Hey! This is Daniel Norton, and I'm here
in my studio in New York City with Paulina,
Hi
and today we're gonna do something a little different.
I'm using like big soft light, but I also,
sometimes when using a large light source
to make that really soft light to wrap around,
it can be a little bit, kind of, flat, right?
So what I'm gonna do here is, kind of,
keeping with the feel of a single source
I'm gonna use two lights at different
power settings to kind of create a
little more punch, if you will.
So, I've got my Chimera Frame here,
four-foot frame with the full diffusion
silk on it.
This is gonna be kind of like
my main key, and then,
as my secondary key light,
I've got this small Chimera Softbox here.
This one's in the Profoto B2,
and I'm gonna put my B1X back behind the other guy,
and I'm gonna throw on the modeling light
so you guys can see kind of where the light falls.
So if you don't, if you know, if you don't hear from me
I'm back here that's where I am, I'm over here.
Alright, so, I'm gonna throw this guy up on a C-stand,
you see with the modelling light we're getting this wash
of light, right?
In theory that's probably all you really need
to make a shot.
Let's come in here.
I have the Profoto A1 flash on top of my camera but
I'm only using it as a remote.
So, I'm in TTL, I'm gonna just fire the big flash
so you guys can see.
You know, again it's like a wash of light.
It looks pretty good, you know most people
would be like that's pretty good
and they would work like that, right?
but, we wanted something a little special.
Especially because she's wearing, kind of, a darker
colored outfit, you know, I want to
create a little more drama.
So, what I'm actually gonna do is come in and turn on
this second light here.
Now I am in TTL and I've got it turned up a little bit,
giving a little more juice, but I'm probably
going to have to go into manual and tweak
this out, but we'll just start here.
That's like my basic meter, okay.
Oh, I'm sure, that's pretty good, okay.
Doesn't look that different, right?
Yet it does.
So here we are kind of flat,
Oh this is like what we do every day,
and then boom.
Cover of the magazine, right?
That's basically where we're at right?
That little extra snap of light and it
still looks like it's one source, right?
Because I'm not creating multiple shadows.
Basically all shadow still is falling in
the same direction but it's
like a completely different person
And guess what no Photoshop.
Maybe a little bit of photoshop.
No there wasn't any photoshop.
Alright, so, let me..I'm going to go to manual
so it doesn't change.
I think I'm gonna give it a little tiny bit more light
Just because I feel like it, 2/10.
I will mention I'm shooting at a 1/30th of a second,
and the reason why I'm doing that is because
I want to get some light coming through the
windows behind her since it is behind her.
Since there are windows behind her, it
makes more sense for there to be windows,
you know if they have some light on them.
So and it's raining otherwise I would
just put a light out there.
So as we view this she has plenty of room to move
around, create all kinds of looks here.
Very elegant.
Do this, like, you know?
Yeah to show the dress, yeah, good.
So we're gonna show the shape of the dress.
Powerful.
There we go.
Beautiful, good, good, good, good, good.
One more, nice.
Last one.
Beautiful.
Good, nice and simple just like that.
That looks good.
I like that pose with the dress but let's just
fix the hair.
Yeah, like a little weird hair thing going on.
You know, I'm very sensitive to the..
exactly yeah let's flip it
and get a little.. good.
Right we need the .. we need the cover here, I'm leaving
some space here for the cover of the magazine.
Right there we go, now we got it.
That's beautiful.
Alright good, so we got that.
good, good, good, beautiful, here we go, one more
Good, nice.
Whoops, sorry check my focus, there we go.
what happened there? Good
One more, last one.
Because I'm shooting at a 1/30th, I'm kind of
of overshooting this one a little bit,
because we're definitely get some blur occasionally.
You know you can't really help that if some of the light comes
from behind her, if I catch it on an off a second.
Here we go.
There we go.
And it doesn't cost anything to shoot a couple more
shots, right?
Beautiful.
Nice and crispy.
Beautiful pose, beautiful light, beautiful
girl, beautiful Daniel.
That's the word for the day it's just all beautiful.
Beautiful hair.
So anyways, yeah so you..
big soft light, yeah we love it, right, it's great
but sometimes you want a little bit extra punch.
So there is that thing in between right there's not just
hard and soft.
You can do soft with a little bit of contrast just by
thinking about how light works and kind
of putting it together.
We've done this actually before, a similar
thing, where I shot more of a beauty shot
with the light flat in the center, and a
hard light and dead center, so maybe I'll
put a link to that video for you guys to check it out,
it's a little bit of different feel.
I think a little bit more obvious,
I think this one's a little more subtle, which I kind of
like, and yeah mess around and see what you guys get.
So I will put Pauline's information in the
description, you guys can follow her.
Be sure to follow me @DanielNortonPhotographer.
Subscribe to Adorama TV, and ring the bill and
I'll see you next time OnSet.