This was so helpful!!! Thank you!!

Very helpful insights, thank you for sharing... never too old or too experienced to learn.👏🏽

What great information! Thanks.

Get video! Also, great tips and insight when photographing different types of people!

Very useful

Amazing how she stayed PC the whole time. 😂

That vignetting she's talking about isn't on most lenses at all. Not sure where she got that from. That mostly happens with variable-aperture zoom kit lenses. She keeps using that vignetting thing as an important point. Maybe the lenses she uses all do that but this has not been my experience. With Primes, especially, this is rarely a problem, if ever.

I was under the impression if you used a light meter it doesn't matter there skin tone. Proper exposure should take care of it shouldn't it?

If your exposure is right then the skin tone will also be right. Ignore the fact that the subjects are people and think of 3 plates, One black one grey and one white, there is only one proper exposure, if you are shifting black towards grey or white to grey then your exposure s off.

If they paid good money for the lighting and they want it for the whole ceremony and whatever, the object isn't to get proper skin tone at that point; it's to preserve the colors of the lighting on their skin somewhat and hit the couple with just a kiss of flash to open up shadows and to expose them enough so they're seen properly. It's not always about proper skin tone and keeping the dress white.

Japanese AI needs a more diverse training set.

*Talks about backlight not being good for some dark tones then uses an example of top light on a bald guy to support her point* :/

The "Shirley Card" story is a myth. Color film was produced commercially half a century by several companies in Europe and Japan before Kodak created the Shirley Card. Color emulsion scientists had the goal from the beginning of reproducing accurate colors across the spectrum using controlled color patches...NOT Caucasian skin tone(s). Fuji certainly wasn't using a Kodak Shirley card. Further, portraits weren't even the primary color film market in the first half century. Portrait photographers clung to black and white, which could be easily retouched and colored by hand. Color film accuracy was demanded by the military, biologists, astronomers, chemists, horticulturalists, ornithographers, and others far more than for portraits. The goal was accuracy and consistency across the spectrum, not a specialization on Caucasian skin tones. Kodak created the Shirley Card in the 1950s when Congress forced them to permit third-party companies to process Kodacolor amateur print film. The important tone in the Shirley Card was the gray background that could be read by a densitometer for neutrality, not the image of the woman. That was merely for "interest" and secondarily as a "sanity check." The densitometer reading was the important thing. Shirley Card never, ever had ANYTHING to do with the formulation of color film emulsions. They were designed for color printing from Kodacolor amateur films by third-party labs. The failing of color technology was primarily in dynamic range. It was up to the photographer to learn skills necessary to overcome the shortfalls of the technology, which photographers who commonly served black clients learned to do.