Hey, this is Daniel Norton. I'm here in my
studio in New York City with Stephanie,
and she's waving at the wrong camera.
It's okay though, she's new here so we're
going to talk a little bit today in this
video about shutter speed. I feel like
people are always talking about ISO,
especially high ISO cameras and aperture.
You know wide aperture people get really
excited about that, so I just mean nobody
seems to care about it, so I decided to give
a shutter speed some love today, and
we're going to do some fun shots with some
movement. Well you know so, and some not
movement. We are going to ultimately use
a flash to kind of mix it together, but
we're going to start off just with the
natural light that's coming through the
studio. So have you go down to your spot,
I've got the Hasselblad over here, the new X1D,
and I do have my ProFoto controller on
top. Although I'm not using flash yet, I'm
just going to use the available light, and
basically I'm set up here, at about 1/60th
of a second at ISO 200, f/4, and
keep in mind this is a medium format
camera, so f/4 is pretty wide on this.
Good so you're going to remain somewhat
still, this looks nice, because this is
just the window light coming through
nice and even on her, you know? She's
staying relatively still, so it looks
pretty sharp right? But even at 1/60th
if if she moves around a bit, she'll be
blurry on some level right? So go ahead
and look spin for me right. So if she's
spinning around and doing some movement
right? We've got blur, even a sixteenth of
a second, which is you know relatively
fast for a sit down portrait.
Now that doesn't mean you can't do it, in
fact you can actually do this, to some
great success, and it's not terrible, you
know, we're trying to get movement. So
let's play around actually a little bit
with movement. Let's have you maybe do
some.. and again I'm at a 16th.. so it's not super blurry so you can see we're
doing some fun spin shots here, and again
depending on what you're doing. Again it
might be a little too blurry on her, we
can actually fix that a bit with flash,
which we'll deal with in a minute, but
first I think I want to continue with
out blur, just working with natural light.
Let's say instead of being a little bit
blur, let's make it a lot blurry right?
We can actually play around a lot with our
shutter speed here, we're going to go, let's
see right now. I'm at of sixteenth of a
second I'm going to go to
half a second, I'm just going to jump that far.
So in order to do that, I have to...
I have to close down my lens, which
is also going to help, because when
somebody's moving around in my shot
right? They're going to go in and out of
focus, so by closing in - like f/22 ish,
that should keep her in focus. Let me
just do a test shot first to see what it
looks like. Again this is with really
nobody moving, or anything. I mean she's
literally standing relatively still in
the gallery, - so this is going to be good,
so stand as still as possible, and we're
going to try like some hand movements, like
actually do start with your hands out
and then come in, when I say okay, so I'm
going to pre-focus this, and get it ready
and you're going to keep your face as still
as possible, and go.
Cool, okay that's interesting, let's actually go even a
little bit slower. Okay, here we go, and go
nice cool so we can see this is getting
like, cool blurry hands, just try to keep
your face as stiff as possible, that's
the hardest part of this whole thing, is
keeping your face stiff, and.. go, nice. So
we're getting some fun stuff here, so
there we go, her face is pretty stiff
there, and we've got some kind of cool
blur. We can see through her face, kind of
like the body looks cool. I always really
love these, I just feel like at this
point I'd love for her to be a little
sharper, and the way to achieve that
really is flash. I mean that's there,
that's the key way to do this, and this
what I'm going to do is, I take my ProFoto
flash, and bring it in, keeping in mind
that I'm now, I'm at f/22, so I'm going to
have to use a decent amount of flash
here. I don't want it to seem super
unnatural, and the lights coming from the
window, right? So I'm going to actually put
the flash over by the window. Keep it
easy, right, good point, almost got to
bring this thing in, turn it up so right
now I've got in a softbox, you could also
use an umbrella, and what we're going to do
is meter it.
So I've got my controller in my hand, I'm
setting my meter on a non-corded flash
as they call it, and I'm going to point
it at the light, sixteen six is where I'm
getting so a little bit, and I'm at full power.
So that's that's all I got, and I'm
shooting at 22, think it could probably be a bit
underexposed. I think that's okay.
But of course, as with anything, we're going to
do a test shot so we see... what we like...
So I am at f/22, half a second, so you
can remain relatively still. I just want to
check it. Right this is going to give us..
frozen.. right? Actually it feels even
a little bit hot, so I'm actually going to
turn the flash down a smidge, see what
this does. Nice, cool, I feel like it might
actually be the ambient light that's
happening now. Whenever you're working
with ambient light you have to keep in
mind that it's changing. So I'm actually
going to make my shutter a little bit
faster. I'm going to go to a quarter of a
second let's say, and this is all just
about balancing out our exposure.
That's cool.
There we go, alright, so now we'll do the
hand thing again. Exactly, we did before,
so bring your hands up when I tell you
you can move them in, and go. Nice now
we've got nice frozen face, with the
blurry hands, but actually we can
probably bring the hands. Let's start the
hands closer, so good, so you can get them
in, there we go.
I didn't say go, so we're out of sync
there. Okay, I was wondering if
you did it. Okay and go, it's all about
synchronizing with your model, there, we go.
Now we're getting nice blurry fingers
actually, so let's do this now.
Let go, go, like a sweep instead of just
straight in, yeah. Exactly.
let's try that and go well that's kind
of fun right now. She's got a lot of
fingers, cool so that's kind of like a
pop and blur technique. Now let's go back
to our original setup, where we were you
were spinning around. Let's see what
happens when we do that. All right, so and
go. Now what I'm doing this, I want to
make sure that oh, cool, okay, so make sure
you try to look at the light when you
come around to that side. Good, again,
good, so I'm trying to get here is this
frozen image right, with the blur kind of
this like blur coming over it, which is
kind of really cool, and you get this
almost double exposure on the background,
which is really cool, try to actually now
keep your your face straight towards the
light, and just take your jacke, and like whoosh...
Yeah that's a technical term! And go,
right now we can create, right, we're
getting this cool movement here. Wow! It's
like your face is like this glow. It's
really cool, all right let's try it again,
actually let's do it up though instead,
I think it's cooler, and
go... yeah, oh that's kind of cool! One more
like that, so it off, and then go
right, so we're playing around with the
shutter. Here we're getting these cool
blurs, and you know she's staying
relatively flat, because of the, the flash
is keeping her relatively stiff, all
right and again. I can kill the flash for
one last one, let's do a really like
another spin, and I'm going to go now now.
I'm doing a spin at a quarter of a
second so it's going to be really, and go,
and the other thing I did there is, I
moved with the camera. Yeah we'll use the
flash. Okay, I'm going to use the flash. I'm
going to move the camera, and I have her
spent, and go. Oh interesting, very cool,
alright, one more, this is actually a
really fun look, and go. Oh yeah, like this
actually, here we go, again, one more time,
and go, nice. Oh this is fun, alright, one
more, having a good time, well maybe two
good of a time. Hold on and go. There we go
that's fun, one more, and should be dizzy,
and go, that's it, that was the one!
I could feel it, that was cool.
Yeah, good expression! I love this! like
an angelic feel you've got on your face
that's like, like a smile, but, but there's
a good blur! It's really, really cool. You
know, really fun, and obviously you can
play around a bit with your exposure,
depending on what you're doing. Every,
every setup, is going to be a little bit
different. Some key things here though, is
white background, this is going to help me here a
lot. Cuz, if I had a black background, I
wouldn't pick up as much of the blur
look, because she's getting see-through
right? The background is coming peeling
through, if it was black it wouldn't do
that, so if you want more of that kind of
push back, the white backgrounds going to
help. Black will do the opposite, if you
want it black, go give you almost more
like a double exposure kind of feel. So
yeah check Stephanie out on social media,
we'll put the links in the description.
Check me out danielnortonphotographer
here on YouTube and Facebook, be sure to
subscribe to AdoramaTV, and I'll see you
next time OnSet.