Awesome, thank you!

Glad it helps you!

Thank you! Enjoy them all. We have some new ones coming VERY soon!

Glad it helps!!

You are very welcome. The gobo is a 32" round on a bogen articulated boom arm on a Photogenic background light stand. I think the list of parts is on a video called " The Most Emulated .. kzfaq.info/get/bejne/gtt6lcV-sbTNgKc.html

Thanks for watching!

Thank you too!

Thanks for subscribing!

Thanks for watching! Yes, it takes a few minute to get subjects relaxed.

I know. Bad habit (having done mostly little kids day in and day out for decades). I cringe myself at times. Hey, thanks for watching.

Oh my gosh! You make me laugh - you’re awesome, Tim. Used your feathering technique on Saturday with fantastic results. Thank you for sharing your knowledge. My headshot photography has grown leaps and bounds. One more thing - it helps to see the time you take to really land the perfect look. It allows me to give myself that same permission to do the same. I used to think if I fiddled a bit that my client would think I didn’t know what I was doing.

It’s basically a gentle term of endearment, very respectful, complimentary , reassuring , confidence building. ,not condescending nor patronizing- true traits of a professional , experienced ,creative and most dedicated disciple of the arts. Thank you

It's my favorite camera.

Thank you!!

Thanks. Just a lifetime of it!

Some will be .. we show a lot of tests which are Horz because I care about the background and I want all the space to be ready. Also I love great, artistic backgrounds and I show a lot in most of my finals.

Thanks for watching!

Our backgrounds are all hand-painted on high quality, heavy canvas or muslin. They come from www.backgroundsbymaheu.com Thanks for watching!

It was our 33rd! We only do one of these per year, but in the next couple of months we will be starting a live online seminar series.

@@TimKellysMasterPhotoTechniques ok you have taught me so much, for free and I would like to help out some, and I want to enroll in your classes, were and how

appreciate it congratulation for your successful work

Nearly every background has been painted by David Maheu at Backgrounds by Maheu -many I designed for him, but he has a large catalog of great ones.

@@TimKellysMasterPhotoTechniques thank you Tim I am glad I found your channel 😊

We've done it a couple times before in our older "Classic" videos, but we'll try to create a new one.

never mind I found it thank you: kzfaq.info/get/bejne/d66kZNmnst3Hhas.html

I will revisit that. I've taught that way for 35 years. I believe you will find it covered on my Studio Lighting video in the CLASSIC LIBRARY, from the 15 DVD's I've put out. Every principle remains the same.

@@TimKellysMasterPhotoTechniques Thanks! Will lookup the 15 Classic DVD Library

The checker gives us a reference with it's neutrals (white balance) exposing the actual accurate skin color. It's primary job in our studio/lab workflow is to record THE ACTUAL COLOR TEMP of the light we are shooting in. With profile software you'll create a custom profile for that shoot or location that corrects for the color of the light you were shooting in. Something you cannot do with white balance only.

I do everything MANUAL with POWER OUTPUT controlling the results. Every set up is quite different. I try to start with ISO 100, 1/125th second, between 5.6 and f/10 (depending on plan with the image), THEN I set distance and power on my lights, beginning with the main.

Thanks for watching! The hair light concept is still accurate. It's usually safest coming in from the opposing side. It's more important in most circumstances that any KICK light be handled that way. It helps create shape and dimension.

@@TimKellysMasterPhotoTechniques Thank you for the quick response. I appreciate it.

I don't use any constant lights except for video. GVM No, equipment reflections, but any cameraman should try to stay out of the light to avoid being reflectedin the subjects eyes.

It’s also refreshing to see you using such small soft boxes compared to the 3 x 4 main and the 4 x 6 feel that you normally use in your regular studio

Thanks! Yes, I still do use my Gowlandflex. No longer a PN55 camera anymore ... just film and a little "new55". Thanks for joining in, Eric!

Thanks for watching! I've been using the 42 as a fill, and 24 as a key light. The 42 might be too large for a headshot, but its all relative. Your distance from the subject and the size of the modifier creates the lighting quality (sharpness/softness) you're looking for. If you're getting too much overflow (uncontrolled) light, you might want to flag or gobo. A deep recessed edge around the front diffusing fabric is the best solution. That's why I've always used the Larson / Sweetlight RS soft boxes. Black gaffer tape can solve a multitude of ills. It's seldom the light - it's having the right working distances (isolation) and the right modifiers from the right position (direction). Each light has a specific task and you always have to watch for lighting contamination, that is unwanted crossover. You may know all that, but often these issues are easy to find if you test and adjust one light at a time. Good luck!

You're right. We all have to choose our words carefully!

Hey which softbox did you end up getting?

I find the Photoflex Litepanel to be the best replacement for homemade or older "lightform" products. A link is in our description. Thanks for watching!

Thanks, Stephen! In this video we started with a small, classic (headshot) gray canvas from David Maheu. www.backgroundsbymahue.com. Then we used seamless medium gray paper from Savage, and finally, a 10'x20' hand painted muslin called "High Seas" that was mad by Les Brandt Backgrounds. I think the Les Brand designs are now made by "Shooting Gallery Backgrounds" since Les retired. Much success!

Thanks for watching! I shoot film often, but usually WITHIN a digital session. Therefore, my digital becomes my test shots. See my video on shooting the president of PPA, Greg Daniel. kzfaq.info/get/bejne/gtiqgdhp0LSVeHk.html

Check out "Lady in Red" film shoot too.

I'm no expert, but I believe you'd need a Godox receiver on them. I use one on my Canon EX550

@@TimKellysMasterPhotoTechniques Thanks Tim

@@TimKellysMasterPhotoTechniques I am pleased to say that they do work on both. Thanks for the video

I only base my exposures on the strobe. I have continuous lights but don't generally use them.

Thanks for watching. I used meters for decades, but also learned to acquire near perfect exposure (during the film days) without them. They provide only photo-mechanical information. They fail as much as histograms. However, for those who are "shooting in the dark", (re:exposures and lighting ratios), they are a big help. They are not necessary for a master in his "fixed" environment, or in using the tools he or she knows well. I don't know these lights well, yet my first tests are still solid because I can do the math. Everything from that point on is SUBJECTIVE. What do I want to see, how each light affects the subject, and measuring values at this point is light management. I am a dedicated ZONE SYSTEM technician and I look for absolute perfection from deep shadow to highlight retention and fine, full and complete dynamic range. Please remember the earliest days of professional digital cameras, (of which I was a test studio for Kodak and Foveon) there was NO latitiude, no raw adjustment. It had to be dead ON. Long before this time I stop using meters. I shot (and still do) 8x10, 4x5 and 2 1/4 FILM. Polaroid gave use the needed feedback for final adjustment. Then digital became, and still is used like my polaroid had been. Whether or not you can see how my 53 years in this business has brought me here, I have taught thousands upon thousands of photographers in the last thirty years, including some of the most well known in the portrait industry. I have a very successful photography business and I am only here, sharing now, because I enjoy teaching - and learning! Thanks for your comment - but flash meters and histograms are clumsy and inferior to the trained artist and craftsman. Best wishes and success!

@@TimKellysMasterPhotoTechniques well said, Tim.. love the video. Thanks for the upload

Plenty of professionals don’t use light meters. You could just learn how to get the explore right instead of constantly relying on something else

I agree.

Thanks again for watching. I do use that particular zoom a majority of the time on my small digital camera. All my other formats have fixed lenses, so I'm quite used to lens selection. I know there are a lot of specialty looks available using prime and unique lenses, but I havent gone there since the Mamiya soft focus and the Imagon lens.

Charan Gurupura don’t be so thirsty

Thirsty much?

@@0741921 ☝😂😂😂

I appreciate your comment. There is no need to touch a model, and I do not shoot models. Ever. I serve those who need what I can do for them. This is extremely high-end retail and commissioned work. A regular client, be they child or adult, often need posing refinement to get the very best image made. When spoken directions work, they work. With their permission, many that need clear posing assistance initially, no longer do by the end of the session. I do my job professionally and thoroughly strictly for the benefit of my customer. Thanks for watching.

Also, we don't know that Tim didn't speak with the young lady prior to the session in regards to whether it would be alright to physically assist in posing. Tim and I (I don't know Tim, by the way) started in a time that wasn't so politically correct... a time when straightening a bracelet or watch clasp or adjusting hair would never be thought of as inappropriate touching.

I agree. Tee model did look uncomfortable.

Helping pose is professional. Being afraid is amateurish. However, speaking with the subject prior to the session was probably done and should be done. If the subject refuses or doesn't want posing assistance then that is alright, too.

yes he was very touchy and the model almost looked uncomfortable.

Thanks for watching. These are lighting demos on head and shoulders portraits, not hands. I have many, many videos on posing. SEE: Bridal and Formal Portraiture. Also many others if you wish instruction on body, legs, feet and hands..

Hi Walter. Thanks for watching and commenting. I am not against using measurement tools. I have owned and used the VERY BEST of them. I come from a commercial background shooting large format color transparency, so be sure I had sophisticated light and color meters and desitometers on hand in my studio. Simultaneously, in portraiture, we also used polaroid to confirm exposures and ratios. You DO learn to see ratios! If you do this everyday, process and print your own work, your experience will perfectly train your eye. Histograms are worthless and I can't remember ever referring to one unless I'm answering an amatuer question regarding it. Now, here's the important part as it relates to the studio. With testing and experience, carefully and continually analyzing results, you will fully understand your cameraroom, your lights, reflectors and how they will react to your subject's reflected luminance, background values and light absorbsion. Since you seem to advanced and serious, understand this: When I "chimp", I'm not looking for exposure. For a split second I will consider pose and composition. However, the the ONLY thing to truly be accessed at that moment are THE THINGS THAT CAN'T BE ALTERED LATER. Such as lighting balance (ratio), lighting direction, and quality of light. (flash meters don't provide that), Is the kick light too strong? Is there enough hair/separation light? Is the background level exactly what's needed to properly separate? Density relationships. These are the things that can't easily be fixed later. So, Walter, I am not guessing. I am not hunting. I am considering the things I see at a level few photographers will ever reach. That's not pride, it's full-time professional studio experience of fifty-three years. I love my profession and only wish to share with those whom it will help.

I understand that these are very basic hs images. I think that's the right place to start with new equipment; evaluating what it looks like and how it acts in its fundamental use. It is different from my standard lighting gear, and from this point of understanding them, we can go further. Thanks for watching.