Hey this is Daniel Norton,
I'm here in my studio in New York City
with Amara and I'm gonna do something
you guys ask for all the time...
they're always like but what if you shoot
a full-length... so we're gonna shoot a
full-length shot, but that'd be really
fun... we have this nice dress for the runway
and I was kind of playing around with this
idea... I've seen people do this,
so I was like I want try to, try it
take a couple rolls of shorter seamless
paper from savage, and kind of create
some color patterns.
So I put red and gray, just to kind of make
an interesting background there.
I left a little bit of
a separation there for shadow
because I kind of like how that looks.
You could put a matte together as well
maybe use double-sided tape or
something if you
want to be perfect, but I like
imperfection, so that's the way
we're gonna roll.
So as I've said in other videos, one
reason why we love to use large light
sources is they're great for full length.
So I've got my five foot octagon here,
this is from Dedo light, this is the
PanAura... so we're gonna use it as our key
light on her...
she's gonna go into her position,
and we're basically gonna start
here and we'll work through it a little bit,
and then we will you know add
another light if necessary.
So I'm way back here, because I want to
use a longish lens for this kind of stuff.
You don't have to you get closer with the
short lens, but the problem with that is,
that you might start getting the
background... right it would be too wide,
because remember about compression so...
I'm using the Fuji GFX 50 R,
with the 110....
so fire this thing up, so I'm just
gonna use the meter in the camera,
since I'm working with constant light sources,
and I'm gonna adjust until I get an
exposure.. 'look direct for me'... let's see
we're at 125, f/2.8, ISO is 320 so get
myself a composition here I like.
Then we'll see what that looks like.
I am literally like against the wall, so
it's one of those situations where we
have to play around with this a bit.
Now I'm taking a look at this for focus,
if you look, the skin tone, everything looks
right... it's a little bit because of the
way I'm letting it dark on the one side,
which kind of gives it a certain feel,
but we probably want to pull some detail back.
Even though I could do that, I mean
there's a lot of different ways you
could do it.
You could jump in here...
and grab your shadow,
you know shadow tool,
but then that makes
the whole image look flat and boring.
I like the shape...
but I wanted to see more shape inside of her hair.
So what I'm going to do...
like I said is, I'm gonna add another light.
So let's get back to that, and I've got back here
the DLED 10...
so this is basically an LED,
very powerful LED light... you know it's
bicolor, but we're doing everything
daylight right now.
So I'm gonna fire this guy up,
it's fitted with barn doors...
and all I'm gonna do here this is one of
the cool things while working with
constant lights is, I'm just gonna aim it,
remember just like always with the hair-light,
we're gonna put it kind of behind
and scooting forward..
I'm gonna use the barn doors to keep it
off the background.
I'm gonna actually bring it up right,
so you guys can really see it.
We use the barn doors to control the spill
keep it off the background.
I just want to give her a
little bit of an edge here...
so she's gonna be like that...
Some light that should be good.
I really... only minimal, I mean
right now I'm like 65% power.
I'm gonna go down to like maybe 10%,
or less.. just a little bit,
Let's start... there...
that's 10%... so we'll do 10%...
let's see if that works for us...
give us some dimensionality,
I'm actually gonna ask you to take just
a tiny bit of a step backwards.
The smallest step ever...
there we go, I'm really tight here guys.
If you could get me like another few feet
of studio space,
that would be ideal..
since I can't .. actually if it wasn't so warm
we'd sit on the balcony...
there we go... we can ...
see compare these... subtle... right?
but you can see how it's just separating
and again you can do it to taste...
I like it to be pretty subtle.
I want to keep it dark,
but I'll just bring it up for you guys..
just for one..
and actually.. so that was 10..
I'm gonna bring it up to 20, so
we'll double the power basically one stop.
Let's see what that looks like...
alright that's pretty bright.. good, good,
good, yeah, there we go...
even brighter actually, that looks pretty good...
so you here we're creeps through.. we're
starting to get a highlight on the side
of her face which I don't necessarily
like so..
I think I'm gonna split the difference,
and go 15...
all right so we're at 15 now,
do one more test shot, make
sure I like it, and then we can actually
take some pictures right?
So here we go... it looks pretty good to me
Exposure was... I should look on the back
of the camera make it easier...
oh yeah that looks really good,
you can see by the way guys
I see my stands in there slightly..
well the lights exactly where I want it,
so I'm not gonna mess with that...
if it was crossing her I would I've messed
with it, but that's so easy to just deal with
later, that I don't want to move my leg
when I know it looks good.
So let's shoot a few like this all right, so we're gonna
work the arms up and off the body a
little bit... good like that.
We want to make sure that we can see
the shape... there we go.
That's it..
turn a little more sideways with your body.
Nope the other way..
There we go....
perfect, take your right arm..
there... so I want some space...
perfect just like
that, good, good, good.
Nice, nice, nice, beautiful, I'm too high
with the chin, come down a smidge, there
we go...
good, face this way slightly,
beautiful, good, like that,
guys can see just crank it through these
taking some nice exposures,
looks really good.
All right, let's take a quick peek,
nice perfect exposure,
it looks good...
she looks great...
you can see different shapes of
the body, I kind of like how the hair is
falling behind her...
if you don't like that guy's,
just be wary of that when
you're shooting and..
you know just have her move it ..
I like it so it's gonna stay,
and that's good, but now that I had this
setup here...
it's already looking really good,
and I know that I said that I was
gonna do the full length and we did that..
Right?
At one point I want to get a
closer shot, cuz I want to just play with
the background difference,
like I talked about, so I'm actually just
gonna grab my camera now,
I'm gonna hand hold it cuz I just wanna
do a quick test here.
Everything's the same really,
just gonna walk in closer, I'm just gonna
positioning her on the gray, there we go,
so at this angle the, the back leg is really
hitting a lot more.
I want to see if I like it,
it might be a bit much.
To my eye it looks a bit bright...
Yeah a little bit, so I'm actually gonna
come here, and we're down,
I'm actually gonna go
into file.. I just want a smidge, I want
this one to be a little more contrasty,
but I'm also gonna open up, -if I'm
gonna go to 50..
I'm gonna go really shallow here,
see what we get... oh yeah.
Let's take a peek just to make sure
everything looks the way we like it,
Yeah wow, okay,
f/2 is really shallow, I'll just focus
there okay?
I really watch that focus yeah, okay,
good, here we go.
So I hadn't moved the focus spot before
guys, cuz you know, I usually focus and
recompose, but I'm gonna actually put it
right on her eye,
so I don't have to do that...
Did you blink? - oh just a quick
look no... there we go, beautiful...
Love the contrast, and of course I
intentionally put, I should leave some
headroom here guys and crop after the
fact.. because it's just easier with the
focus spot to keep it right there and I got
50 megapixels,
I'm not that worried about it...
One more, you got it, perfect,
I'm gonna do one three-quarter shot,
that's gonna bring, oh that's perfect.
Bring your face slightly this way,
there... right there, hold, one more
again, I keep focusing and recomposing
we are in medium format, it has a very
shallow depth of field.
So if you'd normally a focus and
recomposer, you might want to consider
using the focus spots, which is what I'm
doing now, but
good, good,
I'm moving them to her eye
good, good, good,
here we go, one more, beautiful,
oh yeah that's nice as well,
beautiful, it's good, oh yeah, I guess
so we've got a few different, you know
feels here... you know, you got the closer
shot, and you get the more conventional
you know full light shot, and then at the
end we shot that little bit of kind of
three-quarter feel to give us a
different look... there,
I'm kind of liking this mixed background
color thing.
So I may do you this some more, it's fun right?
One problem people have is, that if
they're not a lot of space, they don't
can't, buy the big 9 foot rolls of paper,
so they buy the short ones, which even
though I have space for the long ones, I
kind of like the short ones, gives me
more options...
so sticking them together
can actually give me.. I think...
they're about 5 feet normally...
so this gives me like about 7 or 8 feet,
and you know kind of has an interesting
feel to it so experiment guys...
remember when you're
shooting full-length give yourself
enough space... you know,
if you shoot with the wide-angle lens,
just to do that you're gonna end up throwing the
background right?
If it's a problem.. you're not gonna be
able to fit the subject on the background,
so you want to use a longer lens
construction to compress your space, so
you can keep her on the background, later
head to toe, make it look good,
have some separation and add some
style to it... just cuz it's
full-length, doesn't mean you just back
your light up, and get a big flat light
that's boring right?
Have some interesting light, even when
you're full length....
So I will put Amara's information in the
description, so you guys can follow her...
be sure to follow me, DanielNotonPhotographer,
subscribe to Adorama TV...
hit the bell, and everything, and I'll see you
next time OnSet.