/8000s
ND filter on the lens, or ND film on the windows...
Thank You!
How about using on camera speedlight with a flash diffuser such as gary fong's lightsphere?
Natasha likes your flash
love this video. im lost in one part. when you set your camera to manual, 1/200 iso 100 to meter off the trees...how does it set the f stop to f4.0 Im confused!
adjust the f stop till you get right metering. thats how he got f4. it could have been 2.8 or 5.6 but he got f4 so he shot at that aperture.
The only missing here is the Cozy Slipper for Mark's feet.
Hey sweet channel ☺ Keep it up!
If I must use on camera flash, I use the rogue flash bender
Mark has spent so much money on his lighting equipment he couldn't even afford some footwear!
awe its spring.
you can not use high speed sync with Godox V1 without trigger
In the last example Mark used manual settings and the flash speed was set to the camera's sync speed of 1/200. But two of the "after" photos showed flash speed at 1/400. Did Mark change to HSS? If so, why?
Those were images from the first two setups, the text on the bottom of the screen denotes what flash I was using.
In this video, I noticed that the huge help comes from that light meter device but I checked-so expensive 😂.. any good way to learn how to flash meter by eye/guess?
I agree. I personally take a shot with only ambient light, then add the flash adjusting till properly exposed. It takes a few extra shots and isn't scientific but works well.
Save money by buying a used digital hand-held light meter with incident and reflected modes. All my photo gear were bought used, except for one camera.
Dom you shoot in A- mode whole time? Marcus Sweden
Thanks..!
Sir, which light meter you were using in this video?
How do you typically handle the white balance in a mixed light scene like this? Shoot a white balance card?
I wouldn't call this is a mixed lighting scenario with regards to colour temperature. Sunlight and flash have approximately the same colour temperature. A WB setting for one should be fine for the other.
Hate to see a man with no shoes Mark! I've got some extras I could spare! Let me know! Ha Ha! Great tutorial as always! :-)
Great vid. You triggered the Acute2 with your PW. Been trying to do it with a Wistro 360, can you please explain. Thanks
Bounced image at 3:00 looks better than direct flash earlier.
And shooting in raw allows for plenty of exposure adjusting in post if you aren't 100% in love with the results.
What white balance would you use in camera when flash and ambient light sources are present?
DA 16-50mm f2.8, DA 50-135mm f2.8, DA 70-200mm f2.8 which one is better? If you have a limited buying capacity!
I would pick 24-105mm. 24 good for video mode and wide angle still photos, 50 for full body photo, and 105 for portrait photo.
Back to Canon I see? Is there a reason why or does Mark just like to switch it up. Great pictures by the way.
It is illegal to use Leica with speedlights.
Lysander Spooner they make you sign a contract the prohibits you from doing anything fun :P
The Leica M is not really made to be used with flash. You can do it... but the system is not something most photographers would be using, so I borrowed a Canon.
It should be! hahaha
Only if you put the flash on the camera. Studio lights are OK.