– What’s up, guys? Welcome back to the channel. I’m Mike Sasser, boudoir
photographer in Los Angeles. And today I wanna talk about ISO and why I don’t give a (beep). And today we’re gonna talk about ISO and why I could care (beep). And today we’re gonna talk about ISO and why I typically shoot at 400, when I could be shooting at 100. – See? Ya see? Oh, you don’t see it? Right there! Wait, wait! Right there! Right– – That tickled me probably
more than it should have. So the reason why I’m making
this particular video is I’ve been making a lot of videos with my camera settings
attached to the photos and with that, I’ve been getting
a lot of comments saying, “Wait a second. You’re shooting ISO 400 or you’re shooting it at 800 or whatever it is you’re shooting at and if it’s anything
other than ISO, it’s like: “Oh my God, the dynamic range!” “Oh my God, it’s gonna have noise in it!” “I could never deliver a photo to my client shot at 800 ISO!” I mean one guy called me a flat Earther. Okay that’s, nobody said that to me. I just wanted to make this
video to explain why a lot of people are focusing on the wrong thing. So first let me start off by saying, if you’re a commercial photographer shooting for Gucci or
Mercedes or Coors Light or whatever marketing firm,
magazine, shoot at ISO 100. Use your phase one, use your
lights, hire a retoucher, shoot at f/8, go get
paid, I’m happy for you. But if you’re shooting commission
work like family portraits or weddings, or boudoir, like me, ISO is pretty much the
least important thing you could possibly be
worrying about during your photo shoot. Now I typically shoot, pretty much the whole session at ISO 400, even though usually in my
studio it’s bright enough to shoot at ISO 100. And that is because sometimes
it will get overcast and when it gets overcast
and if I was shooting at 100, I would probably have to
bring my shutter speed down to somewhere around a 50th of a second, which is not fast enough for the type of portraits that I do. Because of that, I would
then need to adjust two out of the three exposure
compensation methods. So, I’d have to raise my ISO and then adjust the
shutter speed accordingly. Conversely after the sun comes back out, I would then have to lower the ISO and then raise the shutter speed because 100 ISO is at the
limit of where you can go with that particular
camera setting exposure. It doesn’t give you a whole lot of range to go in the opposite direction, whereas if you sit at 400 ISO
you can pretty much go between a 200th of a second and
an 8,000th of a second and anywhere in between
and you won’t be able to tell the difference in
what the image looks like. This is allowing me to only worry about one of the exposure methods, and then the rest of the time I can focus on the important stuff, like: Is my client comfortable? Is she doing the pose correctly? What angle am I shooting with? Is this even the best lens, which you’ll learn from the
video at the top of the screen which I outline the best boudoir lens. Now, that said, that
makes my life much easier, but the main reason why
I think people struggle with the idea of ISO 100
versus 400, 800, or 1600 is because what if there’s
noise in the photo? Ahh, noise! So let me ask you; is noise even a bad thing? Well, in the days of
film it was film grain, and it’s actually a
really sought-after look. And in my images where the
photo’s slightly out of focus, I’ll just turn it black and white and add film grain in Lightroom
and my clients will say, “Wow! Look at how artistic this photo is!” If you’ve decided that noise and grain is actually really terrible
and it’s the devil’s work, then if only there was,
like, a slider in Lightroom that could reduce the amount of noise. Oh, wait! There is! I definitely understand that not everyone has the budget for the
latest and greatest gear, so if you’re using an
older crop sensor body I recommend you just shoot a little dark, brighten it up afterwards,
add some noise reduction, and then sharpen it back up. I use Option + Alt when
selecting the mask slider so you’re only sharpening
the edges and not the noise. The bottom line of all
of this is if, that, your client doesn’t really care about it, you probably shouldn’t either. Photographers are pixel
peepers, our clients aren’t. And let me be clear. I’m not talking about things like the difference between 1.4 and
5.6 because they don’t know the terminology of what an f-stop is. Doesn’t mean that that isn’t important. They’ll see the two pictures side by side and be able to say things like, “I like this one better because
the background’s blurry,” or “I like this one better because the subject seems to stand out more.” That’s different than noise because most people who don’t have a trained eye won’t really even notice
it, and even if they did, they don’t really know that it’s supposed to be
bad in the first place. So that probably seemed like
a pretty ridiculous rant, but hopefully it shares a little bit of what I think is the more important parts of your photo session versus being so focused on your ISO
and where it’s supposed to be to get the optimal dynamic range, and the least amount of
noise, and all these things that your clients probably
aren’t even gonna notice at all, when the more important things
like client communication, how comfortable your
client is, their pose, the light that’s falling on them. All these other things take
up a lot more mental energy. I think they’re way more
important in your photo shoots. So I’m gonna post few more
photos at the end of this video that are pretty high ISO that
if you didn’t know they were, you probably wouldn’t notice at all. If you haven’t seen my
natural lighting tutorial, I’m going to put a link to that because that video is maybe the most helpful thing that I’ve put on YouTube so far. So enjoy these next pictures. (mellow electronic music)