Tag Archive for: light meter

On location photoshoots : how to kill the ambient light part I

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Locations are awesome

 

But what if they are not? Well, it’s up to you to make them awesome.
Sounds difficult?
Well, it can be, but with the proper lighting and lighting techniques you can create stunning images in locations that are far from awesome. Killing the ambient light is one of those techniques.

Workshop “On location in Emmeloord”

During this workshop, we scout locations close to our studio that look uninteresting but have the potential to become awesome. This is a great workshop to get more secure when working for clients in locations that are a bit less inspiring (or in other words 50% of the time).

During the workshop, I explain the techniques but also tried to create something different in each location.
For this workshop the model was Nadine, and as you can probably see she’s is pregnant so that was a great option to also shoot some pregnancy shots of course.

Today one of the sets from this workshop.

I’m using our Geekoto strobes on HSS in this video.

 

And, the final results

killing the ambient light

We took this picture during a sunny day and killed the ambient light

killing the ambient light

 

Day2Night

Killing the ambient light is also called Day to Night (Day2Night). Pictures are taken during the daytime. But it looks like it was taken at night. A lot of my students are interested in this technique. And I always try to incorporate such a scene in the workshop outside.

 

In this video I went to Times Square in New York, and I’ll give you some tips to look like you took the pictures at night

Check out another video on location with Nadine ad styling of course 

We also did a workshop outside with a Tesla car and model Lois 

 

The most amazing deal of the year

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It’s time for the 5DayDeal again

If you want to get the most amazing deal for your photography, I think the 5daydeal is exactly that.
Every year they deliver the goods and also this year the deal is jam-packed with awesome tutorials, e-books, filters, presets and software.

We made a special page for the 5 day deal.
If you use our link you also support our work.

This year you will also find 2 of my new tutorials in the deal.
Did you know… Lightroom
And
A full length lighting tutorial for portraiture and fashion.

Add those two together and you already have the value of the total package 😀
So head on over to the page and order your 5daydeal today and start learning for.. well at least another year (yep it’s that jam-packed).

The problem with a global shutter that a lot of people will miss

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Yes, Sony revolutionised the photography market

Without any doubt one of the biggest steps forward has been released by Sony, and it’s called the A9III
But why is it this huge step forward?

One might think that when we talk about huge steps we talk about MegaPixels, ISO etc. But this is all just adding to something we already have. When I talk about a huge step forward I of course mean the new Global Shutter.

Global shutter?

So why is this global shutter thing such a big deal?
When you work with strobes you probably know that the term X-sync.
The X-sync is the maximum shutter speed you can can use without seeing an annoying black bar due to the second shutter curtain.
For most cameras with studio strobes if you stay at or below 1/125 you will have no problems at all, and in the studio this is actually no limit. Most studios are dark so the slower 1/125 shutterspeed is no problem.

However when we go outside things change.
When we work with strobes we now have to compete with the ambient light.
Take into account the limit of 1/125 and you quickly understand why a lot of those shots with loads of strobe power have a DOF from here to eternity 😀
In other words, outside we often have to shoot at f22 to get the balance we need due to that 1/125 limit.

Solutions

Luckily there are solutions.

  1. Make sure you don’t place your subject close to the top. This way you can shoot at 1/160 and sometimes a bit higher without noticing the black bar. It’s still there for the strobe but the ambient light will not show it and the subject is somewhere in the middle so it will still get the strobe. A quick fix but far from perfect due to the huge limitation for composition (but it’s a nice one if you have to and can for example crop later in Photoshop).
  2. A bit more serious are solutions like HSS, HS
    With HSS your strobe fires a lot of flashes during the exposure making sure the sensor is always lit by the strobe. This eats both power from the strobe but also from your batteries, it’s also a system that’s not 100% stable in output and can overheat a strobe pretty fast.
    HS is a system that uses the cut off and raise of the strobe, not to make it too difficult it uses a very slow strobe to get faster shutter speeds, same issue here is that it eats power.
  3. It doesn’t help with the shutterspeed but you can use ND filters to get a shallow DOF, although this can work great there are some disadvantages, first of all a good ND filter for use with strobes will be a pretty strong one, or a variable (I have the KF concept in my kit and really like that one) And with the stronger ND filters you will get into some problems with focussing speed. Also some ND filters will give you a light drop off in the corners.
  4. Leaf shutter lenses
    Leaf shutter lenses are awesome but expensive.
    The shutter is inside the lens and this means it breaks the limit of 1/125 with ease, there is still a limit (for example 1/1500) which in most cases however is more than enough, especially because most of these lenses are found in the Medium Format cameras.
  5. Cheap cameras
    Believe it or not but years ago I shot with a very affordable small Fuji camera which was able to shoot up to 1/1000 with strobes. This was a far cry from a professional camera, but I decided to include it to make the list complete.

So what’s the big deal with a global shutter?

In short….
There is no real limit anymore.
You would be able to shoot strobes up to 1/16000 or even 1/80000 when using Sony compatible strobes.
Sounds awesome right?
And it is, but there is one limit I have to tell you about that will prevent some nasty surprises.

The speed is important

The idea of shooting at 1/16000 will excite a lot of photographer but it could also be a huge disappointment, but that last part can be solved with a bit of technical information.

When we use our camera we all know that the shutterspeed will determine the “freezing power” of your camera.
The faster the shutterspeed the more action is frozen.
When we use strobes we often just look at the output. And in the past this is 100% understandable, most strobes are fast enough to freeze motion in the studio so we often don’t link shutter speeds to flash durations.

When we look at the specs of our strobes we do however see a value that links the two.
The t0.1 and t0.5 values. You might notice that those values are often mentioned in a range from very fast to slower,
Maybe you also found out that the way the motion is captured does vary depending on the power output of your strobes, especially with cheaper strobes it’s very possible that there are only a few power settings that will freeze the motion, where with the others there always is a slight blur.

When I look at the strobes I’ve worked with over the years there were strobes that topped out at 1/1000 and 1/60000.
As you can see this is a huge difference.
So what is the link with a global shutter?

Let’s shoot a mountain biker at 1/16000 with our strobe on full power.
Now let’s shoot the same mountain biker at 1/16000 with our strobe at 75% power.
I can almost predict that the 75% setting will be brighter.

So what’s going on?

You can shoot with the shutterspeed at 1/16000 and there will be no black bar in the frame, however the strobe has to be just as fast as the shutterspeed otherwise the shutterspeed will be cutting off the power of the strobe while it stills flashes.

This is very difficult to visualize because our eyes can’t see how fast a strobe fires, so we need a special tool for this.
To measure the flashduration of my strobes I’m using the Sekonic 858 lightmeter.
When I measure my Geekoto strobes I can clearly see that they are incredibly fast in the lower settings, as soon as I pass half power they are still fast enough to freeze any motion (1/5000+) but when I reach full power the flashduration gets a serious hit. Now this has nothing to do with the Geekoto strobes, but it’s all strobes and brands, it’s simply how it works.

So how does this fit in the global shutter story.
When you read the reviews and specs on the A9III you might expect that your strobe will behave the same as in the studio and this can lead to not getting the maximum performance out of your brand new camera.

The best way to make sure you get the maximum out of your system is to shoot a series of images on a white wall with the camera on a tripod. Don’t change anything on the camera itself but only change the output of the strobe. Do this for several shutter speeds and watch where the strobe starts to get dimmer and put a sticker on the strobe with those settings.

Why is this important?

When you use a lightmeter on location the meter has “no limits”, so it will give you the value of the full strobe, if the strobe has a flash duration of 1/800 or 1/16000 it doesn’t matter for the meter. Now that we know that the shutterspeed of the camera can cut off the strobe it’s also clear that when we are shooting above the “speed limit” of the strobe the value on the meter will not correspond with what you get in your photo.

Besides the trick with the white wall there is a solution for this, but it’s not cheap, but it will make it much easier.
When you use the Sekonic 858 there is a setting that doesn’t just meters the light but also the flashduration. This can be a very useful tool where you can not only find the setting with the fastest flashduration, but also to know how fast you can set your cameras shutterspeed.

A feature that was handy for reviews in the past has now become an essential tool to use your flash system to the max, and that’s a good thing, a really good thing. We can do amazing things with global shutters and flash, can’t wait to test it out myself.

 

To be clear, I have not shot with the A9III, this why there are no examples (I don’t fake examples), the technique however is universal.
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Colors and how they connect

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Colors evoke emotion

You probably have been hearing me say that a lot.
And that’s because color is incredibly important to give images/video/film a certain mood. But also for logos, design, cars, buildings, interiors, clothing, colors are used everywhere to get a feeling, or make you feel a certain way. This article is about how colors connect in photography.

Accurate colors

So for us as content creators, it’s vital to make sure that our designs, photos, videos, etc. all look accurate.

So when someone orders a red scarf and a red sweater they look the same as in the brochure or website.
Luckily this is pretty easy.
You probably heard the term calibration regularly on this blog, my books, and videos.
With calibration, you make sure that your camera, printer, monitor, etc. are showing you the most accurate colors.

Because this is a topic that I’ve explained a few times in other blog posts. But always in connection to a technique. I thought it would be interesting as a reference to just explain a color space and the pure basics of calibrations, in a later blog post this week I’ll go deeper into the process and settings.

Primary versus Secondary colors

First, we have to make sure we know that divide the main colors into 2 sections.
The primary colors are Red, Green, and Blue
The secondary colors Yellow, Cyan, Magenta

Now how does this work in practice?

Color temperature

The first thing we must know about the colorspace and calibrations is the color temperature.
When you look at your strobes, sunlight, shade, continuous lighting, etc. you will probably know they all have different color temperatures. And when we talk about calibrations we call this the blackbody curve and a point on or close to that curve.

But when we look at the curve you can see that it runs from blueish white to reddish white.
The blue part has a very high color temperature, whereas the red has a very low color temperature.
Think for reference about a piece of metal you throw in a fire and you will see that the hotter it gets the more it will shift from red to blue.

We agreed upon the value of D65 for the reference white point. (6500 Kelvin)
When we calibrate our monitor or projector you should calibrate to the value of D65.
In some cases, 5400K is demanded. But if you need this, you don’t need this blogpost explaining colorspacee, probably.

how colors connect in photography

When we look at the color triangle above you can see that the 6500 degrees point is slightly reddish. This means that people sometimes have to get used to calibration at first because white will look a bit reddish, but trust me, this is very short.

Colorspace

Now that we know how the color temperature works, how do we get there?
As you can see in the next image there are different colorspaces with different levels of saturation (larger colorspace = more saturated colors)

colors and how they work together

In this diagram you can see that the primary colors Red, Green, and Blue create the color triangle.
And you probably also notice that the colors are located in different locations.

Luckily for us, those coordinates are known for every colorspace.
Each color has 3 coordinates.
x,y, and Y.
To manipulate these colors we use the settings Hue, Saturation, and Luminance (Y)
You probably know these from Lightroom already.
During the calibration, you are in essence pushing and pulling the colors around till they are in balance with the colorspace you chose. And those corrections are stored in the ICC, DCP profile.

Because for every colorspace we know the coordinates for the primary colors you might wonder, “Where do the secondary colors come in?”
That’s actually simpler than you might think.

How colors connect in photography

This is how colors connect in photography

When we draw a line from the primary color through the white point we end up with the secondary color of that color.
So Red connects to Cyan, Green connects to Magenta, and Blue finally to Yellow.
You probably understand that this is a very fine balance and if one of these colors or the white point is not correct the whole colorspace will shift slightly or even “collapse” meaning you can’t trust your workflow.

Gamma

There is one thing I didn’t mention yet and that’s gamma.
When we look at for example a 10-step grayscale we want to make sure that all steps are visible but also are visible equal in brightness difference. This is done with the so-called gamma correction, in most cases we use a value of 2.2 or 2.4.

Conclusion on how colors connect in photography

The primary colors Red, Green, and Blue connect through the white point with the secondary colors Cyan, Magenta, and Yellow.
Colors have 3 coordinates, x,y, and Y, and are adjusted by Hue, Saturation, and Luminance, corrections needed are stored in the ICC/DCP profile.
Each colorspace has pre-determined values for Gamma, Colors, and white point. This means the only thing you have to do is make sure your images and monitor show the correct colors, which they never do, so they need to be corrected.

Now that we know how complicated it is, it’s time to tell you the calibration itself is super simple.
For the monitor, I highly recommend the calibrite series of products. The process can be done fully automated and takes between 5-15 minutes.

For the camera, I’ve been using the calibrite colorchecker passport for years. It’s easy to create a profile and the results are very good.

In later blogposts, I will focus on these devices separately.
But one I have to mention right away because it’s essential.

The light meter

When we calibrate the monitor we are guided through the software by a very easy-to-follow workflow. The software actually asks you to adjust the contrast/brightness till it hits a target.

Now the reason we do the calibrations is to create a stable workflow that makes it possible to get constant results in all different lighting situations. As you can see one of the coordinates of the colors is the big Y or in other words Luminance.
Seeing the calibration of the camera is done with a ColorChecker we must shoot the ColorChecker with a light meter and as flat as possible.
I mostly place a large softbox on 3 mts distance when I create a global profile, when I create a profile for a specific set I just make sure there are no gels on the strobes and the ColorChecker is still lit as flat as possible with the main light, even if that means the model has to turn and I shoot it from another angle. Otherwise, the calibration will not be accurate.

If you are in the market for a good light meter make sure to check out the Sekonic range. I’ve been using several over the years and they all performed perfectly in every possible situation. I’m now using the 858 but their whole line is top-notch.

I hope you now better understand how colors connect in photography and if you have any questions, feel free to reach out.
If you’re in the market for a new monitor with hardware calibration options, I can recommend the BenQ line up. For EU customers we have some 10% discount codes available just drop me an email.

 

Working with colors and gels is fun 

How to read the Light Meter?