Good stuff. After shooting literally hundreds of headshots over the past 5 years, I've grown kinda tired of my formula - and found it slightly unflattering on certain people. I've spent the day in the studio recreating all your set ups and I feel excited about trying something new on my next shoot. Nice video production too - keep up the great work!
Wow man, thank you so much. I'm really glad this gave you something new to play around with. It's always nice to switch things up and keep it fresh. I might be overdue myself honestly!
@@saminterrante I've always used a 42" beauty dish softbox as my key, with a 40" reflector and a 12x36 kick. It's a solid set up but the placement of the key gets really crucial depending on the subject. When photographing people in their 50s and over I'm trying to minimize the effects of aging and get a light that is 'slimming' which can be a real struggle. Too flat and they're a big old pancake, too far around and they look like the grand canyon. Never a dull moment. Have a good one.
I am a hobby photographer. I've never been asked to do a "head shot" but, now I have an idea of the process and what to look for if that day ever comes. A well done video... thank you.
Nice video, saved for future reference. Leah is a great subject for headshots. She has very approachable facial expressions (and I'm told that's important for general headshots).
Very nice demo and thank you for showing your setups. I appreciate your elegant and no-nonsense approach to lighting for headshots. Thanks for sharing!
Awesome teacher. Using strobes is so much better than Hurley's continuous light approach, which makes people squint heavily and look super uncomfortable.
This tutorial is great for beginners, hobbyists, and anybody who doesn't want to invest in strobes to experiment with playing with lights and improve their portrait photography . Thanks 👍
All good questions! The higher ISO is so that I can rapid fire with my camera and my lights not misfire on every other shot. If my ISO is lower, the power of my 200 watt lights have to be higher which causes the recycle time of the lights to suffer. In theory you always want the lowest ISO possible for maximum detail and minimal image noise, but with cameras these days, I can see zero difference in detail between ISO 100 and ISO 400 (or even higher), so I'm not worried about it. As for shutter speed, I could shoot a little slower, but I see no point. 1/200 is kind of a sweet spot to freeze any motion that might happen during a headshot session. It's also part of the effort to minimize ambient light, and slowing my shutter is gonna let more natural light creep in. Regarding f-stop, I like shooting at f/4 on my 85mm lens for headshots because it gives you just a tiny bit of blur around the ears and hair which I think looks nice. If I want my headshot to look a little bit more painterly and artistc, I could open up my aperture more. If I'm trying to get the entire subject in tack sharp focus, I'll close down my aperture. Hope this all helps!
great video! i love the lightness of your presentation. good explanations and great videography as well. of course Leah is quite pleasing as well! thanks for your vid!
Thank you!! This is honestly really encouraging. I am in the process of getting a few new YT tutorial videos going, so your kind words are a big motivation! Thanks again.
Great video man I was struggle with the head shots because of the insane light conditions when I go to somebody’s office especially the external light and this didn’t really solve this ha ha but I’d like to see your approach to it
Hey Sam! This video popped up when I was looking at headshot videos. Very good and informative especially the part about the setup and how it affects contrast. It was nice meeting you in Baltimore a few months ago. Looking forward to more content from you.
I have to admit though, if I were to do this now with a two light setup, I'd do the following: 1. Main light on a 36" octabank (like the Glow EZ Lock) in the same position as the key light in this video, but much closer, just barely out of my frame. 2. V-flat or reflector on the opposite side of the subject for fill, just barely out of frame as well. The quality of light this simple setup produces, I've found, looks so good. 3. I'd use the second light source to get control of my background exposure. The more I shoot, the more I find I really prefer to have a light source for my background. Give this a try if you feel compelled, and let me know how it goes for you. 👍
It's the Instamic, and I am a big fan! You can use it as a wireless lav mic, do field recording, and even live stream with it. It comes with an app that makes the whole thing easier too. Hope that helps! Check them out online!
Thanks! I can't recall where I got the backdrop, but I'm pretty sure it's from Savage, which is a reputable company for their seamless backdrops. "Fashion gray" is a good one because it's a middle gray so you can go bright or dark, depending how you light it.They come in both 5-feet and 9-feet. Happy shooting!
@@michaelburton6053 I would 100% recommend the Glow softboxes. They're the exact same thing as the Westcott, same materials and all, and for about 1/3 the price.
Leah is so damn gorgeous. LOL. Also, good video. Although I have been a pro photographer for 26 years specializing in corporate and personal branding and headshots, I like these videos because it allows me to continue my studies, even though I have an MFA, I like looking/learning other techniques I may or may not use in the future. :)
Yeah I know what you mean! I can do the same thing for years and suddenly find a new thing--even if a small tweak--that helps me forward. Also if I'm not always looking to improve somehow I'm naturally gonna get stagnant and bored. Thanks for the shout!
Thanks so much. :) And yes - I used the Savage "fashion gray" seamless (bhpho.to/3MedtjI). To get that nice rich dark gray background more easily, I'd recommend the "thunder gray", (bhpho.to/3MdjI7v) which is a little darker. Hope this helps!
Hi! thank you for the content. I also use big umbrellas often, however struggle when someone is wearing glasses. What do you do in that case when you’re mobil? Have a nice day
Thanks for the comment! Someone else had this question a few months ago, so I'm gonna just copy > paste my reply from below here: If I'm getting glare in the glasses I'll ask my subject to drop their chin just a little bit which often cuts down on glare. If my subject has long hair that can cover the arms of their glasses I'll have them lift the back end so the arm float above their ears, so the glasses tilt more downward and avoid the glare. You can hardly notice it in a lot of cases and it addresses the problem really well. If there is still just a little bit of a glare or tint, it can be easily removed in Photoshop (search "Piximperfect glasses glare" on RUclips for an amazing tutorial on how to do it). All of that said, sometimes my subject has lenses that create horrible glares everywhere and nothing can be done other than asking them to remove their glasses entirely. Hope this helps, friend!
Great video thank you. Can I ask you about your tripod...i've been put off tripods as they're so clunky and stiff.....but yours looks smooth and easy. What is the model and brand please? Thank you!
Sure thing! It’s just a Manfrotto tripod that I bought probably 12 years ago, not sure the exact model, but their products are great pretty much across the board!
@@saminterrante I noticed the Westcott sometimes brands them 'XL STRIP' other times '1x3' (you have both here) - are they exactly the same product? it would seem so
@@MusicFed yeah you're exactly right, they're identical light modifiers. Though, I would recommend checking out the Glow EZ lock line, as they're also identical products for literally a third of the price Westcott charges; the only difference is the logo on the side of it. Glow even throws in the attachable grid and a deflector plate for free, while Westcott charges another like $100 for. Honestly I'm less and less pleased with Westcott, as their efforts seem more on flashy marketing to justify overcharging for their products. It's not junk by any means, it just also doesn't make any sense to me when there are identical products on the market for less money. Hope this helps! Holler if you have any other questions.
@ thanks so much! I really appreciate your help. unfortunately I am based in the UK and GLOW doesn't seem to be distributed around this neck of the wood. I wonder if you can help me decide which size of strip box to get. this would be primarily for headshots (3/4 max); I see a lot of folks default to 1x3 or some 2x3 boxes. I like magmod but they have only one version which is an odd size (9 inches by 36 so a smaller version of a 1x4) - do you think this size could work as rim light, and as a filler from down below in front of the subject? alternatively I was considering a 1x3 like the Westcott (I can find those here but yes, they are a bit pricey). I understand bigger strips (1x4) can be useful for full figure shots to wrap the whole subject from behind, but I rarely do those. anyway, thanks again and great video. fed
@@MusicFed That's a good question; I would go for the 1x3. I use one for my kicker/hair light, and as the lower light in my headshots. It's worked out for me really well. I have two of the big 12"x56" (from Glow) and the only thing I ever use them for is full body shots. That's a bummer that they don't ship to the UK. I did a little digging, and it looks like you might be able to get Glow softboxes via Amazon UK? Admittedly I don't know how this works, so maybe that's not an option, but maybe worth exploring? Hope you can figure out a solution!
I have a question.. I have a Canon R6 and purchased the flash for the top of the camera. Which have not yet needed. My focus is not business shots but was asked to take some for a friend at his financial office. I was going to rent a backdrop. But I can’t invest in all of this as I invested in new camera, new lens for the other parts of the business. Any suggestions? Thanks 😊
Hey Annette! If you're doing headshots on location and trying to invest almost nothing more into gear, maybe there is a neutral (white, gray, black) wall in the office large enough to make that the background? To get light on your subjects without your own light source, you'll want to utilize window light and a simple pop-open reflector on the opposite side of the light source (the window) to fill in the shadows on the subject. I'm always trying to get nice, open, and even light on faces for headshots - nothing too dramatic. If you plan on using the speedlight you said you bought, check out this starter lighting kit PDF guide I have. >>> bit.ly/3SfB85p
Nice work Sam! Are you using modeling lights on the three light setup? Are you running them off the batteries or AC? Have you had any battery or other issues with your godox monolights?
Thanks Mark! No, I don't generally use modeling lights. On my little 200 watt lights the modeling lamp doesn't really push out enough power to even help me see. And they run off of lithium-ion batteries, and have an impressive life cycle. I've been using them for six years now, and they still seem to work just fine. More details about those lights are in another video I made here >> bit.ly/3g6quRA the actual content of the video starts at around one minute!
@@saminterrante Thx Sam. We hear the importance of closing the pupil with a modeling light, you have bright windows in back so you may not need a model light, but what do you recommend for those of us who may need a model light?
@@markelovett Ohh, that makes sense, yeah! I guess you see more of the iris if the subject's pupil is contracted. To be honest I haven't given a ton of consideration to this (and thanks for bringing it to my attention!) I would probably just pick up a cheap LED light panel, like this one >> amzn.to/3GqjM3B. As long as it isn't more powerful than your studio lights, it shouldn't affect your shots.
That would be correct! If you don't want to spend the money on two more 600w lights, I would get the Godox AD200 (same as what I'm using in the video). The 200w and your 600w lights will work together and the 200w provides enough power for almost any indoor studio application. As far as the strip box, check out Glow's version (www.adorama.com/glsbez1236.html). It's literally the same thing but at like 1/3 the price of Westcott's strip box. Hope this helps! Happy shooting. :)
If you mean Aaron Nace, that's a huge compliment! That guy is amazing...and knows a hell of a lot more Photoshop than I do too haha. Have a great day man, let me know if there's any way I can help!
Yeah unfortunately that seems to be a common problem. I personally use autofocus, but my studio usually has enough ambient light that the autofocus works fine. I might suggest getting some low-watt room lights, like just lamp or whatever, and use one of those LED bulbs that you can change the color temperature on from your phone, so you can match it to your studio lights if you're using them. I forget what the brand of LED bulb is called, but if you Google it I'm sure it will pop right up!
@@saminterrante so you don’t totally get rid of ambient light in camera when dialing in your settings? I was going for an all black screen but if it’s fine not to I think that’d solve my problem.
@@Gracen145 Yeah I don't necessarily try to actually darken the room. Basically as long as my ambient exposure in my camera is mostly dark I consider that good to go. My lack of familiarity with mirrorless is worth mentioning though. The difference is I'm looking through a viewfinder and I'm not sure how the mirrorless camera's digital display affects the camera's ability to "see" in low light.
That's the Instamic! And I love it. I don't know much about video production and audio, so there was a decent learning curve for me in learning how to use it. But it's great!
Hi Sam. Possibly dumb question. Why have your ISO at 320 or anything above 100? It doesn't seem like you would need it to boost the exposure when you are at a shutter of 200. What am I missing? I guess why not drop the shutter and boost the ISO instead? Thanks!
Hey Brian! Not a dumb question at all - the main reason I'm not at ISO 100 is that I tend to shoot in fast bursts, and with my ISO turned down I'd have to turn the power of my lights up, and they won't have enough time to recycle, often making every second or third shot a misfire. Also in all honesty I don't see any loss in image quality and detail between ISO 100 or ISO 800 or even higher, so I'm not worried about making the lowest possible ISO my first priority. Hope this helps!
Oh also I'm not using my shutter to change my exposure, and would keep it at 1/200 in almost any scenario if I'm using strobes. If I want to change the exposure I would be relying on my strobe power, aperture, and ISO.
@@saminterrante Ah gotcha!. I didn't think about the refresh rate on the strobes. Can you explain the reasoning for not turning your shutter down? Thanks so much!
@@brianvales4760 sure! When I'm using studio lights (specifically strobes) to shoot portraits, changing my shutter is actually going to have basically no effect on the exposure of the photo, unless the shutter is REALLY slow, in which case you're just gonna get motion blur. It's tough to explain without actually demonstrating. Maybe I'll have to make another video haha.
The first thing I would do is just have my subject drop their chin a tiny bit and see if that works. There are obvious limitations to this, and I don't want my subject to be confined to just that kind of head positioning. So if that doesn't work, I have my subject actually lift the arms of their glasses up slightly so they sit just above the ears, effectively tilting the lenses down and often eliminating the glare. This works best on people with longer hair which they can use to cover it up around the ears, and in most cases it's not that noticeable in general if you keep it subtle. If you have to fix it in Photoshop, check out this RUclips video for an amazing tutorial on it. The teacher, Unmesh Dinda, is an outstanding teacher. ruclips.net/video/plOsuoh0eFg/видео.html&ab_channel=PiXimperfect Hope that helps!
Thanks Sam for your video. If you will be dealing with eyeglasses/reflections for some of the head shot portraits, do you anticipate this in your setup or deal with it when it comes up? Also, do you have a on-location backdrop that you use? thanks again.
That's a great question. If I'm getting glare in the glasses I'll ask my subject to drop their chin just a little bit which often cuts down on glare. If my subject has long hair that can cover the arms of their glasses I'll have them lift the back end so the arm float above their ears, so the glasses tilt more downward and avoid the glare. You can hardly notice it in a lot of cases and it addresses the problem really well. If there is still just a little bit of a glare or tint, it can be easily removed in Photoshop (search "Piximperfect glasses glare" on RUclips for an amazing tutorial on how to do it). All of that said, sometimes my subject has lenses that create horrible glares everywhere and nothing can be done other than asking them to remove their glasses entirely.
Great video. Are you using 46" or 60" Softlighters? I actually prefer the final setup, even on a woman, although I might not risk that setup for a business "headshot day" retail scenario. And Leah is a wonderful model.
Thanks! I'm pretty sure I was using the 60" Softlighters. And I agree about that last setup, I was surprised at how much I liked it. Leah is definitely a great model!
I actually do have a Sekonic light meter that I bought like 5 years ago, and I've used no more than maybe once or twice. 😬 I just use the old guess-and-check method. With the number of times I've used these specific lights in this specific studio, I have a good sense of where to start out and be almost spot on right away.
Is ISO 320 a magic number for you, unlike many photographers who use ISO 100? Also, how do you avoid the distraction that may be caused by the two big holes on your earlobes, lol?
Haha nah, ISO 320 is just what I happen to land on. I could crank up my lights a bit and drop my ISO to 100, but the difference is undetectable to the naked eye. I'd rather have my lights at a slightly lower power so they recycle faster. And not much I can say about the holes in my earlobes, I was just born that way. Strange, innit?
Hey Keem! I had an Instamic attached to my shirt, though admittedly I don't think I ended up even using the audio from it, if I remember correctly. 😅 I will say however that it is a fantastic mic and is great for this kind of thing, as well as field recording. It can even be used for live-streaming. The fidelity of the audio is fantastic too. Highly recommend!
The second and third light are set to about 1/4 to 1/3 of the power of the main light. So if the main light is 1/16 power, set the second and third light to about 1/64 or 1/128.
Are you referring to the last setup? There is no dedicated light under her chin, but the kicker light behind her is wrapping a little highlight around her jaw on camera left. Hope that helps!
Hello Sam, I have a question. Why (setup 4) ISO 320? Best quality is at base ISO. Depends on the Sensor, but often ISO 100. What about more power to the flashes?
Hey Frank, very good point! When I’m doing headshots I often shoot quick bursts of photos (like when my subject smiles, for example) to try to get that perfect shot. At 200w each, these lights aren’t the most powerful, so if I have them cranked up too high they don’t recycle fast enough and I get misfire shots. Technically you’re completely right, and I’d always want the lowest ISO possible, but in the real world I can’t actually recognize any difference. Hope that helps! 🙏
Cameras these days can handle higher ISO's very well. ISO's are clean on most newer cameras up to ISO 800 at least and the difference between ISO 100-400 isn't not enough to be seen by the naked eye in a print. It's good to take advantage of the newer technology. On top of that, you can't take all photos at the base ISO. Think of all the shots you have ever taken above ISO 200, would all of those shots be considered trash? Higher ISO's increase the life of your flashes/strobes and as Sam stated, decreases recycle times for reliable shooting in the studio.
Nikkor 85mm f/1.8. It's the cheaper version of the beloved f/1.4 version, at about a quarter of the price, and the optics are outstanding. A no-brainer for me personally!
In theory, you're 100% right! The lowest possible ISO should be what we always go for. For me though, I'm not worried at all about anything under like 800 ISO, as the loss in detail seems totally negligible. In the case of this shoot and since the lights I used were only 200 watts, if I drop my ISO I'd have to increase the power of my strobe, slowing down the recycle time on the lights. So consequently, if I'm firing in fast succession I may end up getting some misfires. Hope that makes sense!
@@saminterrante Really well explained lighting setup Sam. I was just curious about the ISO you used in studio. A 400 watts up strobe will give you a quick recycling time. Keep going with the good tutorials . Happy clicks 😉
@@snoopusa2006 Yeah for real, sometimes a more powerful strobe is just the answer. I think the thing that keeps me hooked on my little 200w lights is how portable they are. I can load up four of those in my roller case when I do location shoots and they take up almost no room.
Yessir! Love them. They're the perfect balance of affordable and reliable. I've been using mine for like six years now and they're still work just fine.
@@saminterrante I’m thinking about getting 3 of the ad200pro’s and the elenchrome strip boxes which are only $124 ea rather than the $240 wescott rapid box strips. They seem more light weight and bulky. Do you have any opinion on them?
@@markelovett Sounds like a good plan! As great as the Westcott strip banks and other "Rapid Switch" light mods are, you can get the same thing from Glow for way cheaper. I have two different Glow "EZ Lock" softboxes and they're the exact same thing as Westcott's (I have a bunch of those too) but around only half the price. Here's the link to the entire lineup which come in a bunch of different sizes, all for under $100! >> www.adorama.com/glsbez1256.html
It's mostly just a preference thing. I get a little bit more compression with the 85mm lens. One of the reasons that helps is, if I were working against a smaller backdrop it might not fill the frame and I'd see the edges of the backdrop. I have however used a 50mm for headshots in the past and it works just fine in most situations. If that's all you have to use right now I'd say you're good to. Hope this helps!
One other thing to add - the 50mm is probably the most versatile lens you could have in a studio setting, in my opinion. You can get in really close and capture intimate portraits, but you can also capture a full body photo without needing a huge studio space. If I had to choose only one lens to keep it would be a 50mm. 👍
I’m late to the headshot party… 😅 Sam, do you always keep your K at 5500 for headshots in studio? I love your work and your content! Thanks for sharing your knowledge with us noobs! 🤪
Hey thanks for the kind words! Yes, I just see the white balance to 5500k and forget about it. If I need to make any small white balance tweaks in post I’ll do so. Hope this helps!
Great question! Typically I try to keep my ISO as low as possible to preserve detail, but in the case with these 200w lights, I would have to turn my light power up to the point that the recycle time is too slow and I'd end up getting misfires every other shot. Also with how camera sensors are these days, I'm not too worried about shooting at higher a higher ISO. Hope that helps!
Nice video, thanks for sharing your knowledge and showing your techniques! I love the vibe you have in the studio and with your subjects it looks nice, genuine and relaxed ^^ You also bring everything very nicely and well explained with great visual support. Audio on this video was good, the vocals could use a slight bump ;) You could throw some general tags in your channel to automatically apply to every video you upload. Just something like your name and what your channel is about or gear and brands that your often use (photography, how to, nikon, d750 etc.). This should give you some more reach without very much effort (under settings > default settings for uploads in the youtube studio). (I found you through the HSC, I'm still playing with a two light setup in my tiny garage dreaming of a studio like yours :D) Once again thank you for sharing and keep up the nice work!
Dude, I can't thank you enough for the pointers! I'm still pretty new to making videos, and trying to learn as much as I can about the technical side of uploading to RUclips. So what you shared is so helpful. Thank you also for the very kind words, this is really encouraging. You honestly just made my day. 🙌
very instructive. thanks for the effort and the sharing. you demo-ed young women and men (sorta!) but how would you light senior citizens, men & women well into their 70s and beyond? thumbs up.
Thanks! For older folks, if it's a professional headshot I'd want to fill in the light as much as possible. So I'd use the 3 strip-box triangle setup. If it's just a portrait to tell a story of the person, I'd want to celebrate the lines in their face, so I'd probably just go with one 36" octabox overhead and tilt it down at 45 degrees. Without anything to fill in that main light you'd get nice deep shadows and contrast. If you want to soften it up slightly, through a white piece of foam core or a white reflector under their chin just out of frame. Hope this helps!
The whole one light thing really falls apart, if you add an expensive modifier to the mix. That is really not what ppl are asking for. Pretty sure they just bought a flash and want to now how to achieve the best results with it. It’s no secret that you can get better and better results by adding to the cost, but it’s not really the solution ppl are looking for, if you catch my drift.
I mean if you buy a light you'll invariably also have to buy a light modifier, unless maybe you just buy a light and bounce the bare bulb off white wall or ceiling. Maybe I'm not clear on what you're saying? Can you clarify?
@@saminterrante11:49 My point is, almost everything that you’ve done here can not be achieved with one light. You used multiple lights + light stands + modifiers. This might seem normal to you, but for somebody getting into it, it’s just not what you’re dealing with. Looking back to it a year later I can definitely agree to multiple lights helping with adding depth to you headshots, BUT I still mostly shoot with 1-2 lights, a reflector and black cloths to add shadow. Those last two things are cheaper to get for a beginner and work with the same principles.
Can't disagree with you on that hahaha. I was pleased with the result of that last photo, but it's definitely not how I would have initially thought to set up the lights for a woman's face.
OMG! ⅛ power and 1/32 power; he doesn’t know it’s two stops less?! “I’m not a mathematician!” Well, your are not much of a professional photographer either. The teaching moment here is the ratio in terms of stops of light. Everyone’s flash lightening will be a different powers to his. The camera works in steps of light relating to stops of light, so it makes sense to also talk of the lighting in terms of stops of light. That’s why professionals and professional educators use it.
It's a mere bit of sarcasm, Julian. The finer point is that lighting ratios are something I quickly learned not to go by, and to trust the acuity of my eye to achieve the look I'm going for. In this case, recognizing a shadow depth that I feel is flattering for the subject's face. I suppose I could have explained that a little better haha. I must not be much of an educator either. ;)
You appear to be a very nice person. Don’t take my comment as negative one. Take it as constructive criticism. Your lighting is very flat. There is no contrast, even though you are using “studio lighting “(amateur lights) Your images look if you would use on camera flash.. you have to work more on your lighting, look at some professional photographers how they shoot. Look at their images… btw I am professional fashion photographer with 20 years experience, shooting for major brands, and publications..
One of the most informative and straight forward videos I have found on this subject. Thank you.
For those wondering the 2 light setup fill lights at 1/32nd power was 2 stops less than the main light at 1/8th, assuming distances were the same.
I have viewed this before and it is one of the top Photo Head shot Videos on RUclips, thanks a lot for making it I learn a lot each time.
Thanks so much! That's really generous of you and I appreciate the kind words. 🙏
Good stuff. After shooting literally hundreds of headshots over the past 5 years, I've grown kinda tired of my formula - and found it slightly unflattering on certain people. I've spent the day in the studio recreating all your set ups and I feel excited about trying something new on my next shoot. Nice video production too - keep up the great work!
Wow man, thank you so much. I'm really glad this gave you something new to play around with. It's always nice to switch things up and keep it fresh. I might be overdue myself honestly!
@@saminterrante I've always used a 42" beauty dish softbox as my key, with a 40" reflector and a 12x36 kick. It's a solid set up but the placement of the key gets really crucial depending on the subject. When photographing people in their 50s and over I'm trying to minimize the effects of aging and get a light that is 'slimming' which can be a real struggle. Too flat and they're a big old pancake, too far around and they look like the grand canyon. Never a dull moment. Have a good one.
@@MattSpaugh Hahaha truly, the struggle is real. You get it!
THANKS. I do like the light in your talking shots. That's how I wanna light my subjects... having kick light from the side, rim light from the back.
I am a hobby photographer. I've never been asked to do a "head shot" but, now I have an idea of the process and what to look for if that day ever comes. A well done video... thank you.
Hey Mark, man thank you so much! I really appreciate the positive feedback. :)
This kind of umbrellas - octas are great ! smooth and wide light
I agree!
Nice video, saved for future reference. Leah is a great subject for headshots. She has very approachable facial expressions (and I'm told that's important for general headshots).
Thanks a lot Michael! Happy to help if you have any questions. :)
Very nice demo and thank you for showing your setups. I appreciate your elegant and no-nonsense approach to lighting for headshots. Thanks for sharing!
Thanks so much! I hope you found it helpful. Have a great day Jeffery!
That Peter Hurley setup is so gorgeous I used it once
Yeah, it's become my go-to! I love it.
Thanks. Well produced content with a lot of detailed info. I liked the "Manly" lighting best on her.
Thank you! And yeah, the "man light" ended up being my favorite of her headshots as well. Thanks for tuning in!
Awesome teacher. Using strobes is so much better than Hurley's continuous light approach, which makes people squint heavily and look super uncomfortable.
Thanks so much for the kind word! Yeah I've found that the strobes work best for me.
This tutorial is great for beginners, hobbyists, and anybody who doesn't want to invest in strobes to experiment with playing with lights and improve their portrait photography .
Thanks 👍
Such an underrated channel, hope it takes off!
Thanks so much! That's generous of you! 🙏
why isn't the ISO at 100 or 125? Also the shutter speed seems high. And the F-stop? Do you ever shoot above F4?
All good questions!
The higher ISO is so that I can rapid fire with my camera and my lights not misfire on every other shot. If my ISO is lower, the power of my 200 watt lights have to be higher which causes the recycle time of the lights to suffer. In theory you always want the lowest ISO possible for maximum detail and minimal image noise, but with cameras these days, I can see zero difference in detail between ISO 100 and ISO 400 (or even higher), so I'm not worried about it.
As for shutter speed, I could shoot a little slower, but I see no point. 1/200 is kind of a sweet spot to freeze any motion that might happen during a headshot session. It's also part of the effort to minimize ambient light, and slowing my shutter is gonna let more natural light creep in.
Regarding f-stop, I like shooting at f/4 on my 85mm lens for headshots because it gives you just a tiny bit of blur around the ears and hair which I think looks nice. If I want my headshot to look a little bit more painterly and artistc, I could open up my aperture more. If I'm trying to get the entire subject in tack sharp focus, I'll close down my aperture.
Hope this all helps!
Model was really great too!
great video! i love the lightness of your presentation. good explanations and great videography as well. of course Leah is quite pleasing as well!
thanks for your vid!
Thank you!! This is honestly really encouraging. I am in the process of getting a few new YT tutorial videos going, so your kind words are a big motivation! Thanks again.
@@saminterranteso, just revisited this video. not sure why i wasnt subscribed unless y-t did some purging (its been known to happen!)
Thanks for your comment, @@abidnego5974 ! I appreciate it!
Great video. Great examples.
Thanks a lot! I appreciate the comment. Let me know if there's any way I can help further!
Enjoyed. Thank you!
Thanks for the comment Rod! Hope the video was helpful.
Great video man I was struggle with the head shots because of the insane light conditions when I go to somebody’s office especially the external light and this didn’t really solve this ha ha but I’d like to see your approach to it
Thanks! What insane light conditions are you referring to? What is it that your specifically struggling with? Maybe I can help!
Great video on How to Light for Headshots! Super inspirational. Your model via your shots is dynamite!😎
Thanks a lot, I appreciate it! 🙏
Hey Sam! This video popped up when I was looking at headshot videos. Very good and informative especially the part about the setup and how it affects contrast. It was nice meeting you in Baltimore a few months ago. Looking forward to more content from you.
Hey Anthony! Great to hear from you man, and thanks for the kind words. Hope all is well with you.
Yes. Things are going well. Keep up the great work!
Great video and really helpful. Look forward to seeing more!
Thanks so much! Working on a new one now 🙌
honestly, the kick light looks best on her
Yeah I really liked the way it looked as well!
Thanks for the video! Can you please explain the last set up in a little more detail? Thank you!
Thanks! And that's a good idea for a future video. I'll put it on the list!
Great vid
Thanks a lot! Appreciate the support! :)
The 2nd setup I think is great
Thanks man!
I have to admit though, if I were to do this now with a two light setup, I'd do the following:
1. Main light on a 36" octabank (like the Glow EZ Lock) in the same position as the key light in this video, but much closer, just barely out of my frame.
2. V-flat or reflector on the opposite side of the subject for fill, just barely out of frame as well. The quality of light this simple setup produces, I've found, looks so good.
3. I'd use the second light source to get control of my background exposure. The more I shoot, the more I find I really prefer to have a light source for my background.
Give this a try if you feel compelled, and let me know how it goes for you. 👍
@@saminterrante greetings, learning from the masters 😎✌🏽
@sam i love your mic can you tell me about it?please
It's the Instamic, and I am a big fan! You can use it as a wireless lav mic, do field recording, and even live stream with it. It comes with an app that makes the whole thing easier too. Hope that helps! Check them out online!
Great video, Sam! Thx 😊
Thanks so much! 🙏
Great video. Love that gray background, can you tell me where did you purchase? what material and size?
Thanks! I can't recall where I got the backdrop, but I'm pretty sure it's from Savage, which is a reputable company for their seamless backdrops. "Fashion gray" is a good one because it's a middle gray so you can go bright or dark, depending how you light it.They come in both 5-feet and 9-feet. Happy shooting!
@@saminterrante Thanks! Much appreciate the reply.
It seemed like, in the last setup for the man shot, you didn't have a fill light, just the main, the kicker and the background light. Is that right?
Yeah you're exactly right. When I saw the shot, the shadows didn't seem too dark for me, so I left it just as you said!
Thank you for this very interesting tutorial.
Thank you for your very kind comment! I hope this video is as helpful for you. 👍
Great Video….what size strip boxes are you using?
Thanks! They are 12"x36". Here's the link to them on Adorama where I purchased them >>> www.adorama.com/we2525.html
Do you think it is worth spending the money on the Westcott vs the Glow?
@@michaelburton6053 I would 100% recommend the Glow softboxes. They're the exact same thing as the Westcott, same materials and all, and for about 1/3 the price.
Leah is so damn gorgeous. LOL. Also, good video. Although I have been a pro photographer for 26 years specializing in corporate and personal branding and headshots, I like these videos because it allows me to continue my studies, even though I have an MFA, I like looking/learning other techniques I may or may not use in the future. :)
Yeah I know what you mean! I can do the same thing for years and suddenly find a new thing--even if a small tweak--that helps me forward. Also if I'm not always looking to improve somehow I'm naturally gonna get stagnant and bored. Thanks for the shout!
Maaaate, this was so clear and easy to follow. Well done
Man, thank you so much! Glad it helped. Holler if you ever have questions brother.
Such a great video! Very informational and fun to watch
Thanks so much! 🙏 Have a fantastic day!
First off great video. Do you have a link to the grey background you were using ? Thanks
Thanks so much. :) And yes - I used the Savage "fashion gray" seamless (bhpho.to/3MedtjI). To get that nice rich dark gray background more easily, I'd recommend the "thunder gray", (bhpho.to/3MdjI7v) which is a little darker. Hope this helps!
Excellent Sam, thanks. Heads up the RUclips algorithm suggested this video to me.
Man, thanks so much! I really appreciate it. Hope you found this helpful. 🙂
Hi! thank you for the content. I also use big umbrellas often, however struggle when someone is wearing glasses. What do you do in that case when you’re mobil? Have a nice day
Thanks for the comment!
Someone else had this question a few months ago, so I'm gonna just copy > paste my reply from below here:
If I'm getting glare in the glasses I'll ask my subject to drop their chin just a little bit which often cuts down on glare. If my subject has long hair that can cover the arms of their glasses I'll have them lift the back end so the arm float above their ears, so the glasses tilt more downward and avoid the glare. You can hardly notice it in a lot of cases and it addresses the problem really well. If there is still just a little bit of a glare or tint, it can be easily removed in Photoshop (search "Piximperfect glasses glare" on RUclips for an amazing tutorial on how to do it). All of that said, sometimes my subject has lenses that create horrible glares everywhere and nothing can be done other than asking them to remove their glasses entirely.
Hope this helps, friend!
Great video. amazing studio. Thanks for sharing.
Thank you so much! Have a great day. :)
Great video! Very helpful!
Thanks a lot Vic! I appreciate the kind words.
@@saminterrante You're welcome! Just discovered your channel and will tune in!!!
She’s gorgeous!
Nice video! Thanks
Thanks Elomar! I appreciate it.
Great video thank you. Can I ask you about your tripod...i've been put off tripods as they're so clunky and stiff.....but yours looks smooth and easy. What is the model and brand please? Thank you!
Sure thing! It’s just a Manfrotto tripod that I bought probably 12 years ago, not sure the exact model, but their products are great pretty much across the board!
Brooo, the one with v reflector will help me get many greencard application photos.
Awesome man! Let me know if there's any other way I can help. Wishing you all the best.
Great tutorial !
Do you use the white or silver interior in your softbox ?
Thanks so much! I believe the inside of my softboxes are silver, and also have an interior baffle, so there's two layers of diffusion.
@@saminterrante thank you for your prompt reply
@@bluefrogfilters Of course! Happy to answer any questions you might have. Happy shooting!
excellent loving your content - hope all is well and Leah I hope you get a big break this year you are adorable - the camera loves ya.
Thanks so much for the support! And yeah, Leah is really talented and great on camera. I'll make sure to send along the kind words. 😊 Thanks again!
great video thanks!!!
Thank you!!
@@saminterrante I noticed the Westcott sometimes brands them 'XL STRIP' other times '1x3' (you have both here) - are they exactly the same product? it would seem so
@@MusicFed yeah you're exactly right, they're identical light modifiers. Though, I would recommend checking out the Glow EZ lock line, as they're also identical products for literally a third of the price Westcott charges; the only difference is the logo on the side of it. Glow even throws in the attachable grid and a deflector plate for free, while Westcott charges another like $100 for.
Honestly I'm less and less pleased with Westcott, as their efforts seem more on flashy marketing to justify overcharging for their products. It's not junk by any means, it just also doesn't make any sense to me when there are identical products on the market for less money.
Hope this helps! Holler if you have any other questions.
@ thanks so much! I really appreciate your help. unfortunately I am based in the UK and GLOW doesn't seem to be distributed around this neck of the wood. I wonder if you can help me decide which size of strip box to get. this would be primarily for headshots (3/4 max); I see a lot of folks default to 1x3 or some 2x3 boxes. I like magmod but they have only one version which is an odd size (9 inches by 36 so a smaller version of a 1x4) - do you think this size could work as rim light, and as a filler from down below in front of the subject? alternatively I was considering a 1x3 like the Westcott (I can find those here but yes, they are a bit pricey). I understand bigger strips (1x4) can be useful for full figure shots to wrap the whole subject from behind, but I rarely do those. anyway, thanks again and great video. fed
@@MusicFed That's a good question; I would go for the 1x3. I use one for my kicker/hair light, and as the lower light in my headshots. It's worked out for me really well. I have two of the big 12"x56" (from Glow) and the only thing I ever use them for is full body shots. That's a bummer that they don't ship to the UK. I did a little digging, and it looks like you might be able to get Glow softboxes via Amazon UK? Admittedly I don't know how this works, so maybe that's not an option, but maybe worth exploring? Hope you can figure out a solution!
Really nice model, very expressive, and a very helpful video.
Thanks so much! I appreciate it. :)
I have a question.. I have a Canon R6 and purchased the flash for the top of the camera. Which have not yet needed. My focus is not business shots but was asked to take some for a friend at his financial office. I was going to rent a backdrop. But I can’t invest in all of this as I invested in new camera, new lens for the other parts of the business. Any suggestions? Thanks 😊
Hey Annette! If you're doing headshots on location and trying to invest almost nothing more into gear, maybe there is a neutral (white, gray, black) wall in the office large enough to make that the background? To get light on your subjects without your own light source, you'll want to utilize window light and a simple pop-open reflector on the opposite side of the light source (the window) to fill in the shadows on the subject. I'm always trying to get nice, open, and even light on faces for headshots - nothing too dramatic. If you plan on using the speedlight you said you bought, check out this starter lighting kit PDF guide I have. >>> bit.ly/3SfB85p
@@saminterrante thank you for your quick response. I do have a reflector. I will take all your advice and watch the video! 👏🏻👏🏻
Nice work Sam! Are you using modeling lights on the three light setup? Are you running them off the batteries or AC? Have you had any battery or other issues with your godox monolights?
Thanks Mark! No, I don't generally use modeling lights. On my little 200 watt lights the modeling lamp doesn't really push out enough power to even help me see. And they run off of lithium-ion batteries, and have an impressive life cycle. I've been using them for six years now, and they still seem to work just fine. More details about those lights are in another video I made here >> bit.ly/3g6quRA the actual content of the video starts at around one minute!
@@saminterrante Thx Sam. We hear the importance of closing the pupil with a modeling light, you have bright windows in back so you may not need a model light, but what do you recommend for those of us who may need a model light?
@@markelovett Ohh, that makes sense, yeah! I guess you see more of the iris if the subject's pupil is contracted. To be honest I haven't given a ton of consideration to this (and thanks for bringing it to my attention!) I would probably just pick up a cheap LED light panel, like this one >> amzn.to/3GqjM3B. As long as it isn't more powerful than your studio lights, it shouldn't affect your shots.
Question as far as the last setup I have Godoy 600 so do I need to buy 2 more Godox lights and then the wescott strip box
That would be correct! If you don't want to spend the money on two more 600w lights, I would get the Godox AD200 (same as what I'm using in the video). The 200w and your 600w lights will work together and the 200w provides enough power for almost any indoor studio application. As far as the strip box, check out Glow's version (www.adorama.com/glsbez1236.html). It's literally the same thing but at like 1/3 the price of Westcott's strip box. Hope this helps! Happy shooting. :)
The dude is Super Cool and funny, Absolutely reminds me of Flern from Chicago :)
If you mean Aaron Nace, that's a huge compliment! That guy is amazing...and knows a hell of a lot more Photoshop than I do too haha. Have a great day man, let me know if there's any way I can help!
Thanks for this!! ✊🏾✊🏾✊🏾
Thanks for making this! I found it helpful, regardless of what Julesselmes said :P
Bahaha thanks my man, appreciate that!
Manual or auto focus? I find when I get rid of all ambient light my EVF autofocus eye tracking glitches.
Yeah unfortunately that seems to be a common problem. I personally use autofocus, but my studio usually has enough ambient light that the autofocus works fine. I might suggest getting some low-watt room lights, like just lamp or whatever, and use one of those LED bulbs that you can change the color temperature on from your phone, so you can match it to your studio lights if you're using them. I forget what the brand of LED bulb is called, but if you Google it I'm sure it will pop right up!
@@saminterrante so you don’t totally get rid of ambient light in camera when dialing in your settings? I was going for an all black screen but if it’s fine not to I think that’d solve my problem.
@@Gracen145 Yeah I don't necessarily try to actually darken the room. Basically as long as my ambient exposure in my camera is mostly dark I consider that good to go. My lack of familiarity with mirrorless is worth mentioning though. The difference is I'm looking through a viewfinder and I'm not sure how the mirrorless camera's digital display affects the camera's ability to "see" in low light.
Thanks man, this is a very informative video.btw what lens are you using?
Thank you! I am using the Nikkor 85mm f/1.8. The optics are fantastic and I think it's under $500.
What the name of wireless clip on microphone?Thank you!
That's the Instamic! And I love it. I don't know much about video production and audio, so there was a decent learning curve for me in learning how to use it. But it's great!
Hi Sam. Possibly dumb question. Why have your ISO at 320 or anything above 100? It doesn't seem like you would need it to boost the exposure when you are at a shutter of 200. What am I missing? I guess why not drop the shutter and boost the ISO instead? Thanks!
Hey Brian! Not a dumb question at all - the main reason I'm not at ISO 100 is that I tend to shoot in fast bursts, and with my ISO turned down I'd have to turn the power of my lights up, and they won't have enough time to recycle, often making every second or third shot a misfire. Also in all honesty I don't see any loss in image quality and detail between ISO 100 or ISO 800 or even higher, so I'm not worried about making the lowest possible ISO my first priority. Hope this helps!
Oh also I'm not using my shutter to change my exposure, and would keep it at 1/200 in almost any scenario if I'm using strobes. If I want to change the exposure I would be relying on my strobe power, aperture, and ISO.
@@saminterrante Ah gotcha!. I didn't think about the refresh rate on the strobes. Can you explain the reasoning for not turning your shutter down? Thanks so much!
@@brianvales4760 sure! When I'm using studio lights (specifically strobes) to shoot portraits, changing my shutter is actually going to have basically no effect on the exposure of the photo, unless the shutter is REALLY slow, in which case you're just gonna get motion blur. It's tough to explain without actually demonstrating. Maybe I'll have to make another video haha.
@@saminterrante Ah. Thanks for the answer. I have always set my shutter at 200 or 250 and made sure the frame was black before adding in my strobes.
How do you handle glasses?
The first thing I would do is just have my subject drop their chin a tiny bit and see if that works. There are obvious limitations to this, and I don't want my subject to be confined to just that kind of head positioning. So if that doesn't work, I have my subject actually lift the arms of their glasses up slightly so they sit just above the ears, effectively tilting the lenses down and often eliminating the glare. This works best on people with longer hair which they can use to cover it up around the ears, and in most cases it's not that noticeable in general if you keep it subtle. If you have to fix it in Photoshop, check out this RUclips video for an amazing tutorial on it. The teacher, Unmesh Dinda, is an outstanding teacher.
ruclips.net/video/plOsuoh0eFg/видео.html&ab_channel=PiXimperfect
Hope that helps!
Thanks Sam for your video. If you will be dealing with eyeglasses/reflections for some of the head shot portraits, do you anticipate this in your setup or deal with it when it comes up? Also, do you have a on-location backdrop that you use? thanks again.
That's a great question. If I'm getting glare in the glasses I'll ask my subject to drop their chin just a little bit which often cuts down on glare. If my subject has long hair that can cover the arms of their glasses I'll have them lift the back end so the arm float above their ears, so the glasses tilt more downward and avoid the glare. You can hardly notice it in a lot of cases and it addresses the problem really well. If there is still just a little bit of a glare or tint, it can be easily removed in Photoshop (search "Piximperfect glasses glare" on RUclips for an amazing tutorial on how to do it). All of that said, sometimes my subject has lenses that create horrible glares everywhere and nothing can be done other than asking them to remove their glasses entirely.
@@saminterrante thx for the quick reply
Great video. Are you using 46" or 60" Softlighters?
I actually prefer the final setup, even on a woman, although I might not risk that setup for a business "headshot day" retail scenario. And Leah is a wonderful model.
Thanks! I'm pretty sure I was using the 60" Softlighters. And I agree about that last setup, I was surprised at how much I liked it. Leah is definitely a great model!
Do you use a light meter before you shoot the model? as I didn't see you use one.
I actually do have a Sekonic light meter that I bought like 5 years ago, and I've used no more than maybe once or twice. 😬 I just use the old guess-and-check method. With the number of times I've used these specific lights in this specific studio, I have a good sense of where to start out and be almost spot on right away.
Great Video, Thank you
Thank you for the kind comment! Happy shooting Michael!
Is ISO 320 a magic number for you, unlike many photographers who use ISO 100? Also, how do you avoid the distraction that may be caused by the two big holes on your earlobes, lol?
Haha nah, ISO 320 is just what I happen to land on. I could crank up my lights a bit and drop my ISO to 100, but the difference is undetectable to the naked eye. I'd rather have my lights at a slightly lower power so they recycle faster. And not much I can say about the holes in my earlobes, I was just born that way. Strange, innit?
What lav mic is that if you don't mind sharing?
Hey Keem! I had an Instamic attached to my shirt, though admittedly I don't think I ended up even using the audio from it, if I remember correctly. 😅 I will say however that it is a fantastic mic and is great for this kind of thing, as well as field recording. It can even be used for live-streaming. The fidelity of the audio is fantastic too. Highly recommend!
The three light setup, what was your power settings?
The second and third light are set to about 1/4 to 1/3 of the power of the main light. So if the main light is 1/16 power, set the second and third light to about 1/64 or 1/128.
How did you get light under her chin
Are you referring to the last setup? There is no dedicated light under her chin, but the kicker light behind her is wrapping a little highlight around her jaw on camera left. Hope that helps!
Hello Sam, I have a question. Why (setup 4) ISO 320? Best quality is at base ISO. Depends on the Sensor, but often ISO 100. What about more power to the flashes?
Hey Frank, very good point! When I’m doing headshots I often shoot quick bursts of photos (like when my subject smiles, for example) to try to get that perfect shot. At 200w each, these lights aren’t the most powerful, so if I have them cranked up too high they don’t recycle fast enough and I get misfire shots. Technically you’re completely right, and I’d always want the lowest ISO possible, but in the real world I can’t actually recognize any difference. Hope that helps! 🙏
Cameras these days can handle higher ISO's very well. ISO's are clean on most newer cameras up to ISO 800 at least and the difference between ISO 100-400 isn't not enough to be seen by the naked eye in a print. It's good to take advantage of the newer technology. On top of that, you can't take all photos at the base ISO. Think of all the shots you have ever taken above ISO 200, would all of those shots be considered trash? Higher ISO's increase the life of your flashes/strobes and as Sam stated, decreases recycle times for reliable shooting in the studio.
What lens are you using?
Nikkor 85mm f/1.8. It's the cheaper version of the beloved f/1.4 version, at about a quarter of the price, and the optics are outstanding. A no-brainer for me personally!
Why ISO 320 ? Supposed to use the lowest ISO a possible ?
In theory, you're 100% right! The lowest possible ISO should be what we always go for. For me though, I'm not worried at all about anything under like 800 ISO, as the loss in detail seems totally negligible. In the case of this shoot and since the lights I used were only 200 watts, if I drop my ISO I'd have to increase the power of my strobe, slowing down the recycle time on the lights. So consequently, if I'm firing in fast succession I may end up getting some misfires. Hope that makes sense!
@@saminterrante Really well explained lighting setup Sam. I was just curious about the ISO you used in studio. A 400 watts up strobe will give you a quick recycling time. Keep going with the good tutorials . Happy clicks 😉
@@snoopusa2006 Yeah for real, sometimes a more powerful strobe is just the answer. I think the thing that keeps me hooked on my little 200w lights is how portable they are. I can load up four of those in my roller case when I do location shoots and they take up almost no room.
Great info!
Thank you! 🙏
I like Hurley's work but I think for a corporate headshot its too much. His lighting is more in line with model/acting gig.
nice content
Thanks! Hope you found something useful in there! :)
@@saminterrante yeah I've learned a lot
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Thank you so much!
Using 3 evolv 200’s in your 3 light setup?
Yessir! Love them. They're the perfect balance of affordable and reliable. I've been using mine for like six years now and they're still work just fine.
@@saminterrante No modeling light needed and pupils still good?
@@saminterrante I’m thinking about getting 3 of the ad200pro’s and the elenchrome strip boxes which are only $124 ea rather than the $240 wescott rapid box strips. They seem more light weight and bulky. Do you have any opinion on them?
@@markelovett I've never noticed any issue with it personally! 👍 And my studio isn't even particularly bright.
@@markelovett Sounds like a good plan! As great as the Westcott strip banks and other "Rapid Switch" light mods are, you can get the same thing from Glow for way cheaper. I have two different Glow "EZ Lock" softboxes and they're the exact same thing as Westcott's (I have a bunch of those too) but around only half the price. Here's the link to the entire lineup which come in a bunch of different sizes, all for under $100! >> www.adorama.com/glsbez1256.html
I wanna know why there is an un made empty bed in your studio? Can you make a video on that!!! lol
Hahaha, good eye! I share the studio with a few other photographers, and one of them specializes in boudoir photography.
Why do you use an 85mm instead of a 50?
It's mostly just a preference thing. I get a little bit more compression with the 85mm lens. One of the reasons that helps is, if I were working against a smaller backdrop it might not fill the frame and I'd see the edges of the backdrop. I have however used a 50mm for headshots in the past and it works just fine in most situations. If that's all you have to use right now I'd say you're good to. Hope this helps!
One other thing to add - the 50mm is probably the most versatile lens you could have in a studio setting, in my opinion. You can get in really close and capture intimate portraits, but you can also capture a full body photo without needing a huge studio space. If I had to choose only one lens to keep it would be a 50mm. 👍
@@saminterrante thanks
I’m late to the headshot party… 😅
Sam, do you always keep your K at 5500 for headshots in studio?
I love your work and your content!
Thanks for sharing your knowledge with us noobs! 🤪
Hey thanks for the kind words! Yes, I just see the white balance to 5500k and forget about it. If I need to make any small white balance tweaks in post I’ll do so. Hope this helps!
Hi, just curious. Why ISO 320?
Great question! Typically I try to keep my ISO as low as possible to preserve detail, but in the case with these 200w lights, I would have to turn my light power up to the point that the recycle time is too slow and I'd end up getting misfires every other shot. Also with how camera sensors are these days, I'm not too worried about shooting at higher a higher ISO. Hope that helps!
@@saminterrante ah, makes perfect sense. Thanks! 👍
Nice video, thanks for sharing your knowledge and showing your techniques! I love the vibe you have in the studio and with your subjects it looks nice, genuine and relaxed ^^
You also bring everything very nicely and well explained with great visual support.
Audio on this video was good, the vocals could use a slight bump ;) You could throw some general tags in your channel to automatically apply to every video you upload. Just something like your name and what your channel is about or gear and brands that your often use (photography, how to, nikon, d750 etc.). This should give you some more reach without very much effort (under settings > default settings for uploads in the youtube studio).
(I found you through the HSC, I'm still playing with a two light setup in my tiny garage dreaming of a studio like yours :D)
Once again thank you for sharing and keep up the nice work!
Dude, I can't thank you enough for the pointers! I'm still pretty new to making videos, and trying to learn as much as I can about the technical side of uploading to RUclips. So what you shared is so helpful. Thank you also for the very kind words, this is really encouraging. You honestly just made my day. 🙌
very instructive. thanks for the effort and the sharing. you demo-ed young women and men (sorta!) but how would you light senior citizens, men & women well into their 70s and beyond? thumbs up.
Thanks! For older folks, if it's a professional headshot I'd want to fill in the light as much as possible. So I'd use the 3 strip-box triangle setup. If it's just a portrait to tell a story of the person, I'd want to celebrate the lines in their face, so I'd probably just go with one 36" octabox overhead and tilt it down at 45 degrees. Without anything to fill in that main light you'd get nice deep shadows and contrast. If you want to soften it up slightly, through a white piece of foam core or a white reflector under their chin just out of frame. Hope this helps!
Are you going to change up your lighting during a corporate gig man to woman to man?
In the case of multiple people including both men and women, I just pick one light setup for everyone.
Feet, yards, etcetera, all Americans are unaware that the world operates in meters and centimeters, which are the international system
This photographer is in the U.S. We use feet, yards, etc. Deal with it.
Hurley is a goon. Be yourself.
mathmatetian to know that is 2 stops over.
The whole one light thing really falls apart, if you add an expensive modifier to the mix. That is really not what ppl are asking for. Pretty sure they just bought a flash and want to now how to achieve the best results with it. It’s no secret that you can get better and better results by adding to the cost, but it’s not really the solution ppl are looking for, if you catch my drift.
I mean if you buy a light you'll invariably also have to buy a light modifier, unless maybe you just buy a light and bounce the bare bulb off white wall or ceiling. Maybe I'm not clear on what you're saying? Can you clarify?
@@saminterrante11:49 My point is, almost everything that you’ve done here can not be achieved with one light.
You used multiple lights + light stands + modifiers. This might seem normal to you, but for somebody getting into it, it’s just not what you’re dealing with.
Looking back to it a year later I can definitely agree to multiple lights helping with adding depth to you headshots, BUT I still mostly shoot with 1-2 lights, a reflector and black cloths to add shadow. Those last two things are cheaper to get for a beginner and work with the same principles.
That is some of the strangest lighting I have ever seen! To light a women’s face!
Can't disagree with you on that hahaha. I was pleased with the result of that last photo, but it's definitely not how I would have initially thought to set up the lights for a woman's face.
How would you light her then? Asking to learn by the way not to argue.
A LGBTQ. Funny pierce on both ears and on nose. He chose a wrong occupation.
I'm not even sure what you're trying to say haha. Can you explain?
OMG! ⅛ power and 1/32 power; he doesn’t know it’s two stops less?! “I’m not a mathematician!” Well, your are not much of a professional photographer either. The teaching moment here is the ratio in terms of stops of light. Everyone’s flash lightening will be a different powers to his. The camera works in steps of light relating to stops of light, so it makes sense to also talk of the lighting in terms of stops of light. That’s why professionals and professional educators use it.
It's a mere bit of sarcasm, Julian. The finer point is that lighting ratios are something I quickly learned not to go by, and to trust the acuity of my eye to achieve the look I'm going for. In this case, recognizing a shadow depth that I feel is flattering for the subject's face. I suppose I could have explained that a little better haha. I must not be much of an educator either. ;)
You appear to be a very nice person. Don’t take my comment as negative one. Take it as constructive criticism. Your lighting is very flat. There is no contrast, even though you are using “studio lighting “(amateur lights) Your images look if you would use on camera flash.. you have to work more on your lighting, look at some professional photographers how they shoot. Look at their images… btw I am professional fashion photographer with 20 years experience, shooting for major brands, and publications..
Great video - awful music.