Digital Interactions - Introduction to Macro and Object Photography Using the Copy Stand and DSLR

But everyone thank you for turning up
today my name is dr. Robert lenford as you're aware of by now and basically I'm
an archaeologists on a project nearby the tram expansion project which if you
drive it off you know you're acutely aware of the traffic that it's causing
so I'm basically on tea break at the moment so I'm just gonna briefly talk
for about 25 minutes or so and I can answer any questions
basically I'm talking about today the coffee stand and the DSLR in this case
it's a Canon 7d some of you may may be very keen digital photographers and some
aspects of this you may be more familiar with that I do quite a bit of a
geography I'm basically self-taught but I've been doing it intensively for about
five years now and basically I take lots and lots of photos of everything so I'm
coming at this from a from kind of a advanced amateur enthusiast perspective
if you will but I also I was the photographer on the poplar Petri project
in which I photographed the pod refined from the site in Greece where dr. John
Henderson and the department here has been working so it took about thousand
artifacts photos on that on that excavation and and then just naturally
in my job as a commercial archeologist at the moment I do a lot of site
photography so but getting away from field work a bit at the moment basically
I'd like to go through and just say a little bit about what is macro
photography which you may or may not have heard of and basically what the
coffee stand what its advantages are over say it
scanner for example if you if you're photographing documents and macro
photography is basically as I eloquently put in handout is making big photos of
small things so technically if you're taking a macro photograph you are taking
a photograph that is larger of that object in real life so if you take a
photograph of a fly for example and you print it off and the fly is this big and
then you are doing macro photography this this copy stand is capable of
helping with that they can also be used with with different lenses now just to
point out the lens along here at the moment is a 100 millimeter lens it's a
macro lens on the side it has a minimum focusing distance of about 31
centimeters now the other two lenses are what they call standard prime lenses
they're a bit wider angle ones a 50 mil 28 mil the lower the number the wider
the angle of view with these lenses these lenses are called prime lenses
versus zoom lenses zoom lens you might have a range from say 18 to 55
millimeter or something like that so you can you can move in and out without
having to move yourself physically remove the camera to get the desired
composition now this one has a macro function
and it will focus within 31 centimeters kit lenses or standard lenses may
actually have a closer focusing distance but the problem is if you get the lens
too close to what you're trying to take photographs up then you're lighting on
the sides is being blocked and in photography lighting is as critical as
everything if you want to get really good results you need to get your
lighting set up properly so I mean said that to switch back just to the coffee
stand basically a copy stand works in the same way as the tripod does just as
the gentleman here is using for his video camera the advantages of a copy
stand as you can see you can get very precise you can get very precise
vertical motion with it and you can also if you in rare cases if you want to tilt
the camera to get an oblique angle you can do so by making basically micro
adjustments with this hat but the primary advantage here is is that you
get excellent control height wise with the camera now the advantages over a
tripod as you can see if you're taking objects horizontally with a tripod you
would need to shorten two of the legs as I've done the forum projects where I
didn't have a copy stand shortened to the legs and have the third leg
extending way out and it's a big kerfuffle you're trying to get the
camera directly over the object you're trying to photograph and you have to
have a rucksack underneath with some books in it to hold everything it's yeah
so this is a much more professional set up you can look in the phreatic
sometimes and find film enlargers that people
and you can actually take the enlarger bit off because it uses a similar base
and upright as the top east and so you can you can almost make a coffee stand
if you're particularly keen on that the lighting is critical
again with this you have what's called white balance which I'll talk about a
little bit more in a minute but the lights the lights used here
mimic basically sunlight at noon or when the sunlight is in overhead conditions
they would have a different color temperature probably than these
fluorescent bulbs overhead so you've got two different lighting sources so you
need to be aware of where you're lighting these horses are coming from
three actually you've got a third color temperature coming into the window but
it's not very strong today so we don't need to worry too much about that I am
now quickly before I move on to more and camera bits the copy stand has primary
advantages for photographing documents and objects with precision documents in
text especially rare text or fragile text that you can't just plunk down in a
flatbed scanner so have a little ditch eye and keep going back and forth page
after page you obviously can't do that with some documents damage them in a
very short manner Laurens documents that I know there is
well this standard here in particular may be able to fit larger documents but
again if it's a rare manuscript for example it's much much preferable to lay
it flat on a copy stand and use it in photographic that way than trying to
scan an image if it's not a rare manuscript but you want to photograph
many pages it's a lot faster to get this set up it takes a minute to set it up
maybe compared to say a scanner once you get it set up you can use the
tether mode where you can actually control the camera from the computer
that's one of the nice functions about this camera and you can actually get it
set up you almost have someone flip the pages
and as soon as they flip the page you can you can activate the shutter here so
you can go very rapidly that way so that's another advantage of it so many
other advantages again the reason why I. Chose this object instead of
photographing a flat object this was just some some bits that were lying
around so we'll call that our widget for today's purposes the reason why I chose
this is because it's it's a taller object so the problem when you're doing
macro photography what you can run into is a problem with depth of field that
means you might get this bit in focus but then if you want to have this part
in focus as well it may not be because bets down to what's known as your
aperture I mean my little handout there I go and talk about this five different
things that when you use your camera most cameras have green mode or
point-and-shoot if you're using an iPhone even every time you use the
digital camera on an automatic setting it's doing five things for you so you
don't have to think about it so you can just take the photo
the first one is focus its auto focusing the second one is shutter speed the
third is aperture the fourth is ISO and the fifth is white
balance basically autofocus most cameras today are very good with autofocus you
don't have to worry about that too much if you were say photographing this
temperature controller over the wall this is what we would call a little
contrast above that because there's not much for the camera to recognize so you
may have to switch to manual focus to get the proper focus on something like
that obviously a more high contrast situation where we have this brass water
fitting the camera will be able to autofocus quite easily so 99% of time
you can leave the camera on the autofocus you don't have to worry about
that the second one is shutter speed as you
can see in the hand down on second or third page there's the bullet passing
through the shutter speed is the difference between having a blurred
photograph or having a nice crisp photograph and you'll find this if you
take photos it's someone's birthday party in low-light and you get your
photos back and they're all blurry it's because you're moving perhaps or the
people themselves are moving so there's different ways you can correct that one
of the ways you can correct that is by changing the aperture which is inside
the lens that controls the amount of light that reaches the sensor the
aperture also controls your depth of field so it's a trade-off there is a
compromise here because otherwise numerically and higher f-stop say you
might look at an old camera lens in my twenty-two on it more things will be in
focus say if you're taking photograph in this room starting from this point here
to the penguin might be in focus at f-22 but if you dial it down to say F 2.8 You
might only get this bit focus if you're if you're photographing that way so
everything's a bit of a trade-off so if you're using deeper apertures that have
a deeper depth of field and you need to increase the shutter speed
correspondingly and it's if everyone does have a handout along you may
already know this and it's um it's it's outlined in in some detail there but one
of the advantages here and if you switch to green mode the camera is going to
make a decision about what aperture you want most of the time that's fine if
you're photographing something flat you don't have to get too caught up in the
technical bits you can set it on green mode and the candidate software and
basically you can start clicking away as long as you have your file settings such
as JPEG or if you want to shoot RAW.

Files basically go to town but saying
this is you'll have to pretend with me here this is an incredibly rare object
and you only have this afternoon to take a few photographs of it before security
comes and takes it back to whatever museum it came from so you don't want to
use green mode in this instance because you may look at your photos the next day
after you've really sat down and you know all the excitement's weren't off
and realize that your aperture didn't allow a sufficient depth of field to
take nice clear detailed photos so what you do if you go to manual mode this is
as the name suggests you full control over all of the camera
settings and this is a perfect environment for using manual mode
because we're a we're shooting an object that doesn't move it'll sit there as
long as we wanted to that allows us to use a very slow shutter speed so we can
set our aperture in our ISO at the highest quality settings to get a really
really good photograph of this object so in this case we're also assisted with
good lighting we know what color is color temperature wise this is about
5,400 degrees Kelvin on these lights you don't have to remember all of this auto
white balance on cameras these days are quite good and since we have a known
color temperature we can always go back and photo editing and change the color
cast if we think it's same not quite as red as it should be or not quite as
yellow so we've got auto focus and auto white balance we don't have to worry too
much about it it's really good these days however to get our depth of field
and if we want to get all of this in InFocus F night it's in spikes Empire well you
won't be able to see it very well I have this set on a very very high
f-stop it's f 29 at the moment f 32 which is actually the maximum for this
lens and we're not done is everything's on manual setting the ISO goes back to
the film days and it's what what your film speed is basically now in digital
that translates to basically image quality if you've taken a photo in
low-light it'll be very grainy the image all will start to break down and
deteriorate that's because your camera in in auto mode is saying oh there's no
light here this is awful so we're going to use very high ISO say ISO 6400 and
you get the image and it looks really awful some people like it for artistic
purposes so they like the nice grainy image but we want really good detailed
images from say publication or maybe even gallery enlargement for an exhibit
at a museum so we want to shoot the lowest ISO possible in this instance
most cameras these days is over 100 is the best set because we're in control
were shooting a non moving object with controlled lighting the camera is held
Rocksteady thanks to the copy stand we're completely in the driver's seat
and we can use a slower shutter speed as it takes to get a really good photo so
to get the depth of field you'll have to do some practice shots and just find out
what the minimum depth of field is that will get everything in focus you really
don't want to just go to the deepest depth of field aperture and and use that
straight away because you will lose a little
detail due to a process called diffraction which I won't really go into
that so basically you want to take some test shots and what I did before
everyone came in just very briefly I. Took I took two photographs of are
priceless widgets and the first one I. Took at what they called wide open
that's f 2.8 And basically you can see the 15 on the end of the camera actually
the the maker's mark or what have you the brand the size of this fitting is is
in focus but you can see how quickly the focus goes away you've got everything's blurred in the
background so all of this is out of focus but you've got a nice sharp focus
on the actual end of the object now at the other end of the aperture spectrum
I've gone and in turn the aperture stuff tip right the way down at 32 so you can
see in comparison how all of this is in focus including this object now because
it's a really good camera and good lens combo we don't have to worry too much
about diffraction because it's very unlikely you're going to be printing
this image off and say a1 I mean how many times do you really print a
photograph that egg one although this image you could come close to doing that
he wanted to so you've got your depth of field and because you've got the copy
stand and as I mentioned you're in control of everything you can set the
object and set the camera settings to the desired settings you want to get the
photograph you want now one thing I need to point out is on
the page with the little this is actually from the canon 7d it shows the
little print extreme drought of the top LCD monitors on the camera what that is
it's a light meter and anyone that's that's done very much photography manual
photography will be familiar with it your older film cameras and it didn't
have a built-in light meter image the David Bailey documentary where his
assistant is holding the little meter out there they're testing the available
light so they know what shutter speeds and what apertures they can get away
with digital cameras these days have light meters built in and so if I go and
change the aperture as I'm doing now I'm going from a really on aperture really
high I've stopped down to say something more normal f/8 I then look at my light
meter because there's a lot more life coming through the lens now because I
opened the aperture I'll just wake it up here okay so now I need to go in
decrease I'm sorry increase my shutter speed because otherwise too much lights
going to come in and what will have a will have a very overexposed image what
I'll do here is I've got it all wrong I. Don't know what I'm doing I press the
shutter yeah that's that's what you called
overexposed image and it looks like a nuclear flash went off in the room so
what you do it's very easy you increase the shutter speed to decrease the amount
of light that reaches the digital sensor and you do that until we get so we find
it is a bit difficult doing the upside down but it only takes a second or two
there this is off the scale so instead of a four second exposure really what we
want is one tenth of a second so basically you just rotate the wheel here
that controls the shutter speed in manual mode until you until you're right
on zero as so now we're back in normal range I go and take another photo
breathing deep sigh of relief because now that's coming out that's at f/8 and
you can see that's halfway in between these maximum and minimum I was talking
about earlier this is actually a bit of a difficult object to photograph because
it does have such a depth of field say I.

Have this set on maximum aperture and it
still is in focus all the way I can alleviate that by moving the camera
further away from the object so I can raise it up and what that does the
further away the camera is from an object the deeper your depth of field is
if you're shooting up very close even at maximum aperture
you might have only a very little bit in focus so this is another reason why it
gives you a lot more control and also by moving that I've maintained my
perspective that I have the previous photo so if I'm taking photos of
different objects I can I can maintain that control throughout the day
consistency the other two lenses are not macro lenses but then again it depends
what you're photographing and macro really only means that the camera has a
closer than normal focusing distance a 100 millimeter lens is getting into
telephoto range that people might use for sports or for wildlife things like
that you can take photos of things across the room a bit closer so to have
a minimum foking focusing distance of 31 centimeters with this lens is quite good
as the macro designation for that one this one is your 50 millimeter what they
call your standard prime and this has a very shallow depth of field if you want
it's f 1.4 It's good for sports and low-light things like that if you do
have an object and you just want to get the very edge of it in focus and give it
a nice artistic effect in the background a nice blur so it's not distracting it
draws your eye in onto just a little bit you want to have in focus and this lens
is about as good as you can get for that it's 50 millimetres so it does give you
a little bit wider angle of view than the 100 and then also is the 28
millimeter Canon lens that if you have say photographing roughly
a a3 sized document you would probably want to switch to the 28 millimeter lens
for that just to get everything in focus and 99% of this is practice it doesn't
take too long but once you get everything set up and take it to a few
test shots of what you're photographing then you'll quickly be able to dial in
the settings and manages quite quite easy to buy to work with once you've
briefly familiarize yourself with it I. Don't even really use panic I've got a
Pentax but I'm thinking about selling it and getting the canons but these days
it's really difficult to get along it's hard to buy a bad digital camera my
camera actually doesn't have the tether feature which is very very good that's
one of the main advantages of this camera besides it it's excellent image
quality is the fact that will combine what the resources here at the digital
humanities center you can you can shoot tethered photos with it and get results
instantly it's tempting just to shoot with a digital and look at the little
screen on the back and say yeah that's a good photo and then you download them
that afternoon and realize that somebody bumped the table or or you have one
little setting off and then the object that you wanted to photograph is back in
the library so yeah it's definitely - I'll stop
there before I run out of breath and I'm like I said this is just a brief
introduction please load the resources on the Internet
but buyer beware when you look at photography blogs and things like that
make sure it's fairly reputable source but by and large the basics of
photography are pretty much the same across the board whether it's film or
digital and then macro photography there's entire websites dedicated to
macro photography if if you want to get very closed off objects if you're
shooting lithics for example say you have a nice flint blade and you want to
get a really good photograph of the edge of it you can move in that's probably
about as close as I can get with that you can move in quite quite closely I
don't need to know what this is because I have it manual say you can get
some obviously I didn't set that up and even look at my composition or just
fired away they you can see with that lens you can get some really really good
it's almost like a microscope so it's a lot of potential there diffusers as in Oh for flash photography
or tour continues lighting I guess you didn't talk about too much is
controlling your light source because you may find that this lightning as it
is is I think good point actually it's too bright it's too harsh and say you're
not getting the desired effect be one with the object you're photographing but
diffuser basically soften it's like a lampshade almost a lampshade is is
effectively a diffuser because instead of sitting in your chair by the
television looking at a light bulb on the table next to you a lampshade acts
as a diffuser and it softens that light and helps reduce shadows same same
effect in photography I almost gather that these holes on the
side of this are probably for some type of diffuser if you've seen photographers
with a it's almost like a bit of white cottony material that just goes over the
the actual bulb just to kind of cut down on par shadows and glare without really
reducing your available light so you can they have light tents out which are just
little pop-up literally a little tense if you're doing item photography that
you can set this inside of a small light tent and keep your light source here and
in almost because it's it's pretty good here but you can see a little bit of a
shadow around this if you want to completely eliminate
shadows then yeah you can use them you can use the diffuser which it almost be
I've heard of people using coffee filters on the spot with the pop-up
flash on their phone their camera I get so yeah you can you can use a diffuser
to break up shadows and if anyone thinks of anything else or has any photo
related questions just drop me an email if I don't know I've got some friends
that probably do so yeah.

Timothy Goes to School The ShutterbugThe Friendship Stone - Ep. 18

It's a brand new day   So come on and play   In a world that's waiting for you   We're about to begin   So come on in   There's so much to do at school   And you can do anything if you try   With friends like Timothy by your side   There's a new adventure   In everything we do   We'll all be together   And you can come too   When Timothy goes to school   Anything can happen   When Timothy goes to school   >> DAD: There's a picture of the house I grew up in, Timothy. >> Hey, that looks just like Grandpa's house. >> It is Grandpa's house. >> It is? Where's the big tree I always climb? >> Right there.

It was only a little tree when I. Took this picture. >> Wow! It was little. >> And here's my old soccer team.

>> I don't see you, Dad. >> Well, I was taking the picture. >> You take a lot of pictures. >> Uh-huh.

>> Yes, your father's quite a shutterbug. >> A shutterbug? What's that? (Laughing) >> Someone who likes taking pictures. >> I want to be a shutterbug. >> All right.

I'll get the camera. >> Really? I could use your camera? >> As long as you handle it carefully. >> Oh, I'll be really, really careful. >> Hmm.

Oh, good. There's still lots of pictures left on the film. >> Great, because I want to take lots of pictures of my friends. (Laughing) >> MRS.

JENKINS: Quick sticks, children. Choose a shape to sit on. It's time for Show and Share. (All chattering) >> I want a triangle.

>> Sit beside me, Nora. >> Wait till you see what I. Brought. >> I want to sit over there.

>> All right. Who has something to share with the rest of the class? (Clamouring) >> DORIS: Me, I do! >> Doris. >> I have a loose tooth. >> Interesting! >> Let's see! >> A loose tooth! >> That is a good Show and Share.

>> It's this one right here. >> Oh, it's a front tooth, this time. >> Uh-huh. I'll let you know when it falls out.

>> Thank you, Doris. Lilly, what do you have to show and share? >> I found this in Mama's vase on the kitchen table. >> That's nice, Lilly. >> I like it.

>> Oh, it's pretty. >> It's very pretty. >> I can't wait for it to turn into a butterfly. >> Huh? >> What do you mean? >> A butterfly? >> See? >> Ah, yes, I do see.

Look, boys and girls: a chrysalis. >> A what? >> A chrysalis. Let's say that together. >> Chrysalis! >> So what is a chrysalis? >> It's one part of a butterfly's life.

A butterfly starts out as a tiny egg which hatches into a caterpillar. The caterpillar eats a lot and grows bigger every day. Then one day, it stops eating and forms a chrysalis. >> Like this one.

The caterpillar is inside. >> That's right, Lilly. It's inside the chrysalis changing bit by bit until one day, it comes out as a butterfly. >> CLASS: Wow! >> YOKO: That's pretty! >> When is your butterfly going to come out, Lilly? >> I don't know but I'm going to keep watching so I don't miss it.

>> Thank you for sharing that with us, Lilly. >> You're welcome. >> Timothy, what would you like to share with us? >> I'm learning how to be a shutterbug. >> A shutterbug? >> What kind of a bug is that? (Giggling) >> A shutterbug is someone who likes taking pictures.

>> A camera! >> A real camera! >> Uh-huh. My dad let me borrow it. You look through here and when you see the picture you want to take, you press this button. >> Wow! >> Can we see your pictures, Timothy? >> I haven't taken any pictures yet but I'm going to take lots today.

And my Mom gave me this photo album to put them in. >> How would you like to be "In the Spotlight" at the end of the day so we can all enjoy your photographs? >> Yeah. >> Okay. (Cheering) Hmm, what should I take a picture of first? >> Hey, Timothy! >> Ah! >> Sorry, I just wanted you to take my picture.

>> All right. But you don't have to get that close. >> How's this? >> That's good. >> No, wait! I like this better.

>> Okay. >> No, wait! I said wait. >> You said it too late. >> Let me see.

>> No! You have to wait until "In the Spotlight." >> Aw! >> But I promise to show yours first. >> Okay. Thanks, Timothy. (Laughing) >> Oh no.

I cut off most of her head. I can't put this one in my photo album. >> This is the play slide and that's a merry-go-round. We won't go for a ride because I.

Don't want you to get dizzy and come out backwards. >> Did anything happen yet, Lilly? >> Nothing yet, Charles. >> You can see a daisy patch if you stand over there. >> Would you like to see some daisies? Thanks, Charles.

It will be a good place for my butterfly to visit after she learns how to fly. (The Franks giggling) >> Hi, guys. >> Hi, Timothy. >> Take a picture of us, Timothy.

>> Okay. >> Me first! >> No, me before you. Me first! >> No, me before you. Me first! >> No, me before you.

>> Did you take my picture? >> I took a picture of both of you. >> Thanks, Timothy. >> Yeah! Thank you, Timothy. >> You're welcome.

What happened? Frank and Frank are all blurry. I don't want that one in my photo album. >> Whee! >> Hi, Lilly. >> Look, Timothy.

I'm teaching Lilac to fly. >> Who's Lilac? >> That's the name I gave my butterfly. >> Your butterfly? >> Well, she's not a butterfly yet but she will be soon. She's going to be a butterfly and you're going to be a shutterbug! (Laughing) >> Yeah, I guess so.

If I keep practising. >> Oh, we're getting our picture taken, Lilac. Say "cheese." Cheese! Thanks, Timothy! >> You're welcome. Aww, I can hardly see her.

I can do better than that. >> CHARLES: Hey, Timothy. Do you like my space tower? >> It's great! I'll take a picture of it. >> Okay.

And me too. >> Look at the camera and don't move unless I tell you to. >> Okay. >> Move back a bit, Charles.

You're blocking the space tower. Back. Back. Oops.

>> Timothy, you told me to back up too far. >> Hi, Timothy. What's the matter? >> Being a shutterbug is harder than I thought. >> Maybe we can help.

Take our picture. >> In front of the school. >> With Lilac. >> I haven't taken one with the school in it yet.

>> Come on. Let's sit close. >> Okay. >> All right.

>> Lilly, put Lilac down so she's not in anyone's face. >> All right. >> Good. Perfect.

Nobody move! Say "cheese." (Honking) >> Cheese! Hi, Henry! >> HENRY: Hello there, girls. >> TIMOTHY: Aww.  >> Everyone is looking forward to seeing your photo album, Timothy. >> It's empty, Yoko.

I haven't taken one picture that's good enough. >> When do I get to see my picture, Timothy? >> Um... When I'm "In the Spotlight," Doris. (Laughing) This is going to be the shortest "In the Spotlight" of all time.

(Sighing) I have to get one picture to show. Mrs. Jenkins. >> Yes, Timothy? >> Can I take a picture of the whole class for my photo album? >> A class picture.

That's a grand idea! Quick sticks, children. Timothy wants to take a class picture. Big children at the back, smaller ones in front. >> Nobody move! Nothing's coming.

No one's moving. This is it. Say "cheese!" >> Cheese! >> MRS. JENKINS: Well done, Timothy.

I can't wait to see your other photographs. Everyone, let's put our art supplies away and get ready for "In the Spotlight." >> I can't wait to see your pictures, too, Timothy. >> I wish you and Lilac were "In the Spotlight" instead of me, Lilly. >> Lilac! I forgot her outside on the steps! Lilac is gone, Mrs.

J. >> I'm sorry, Lilly. >> I never got to say goodbye to her. >> I think Lilac was a very lucky butterfly because you gave her a wonderful start.

>> Do you really think so? >> I do. >> Oh, thanks, Mrs. Jenkins. >> Now, Timothy, why don't you show us your photographs? >> Okay.

But they didn't turn out the way I wanted them to. >> Look! It's a picture of my loose tooth! >> Wow! Look how fast I am going! >> I am going fast, too! Good picture, Timothy! >> Yeah, it is a very good picture. >> CHARLES: Wow, there's the school bus! >> Look at Charles! How did you get him to make that funny face? (Others laughing) >> Everyone likes your photographs, Timothy. >> I guess they're all good enough to put in my album.

>> I wish I saw Lilac fly away, Timothy. >> I wish you did too, Lilly. >> I think this class picture is wonderful. What do you think, shutterbug? >> I like it.

It's not blurry, I can see everybody and I didn't cut anyone's head off. And what's that? Hey, it's a butterfly! >> LILLY: Lilac! She's beautiful! >> Can I see? >> CHARLES: There she is. >> She's wonderful.  (Knocking) >> What's the secret password? (Giggling) >> Somersault! >> You may enter! (Laughing) Okay, promise not to tell anyone the password.

>> I promise. >> It's our secret friendship fort. Only we can get in. (Knocking) >> NORA'S MOM: Nora! >> Shh! (Snickering) >> Nora, I know you're in there.

(Laughing) I thought you were in there. Open up. >> What's the secret password? >> I don't know. >> Then we can't open up.

>> Okay. But I have milk and cookies. >> Okay, we'll open up. >> Mm! Thanks, Mom.

>> Thanks! >> You're welcome. >> Maybe we should tell your mom the password. >> No, then it won't be just our secret friendship fort. Only we get to use the password.

>> Okay. >> Somersault! >> Somersault! (Laughing) >> Hey, what's that? >> Oh, it's my special stone. I found it in the summer. >> Pretty colours! >> Feel it.

>> Oh, it's so smooth! >> I know. I like to hold it. >> Why do you keep it on the floor? (Laughing) >> I don't. I keep it in my pocket.

I guess it fell out when I did my somersault. >> I have something I carry in my pocket too: a lucky penny. >> Wow. Why is it lucky? >> Well, remember the mitten I.

Lost? >> The red one? >> Uh-huh. I found it after I got the penny. >> Really? >> Uh-huh. It was behind a tree in the backyard.

>> Wow, it is a lucky penny! >> VOICE: Hello, Leopold. >> Hello, Oliver. Lovely day, isn't it? >> Yes, it's a very lovely day with a very lovely breeze. It's the kind of day that's perfect for holding a pinwheel.

>> Yes, it is. >> I don't have a pinwheel myself. >> Oh, what a shame. >> Yes, it is.

I should borrow one from a friend. >> Borrow Leopold's! >> Shh! >> OLIVER: Good idea, Nora. (Laughing) May I borrow yours, Leopold? >> Of course. What are friends for? >> Thank you.

(Imitating wind) >> Whoa! (Laughing) Ahh! How do you stop this thing? (Class laughing) (Gasping) >> Uh-oh. >> I brought back your pinwheel. (Gasping) >> Oliver! My pinwheel! What did you do to it? >> It's a very windy day and-- >> You broke it! >> Yes. I'm really sorry, Leopold.

>> That's okay, Oliver. It was an accident. >> Are we still friends? >> Of course. I'll be friends with you no matter what.

>> Thanks, Leopold. (Imitating wind) >> Whoa, my goodness! You're right, Oliver. It is very windy today! (Laughing) >> I'm glad you enjoyed the show, children. >> Too bad Oliver broke the pinwheel.

>> Now they can't play. >> It's okay. They are best friends. They can do something else together.

>> That's right. Their friendship is very special. Now each of you can make your own friendship puppet and later we'll all put on a puppet show. >> Okay! >> DORIS: That sounds like fun.

>> I can't wait! >> I want each of you to pick a partner to make a puppet with. >> Hey, Nora. You and I can be puppet partners. >> Uh...

>> Hm? >> Okay, Doris. >> Here you go, Lilly. >> Thanks, Mrs. J.

I wish Nora was my partner. >> NORA: Lilly! Lilly, come and sit with me! >> Don't you want Doris to sit with you? >> I want you to sit with me. >> Are you sure? >> Yes. I'm sorry I couldn't be your puppet partner.

Doris picked me first. I didn't want to hurt her feelings. You are still my best friend. >> Really? >> Yes.

Here, I want to give you this. (Gasping) >> But it's your special stone! >> I know. Take it. It's our friendship stone.

>> Wow! I want to give you my lucky penny because you're my best friend. >> Thanks. >> I gave Nora my lucky penny, Mama, because she's my best friend. And here's what she gave me.

>> LILLY'S MOM: It's very pretty. And smooth. >> It's a friendship stone because I'm Nora's best friend. >> That makes it very special.

>> I know, and I need a safe place to put it when I'm not at school. >> I think I might have just the thing. Here you are. >> That's perfect! Thank you, Mama! >> You're welcome.

(Frank giggling) (Laughing) >> Everything looks funny upside down! >> I know! (Laughing) (Groaning) >> I feel dizzy. >> Me too! >> Hoo! That's better. Let's go play on the swings. >> Okay.

>> Oh no! Oh no! I've lost it! Where is it? Where's my friendship stone? >> LILLY'S MOM: Lilly, what's wrong? >> I lost my friendship stone. >> Oh, dear. Let me help you look for it. >> Hi, Lilly.

What are you looking for? >> A stone. >> Here's one. >> That's not it. >> NORA: Lilly! >> I need a stone! >> What are you doing? >> Nora gave me her special stone and I gave her my lucky penny because we're best friends.

>> Uh-oh. You lost the stone, huh? >> Yes. >> Why don't you just tell her? >> Then she won't be friends with me anymore. I wish I had my lucky penny right now.

Then I could find the stone. >> Do you want me to try to get it back from Nora? >> Do you think you can? >> I can try. >> Thanks, Timothy. >> Got it! >> Aw, not again.

You always get the easy sticks to pick up. >> Sorry, Timothy. >> That's okay. I'm just not very lucky today.

Hey, Nora. Lilly says that you have a lucky penny. Can I borrow it? >> I'm sorry, Timothy. This is a special friendship penny from Lilly.

I can't let you have it. >> MRS. JENKINS: And now it's time for Nora and Lilly to put on their puppet show. >> Can I come into your fort? >> What's the secret password? >> Tulip? >> No! >> Is it daisy? >> No.

>> Is it petunia? >> No! >> Is it spaghetti and meatballs? (Laughing) (Laughing) >> No! >> I don't know the secret password. I guess that means I can't get in. >> The secret password is "best friend!" And since you are my best friend, you can come in any time you want! >> Thanks, Nora. You are my best friend too.

(Cheering) Thanks! >> Thank you. >> Thank you, Nora and Lilly. That was a wonderful puppet show. We can see you are really good friends.

>> Thanks, Mrs. Jenkins. But that's not all. Lilly gave me her lucky penny because I'm her best friend.

And I gave Lilly my friendship stone because she is my best friend. >> Well, uh... Well-- >> Come on, Lilly. Show them the stone I gave you.

(Class exclaiming) >> Huh? That's not the friendship stone. >> I know. I lost it, Nora! >> What? You lost the stone? >> Sorry. I didn't mean to lose it.

>> Why didn't you tell me? >> Because I thought you wouldn't be my friend anymore. >> Lilly, you will always be my friend. >> Really? Thanks, Nora. You'll always be my friend too.

>> Forgiving Lilly is a sign of your good friendship. Now, why don't we all go out to the schoolyard and search for the friendship stone? >> GIRL: Yeah. >> GIRL #2: Let's look by the swings. .

First Photos Of Ronda Rousey's WeddingTMZ TV

SO WE GOT THE FIRST PICTURES. OF RONDA ROUSEY'S WEDDING. HARVEY: OH, WOW. WHERE WAS THAT? THIS WAS IN HAWAII.

SHE LOOKS GREAT, YEAH. IT WAS A SMALL DEAL. IT WASN'T TOO BIG. IT'S LIKE A $12,000 WEDDING.

DRESS. FANCY. HARVEY: I GOT IT! I GOT IT! YOU LIKE THAT DRESS? DRESS IS PRETTY. HARVEY: WHY DON'T YOU TRY TO.

WHEEL AND DEAL AND SEE IF YOU. CAN BUY THAT DRESS AT A. DISCOUNTED RATE. SHEVONNE'S DRESS IS PRETTIER.

HARVEY: OH, YOU ALREADY BOUGHT. IT? YEAH. HARVEY: HOW DID YOU BUY A DRESS. IF YOU JUST GOT ENGAGED? YOU ALWAYS THINK ABOUT IT.

HARVEY: I HAVE A THEORY BUT I'M. NOT GOING TO -- WHAT'S YOUR THEORY? HARVEY: I CAN'T. OH, YOU'RE AFRAID HE'S GOING. TO LEAVE? HE NEEDS ME A LOT MORE THAN I.

NEED HIM. [LAUGHTER] AND THE MARRIAGE IS STARTING! [LAUGHTER].

CCD The heart of a digital camera (how a charge-coupled device works)

CCD: The heart of a digital camera How a charge coupled device works  EngineerGuy Series #4 Photographic technology has changed a lot in the last century. Digital photography became cheap and convenient because of the CCD: The charge coupled device inside this camera. In the past wed just place a piece of film here behind the lens, but now we have a purely electronic imager to do all the work. Let me show you.

Here it is, just a shiny slab, yet its details are fascinating. This CCD captures the image, and then transfers it to the cameras memory system to record it as electronic data. When exposed to light, different sections of this CCD. Build up electric charges proportional to the lights intensity.

We can then measure that charge, and know precisely how bright that section of the image should be. If you enlarge a picture on your computer you can easily see the tiny picture elements, called pixels. Each one corresponds to a single section of the CCD. This is the essence of the digital camera Several million of these sections of photosensitive silicon in a grid capturing an image.

Now, the key to understanding how digital photography became cheap and ubiquitous lies in the ingenious way that the CCD transfers the image into the cameras memory. The easiest and most straightforward way would be to use wires to connect each pixel in an x-y grid, but that presents a problem. Heres what goes wrong. After exposing the grid to light, we can use these wires to read the information pixel by pixel, measuring the charge on each section of the grid.

This makes sense in principle except all of the pixels and their electronic components leak a small bit of charge that distorts the charge coming from each pixel and leads to striations and patterns in the image. This distortion, called capacitive coupling, increases as the number of pixels increases. A CCD solves this problem in a very simple way the pixels have no wires attached to them. A CCD is made from a slab of silicon.

To make each pixel within the slab, engineers create insulating sections called channel stops. These divide the slab into rows. The surface is covered with a thin layer of insulating silicon dioxide and then perpendicular to the channel stops engineers deposit thin strips of metal, typically aluminum. Each pixel, then, is one section bound by channel stops and aluminum.

So now we have our grid of pixels. Recall that when light strikes the whole array the silicon pixels build up charge proportional to the intensity of the light striking them. We then have a captured image stored as charge within each pixel. The great innovation of the CCD was how it moved the image from the silicon array to the cameras memory system without using external wires that would distort the image.

The CCD shifts the charges from row to row - without wires. Until they reach the bottom where a read out register transfers the charge to the cameras memory with very little distortion, the camera then counts the charges and constructs the image using that data. Now, one last important question: How do we get color. A CCD only detects total light intensity, which is useful for producing a black and white image, but for a color photograph we need to separate the entering light into red, green and blue.

The most obvious solution is to filter the light into those three colors using three separate CCDs to capture red blue and green information and combine them into a full color image. However, engineers have created a cheaper solution Instead of using three separate CCDs, they use a little math so they only need one. In this consumer camera they cover that single CCD with a filter with red, green and blue pixel sized sections. This creates an image coming out of the CCD.

Thats a mosaic of these three colors. The camera applies an algorithm to estimate the correct colors for each pixel. For example, if a green filter covered a pixel we would need to estimate the red and blue components of that pixel. To do this theyd use the adjacent pixels and average the color intensity for the pixel in question.

It works because the images significant details are much larger than each pixel. This sounds implausible, but youve seen the results yourself. Im Bill Hammack, the Engineerguy. This video is based on a chapter in the book Eight Amazing Engineering Stories.

The chapters features more information about this subject. Learn more about the book at the address below..

Easy Tips for Posing a Bride Breathe Your Passion with Vanessa Joy

Hi this is Vanessa Joy here with Breathe Your Passion on AdoramaTV and I'm going to show you a few quick tips on how to pose a bride. Im a wedding photographer, New Jersey and this is Catherine she's also a wedding photographer, so she might know a few things and and help us out even more. A few things you think when you're posing a bride. Number one, big tip every bride I.

Don't care how beautiful she is or how
skinny she is, always thinks she looks fat so you want to make sure we eliminate that
problem. It's funny some of my in thinest brides are the ones that are the most self conscious and as a photographer it's your job to make sure they look amazing. So first off a
typical pose that I usually have with my bride is I have them mirror me. I want you
guys to see so I'm going to face this way but you're going to start off with your foot
forward, youre going to face this camera here because Im going to stand there.

Lets switch your feet so you're doing exactly what I'm doing, so you left foot goes forward, youre going to lean on your back leg and the reason we lean on
the back leg is we are going to push our hips away from the camera. Anything that you
want to be smaller moves away from the camera, so that is hips and then second its usually arms. So you are just going to hold onto your dress and perfect youve got that bend in the elbow. Now
when she's bending her elbow you want to make sure that there is space between
her arm and her waist, if you push them together like this, it's going to kind of
create the illusion that it's all one piece and we want to break up the pieces here.

So you want to make sure you can see her waistline which is gorgeous, thank you. So thats another thing you want to do. Weve put her hips back, weve created a little bit of a waistline here and then we
want to make sure that her body is not facing the same direction as her head. Which shes
already doing.

So her body is facing this direction, her head we are going to have her turn a little bit that way. Im just going back up, I'm going to get my exposure here first and I do that by the way
through live view typically, so I'm going to get what I want to do. We're at 800 on my
shutter speed, f/2.5 On my aperture and my ISO is at 400. Perfect.

Im going to back up. Go ahead and bring your head down that way a little bit. Nice. Look at me.

Big cheesy smile. Gorgeous. See just how beautiful her skin looks, every part of her looks dynamic she looks thin and gorgeous and thats defiantly what we are going  for. Sometimes having that dead on look is nice and it tends to be a little bit popular right now just kind of that standing
there very natural, very like you caught that bride in that moment.

So thats whats we are going to do. She's doing a really good job doing it by herself. If she had a
bouquet you just kind of hold it, but right now you can just kind of play with your ring, your wedding ring, perfect. By having her bender arms were creating that space in her waist.

Were
also making sure that she's not flat-footed you don't want her just standing down. You want her giving a little lean. This is going to give her body a little bit more curve. Youre just going to lean on one leg, either one, you know what the leg youre not leaning on you can just give your foot a little kick.

She looks awesome. Im going to come back here. The same exposure. Nice, beautiful.

Right off the bat, I dont see her hand and I want to make sure I see her hand. So when  you grab your dress bring it in front. This hand can come up a little bit more. Just like right here and grab your dress, beautiful.

I always love adding movement finally, adding movement to your bride because she doesnt just have to stand there and that can be a little bit boring. So what Im going to have you do, take two more steps backwards. One, two. Right there.

First youre just going to hold your dress and youre going to go back and forth. Just like Cinderella, you know just a little
girl in her wedding dress. Perfect Then lately what you are going to do, take one more step backwards and you're going to walk towards me just like you're doing a catwalk. So go ahead take a walk towards me.

Perfect. Just in a few minutes we've got a ton of pictures of our bride. So thank you so much Catherine. Make sure that you subscribe to AdoramaTV on the bottom here because we will be doing a lot more posing with the bride and groom and I will see you next time.

Thanks for watching Breathe Your Passion here on AdoramaTV..

The BFA Photography and Video Program at the School of Visual Arts

- [Han] They don't want
you to play it safe. They want you to take risks. They want you to acquire
greater knowledge. And by doing so, you
learn a lot and you get a different perspective towards the world.

(Upbeat music) - One of the characteristics
that really differentiates us from other undergraduate
programs is that we're interested in all possible genres
and styles and practices and functions of photography. We have every possible technological tool that the students need. - We have the newest
equipment, best printers, and we don't have to pay
other than the paper. We have a dark room downstairs.

- [Stephen] As photographic
process becomes more and more digital, a lot of the students
are involved in antique processes done by chromites
and daguerreotypes. We have classes and facilities in that. - Before I think it was
all about still images, but photography is now more
involved in moving images. - A couple of years ago we made the change our students were exploring
video because of the technology that's available to them.

We give the students an
additional tool in terms of their narrative capabilities. It just seemed like the
most exciting thing to do. Some of the students
will be using the medium as a sort of confessional idea. Some of the students will
use photography as a way to promote social change.

Some students will be
interested in photography as a way to enhance an object
and make you want to buy it. The future is in their hands. - Most of the faculty in our department are working professionals. - Gallery owner, director
of magazines, newspapers.

- One of my colleagues
worked for Time magazine and was a photo editor there. - They're all working, they
will help you really pinpoint what you want and how you
want to develop as an artist. And you make connections
through them as well. - When you start being a student here, you're already building your network that is gonna help you get jobs
as soon as you graduate.

- The mentor program I
match each of the students with an individual in the field. Someone who is contributing
to the photographic discourse. And they enter into a mentorship
relationship with them. - This is my second year
working in Switzerland during summer, because of what I've learned here and the connections I've made here.

I grew as a photographer,
as a videographer, but most importantly as an artist..

Divorced Couple Looks At Their Wedding Photos

- It's a good reminder that things... Things were good, and will be again. They are good. (Inspiring music) - I'm Sara Piergiuseppe, and
today I'm gonna be looking at my wedding pictures with my ex-husband.

- This should be interesting. - We met through friends. Well, technically, we met in
a bar, but we knew people, so it feels a little less sleazy. - She had a red top on.

I was smitten from go,
and she was playing it to cool for school. - It was not a match, at first. I really wasn't interested,
but he grew on me, and he asked me out,
probably like a month later. - Our first date was on August the 9th.

- The rest is history, and now we're here. - Within, I'd say, about a year of dating, we moved in together. - And then we got engaged, it
was a year and a half later. - New Year's Eve, at a
Black Crowes concert, after one too many drinks, I said to her, "I have no ring, I have no money--" - "'But I love you, and I want to spend the
rest of my life with you.

Will you marry me?'" - She said, "Yes." And, we woke up the next morning,
she looked at me and said, "You still wanna do this?" I was like, "Yeah." - And my mom got sick, she
got diagnosed with cancer, and so we knew that she
wasn't gonna make it. So we actually did a Justice
of the Peace ceremony in December, but the wedding-wedding-- I just wanted a big party. - It was wonderful, it was awesome. - So after we got
married, he switched jobs.

- Now we're working all the time, we don't really see much of each other. I'm getting up at 4:30 in
the morning and I'm out. - I think the things that
affected the marriage is, just time away from each other between his work and me doing theater. - I was just getting
more and more frustrated.

Not with her. More with just, I really
don't like the way my life is going at this point. The marriage was good. It was just, we got to a point we weren't a married couple anymore, we we're just two people
living in the same house, and it needed to end.

That was the end of the chapter. - He actually was the
one that brought it up. He was like, "I think we should separate." - It was really tough, it was not easy. We basically went from
roommates who get along, to roommates who don't get along, who don't even want to be in
the same room with each other.

- Obviously, it hurt. But looking back, it was the
right move for both of us. - I moved to New Orleans for six months. I was not in a good
place, drank way too much.

She was one of the people I turned to. - I wanted to find a way
for us to be friends. I don't have a lot of people,
and I don't want to lose this. So I wanted to figure out
a way to remain friends.

- Just kinda looking forward
to seeing these pictures of people we haven't
seen in such a long time. - I think it might just kind of give a little bit of closure. - I'm a little bit nervous. - [Austin] How are ya? - Yeah, super fun standing
outside of the door.

- Waiting for people. - Yeah, I'm so patient.
- Yes you are. - You know how patient I am. I like this.

- Thanks. I think, Buffalo Exchange? Cool. - Cool. (Laughing) So what lovely things
did you say about me? - You're a terrible person.

I was glad to be out of this. I don't know why I'm doing this-- - Well, I'm super happy to be here. - I'm doing this for the money. - I'm gonna go.

- Hopefully this isn't
one of those things that, in concept-- (laughing) - It sounded like a good idea
but now after looking at it, we're like-- - No, I think it'll be fine. It'll be fine. Let's look at pictures. - You wanna look at these? - Should we do it? - Alright.

- I really seriously haven't
looked at these in forever. Aw look, there's your hair. - There's my hair, yeah. - What the fuck? (Laughing) (soothing music) (laughing) Honestly, there are a
lot of people here too, that we don't-- - We don't see anymore or hear-- - Don't-- Yeah.

- - Or not hear anymore. You know, it's a good
reminder that things... Things were good, and will be again. They are good.

I think that there's a
stigma attached to divorce. It's always gotta be bad, and it doesn't always have to be bad. You kind of can choose
depending on the scenario. Just have as much respect for yourself, and for the other person,
as humanly possible.

Thank you for being here, and being you, and not just walking away. - Same. Thanks for sticking it out with me, and wanting to still be my friend, and making sure I was
okay when I got back. - Always.

- Cause I wasn't. - I know. - Could've easily gone
the other way, and-- - Okay, I'm gonna hug you.- - Okay.
- Okay. (Soothing music).

5 tips to INSTANTLY up your PHOTO GAME

(Upbeat electronic music) - What's going on guys? Five things to instantly
step up your photo game. Here we go, let's get rolling,
let's get right into it. Number one, angles. No more hip shots or blind fire, we're gonna think about this.

Angles are huge, instead of
just pulling out your phone or your camera and snapping the subject, be it an object or a person at
whatever's the easiest angle, just take 10 extra seconds and think about where could this look cool from? Objects typically look really,
really good or way better when they're taken from a waist level so you're at the same
perspective of the object. Or just put a little thought into it. Maybe just move around to the
left or move to the right, move to the back, just
take 10 extra seconds and think to yourself how
can I make this look better than just snapping it for
the sake of just snapping it? 'Cause we all know, we get home, people compare photos and they always say, wow, yours looks a lot better
than mine, why is that? 'Cause we thought about those
angles, that's number one. Tip number two, shoot through something.

Instead of just taking a shot, maybe dangle something in
front of the lens a little bit. Maybe if you're outside taking a portrait, instead of shooting the
people in the forest, maybe back into the tree a little bit so you can see those
branches and the leaves hanging down in front of the lens, it gives you bokeh, it gives
you nice out of focus elements, and it adds that extra
(growling) to the photo that is otherwise missing
if you didn't do it. Maybe shoot through the handle of the mug, take two playing cards, hold them up to the
lens, shoot through that. Essentially, shoot through anything, put an object in front
of the lens and just finagle your way through
so you can see the subject through whatever it is
that's blocking the lens.

That adds a huge dynamic. It frames your shots in a really creative and interesting way, give that one a shot. Pun intended. Number three, think opposite.

Let's say we're gonna
go do a landscape shot, we are in front of Lake Louise. Everyone is taking the same photo. If there are a hundred people there, your photo might be better,
it might be better lit, but for the most part the
composition of Lake Louise from those hundred people
isn't gonna differ very much. And this doesn't just have
to do with landscape photos, it can do with let's say
you're taking a picture of a deck of cards or maybe
you're shooting a smartphone, maybe a book, maybe a pair of boots, it doesn't matter, it
could be a living room.

Try to think what the most common, typical place the photo
will be taken from. So everyone stands in
front of the mountain here, everyone places the deck here. Get that in your head and
then completely it off. Think okay, I'm gonna shoot
it from the back forward.

I'm gonna shoot it upside
down, I'm gonna shoot it from the left, from the right, from above. It's these little things,
it's these little tips that end up producing huge results. So just by taking 10 seconds
ahead of time and saying to yourself, this is what
everybody does right here, what is completely opposite
from what everybody does? And I'm gonna do that. You might surprise yourself.

Hell, it could be shit too. Talk about lighting, lighting is huge. If your stuff isn't lit
well, A, no one can see it, B, it just looks like
it, C, there's no reason it has to look bad, lighting
scares a lot of people. People are thinking, oh I
don't know how to set up lights or I don't own lights,
the solution's very easy.

I'm probably gonna do an entire video on this subject itself,
just move to a window. That's it, just stand
in front of a window. If you're shooting an object,
just move to a window, find the light, essentially,
if it's dark outside, maybe don't take the photo unless you're trying to go for night photography. If you're trying to take
a picture of something in a restaurant and the
lighting is poor, just wait.

Just do it tomorrow. If it's grainy and it looks
bad and you can't figure out the light, there's probably a reason, you shouldn't be taking
the photo right now, unless that's your job and
that's a whole other story. We're just talking about
regular people taking photos on a regular basis and
we wanna up that quality. You're not gonna die, there's
no fire, wait til tomorrow.

Wait for golden hour,
and if you don't know when golden hour is you can google it, there's apps to show it, you can ask Siri, hey Siri, when's golden hour? Window light is naturally diffused, especially if you're on a cloudy day, that cloud cover provides a big
giant soft box, if you will. So your photo's probably
gonna end up looking a hundred times better and
you're gonna say to yourself, damn, this actually looks incredible. You're welcome. Number five, placing
objects into the frame that help tell the
story, maybe it's people, maybe it's something, maybe
it's different objects.

Let's say we're gonna take a
picture of a deck of cards. We're putting it on a table. It's kinda boring by itself. So maybe we add a laptop, now
we're gonna add a cell phone, maybe we'll throw a
sweater in there and a mug.

Those things are just
creeping into the corners but that provides an atmosphere now. The picture's much more interesting. It's not focused on just the laptop, it's not focused on the sweater, and we've made that very
clear by keeping those things to the edges, they're
not the focus points, the deck of cards is the focus point. But we've added these extra elements to just create more of
a mood, more feeling, more of a story in this
photograph and it took an extra 10 seconds to
just drop these things in.

You'll notice that a lot of these tips, all these things are very, very basic tips but will elevate your
photography be it with an iPhone, be it with a DSLR, be it
with an Instax camera, whatever, they'll make your photos better. Try them out, I think you're gonna get some mileage out of it. (Upbeat electronic music).

Should You Go To College To Become A PhotographerThe Truth About Photography

Jared Polin, froknowsphoto.Com. And a question that I get all the time from
high school students is, "Should I go to college to become a photographer?" Now, this is a huge debate in this day and
age especially when a lot of people don't think you need to go to college to have a
career in something you love. Now, the reason I bring this up is because
a reader sent in a message, a high school student sent in this email, and I am going
to paraphrase it and read some of it, you can see it on the screen right now. Okay, here it is, "Hi, Jared, my name is Allie
and I'm a junior in high school.

Currently, my life is surrounded around college
and my future. Anyways, my parents are very supportive and
want me to go to school to do something I'm passionate about and that is photography. I am in my school's yearbook as a photographer
and I would love to pursue a career in it and I was wondering where you want to see
what your journey was after high school so I can gain some perspective from a professional. Thanks, Allie.

So, Allie thank you very much for your question
and I know there's a ton of people out there right now trying to figure out the same exact
thing. So, first I want to give kudos to your parents
to supporting or for supporting your passion as a photographer and wanting you to do something
that you are passionate about, that is great. Now, on to your questions, where did I go? I went to a two-year school called Antonelli
Institute for Photography in Erdenheim, PA, it is a smaller school, but it is a very good
school with great teachers, but is a two-year photography only school. Yes, they do have some business classes and
I know they are starting the shift into some video, but the question is should you go to
a two-year photography only school? And I'm finding it harder and harder these
days to say yes, you can learn a lot about photography not only from my website, but
from many other places online that would be far less expensive than going to college.

Now, what's good about going to a college
like Antonelli or a two-year school is that it's straight up photography. You're going to basically be paying to be
given assignments that you're going to do. Now, these assignments are going to be all
over the board to help you get a well-rounded education so that when you do step out into
the world as a "Photographer" you are going to be more ready to take on any job that may
come your way. But in all honesty when I left college, the
college will say that they will place you or Antonelli has a placement department that's
head up by a good friend who does a tremendous job to make sure that he can do his best to
make sure that you get to somewhere photo-related as a career, but they can't guarantee that
and most of the jobs that are coming out of college that are being sent in to these colleges
to be placed they're not the greatest things at all.

So, when I left school I struggled for a long
time, I struggled to figure out what to do. I was on my own shooting, I was working at
a photo studio which I didn't stay out long because I wanted to actually shoot and not
be stuck printing other people's terrible photos. I wanted to be out in the world shooting. I did a lot of corporate jobs, I did weddings,
I shot for other people, but I will also say this that the majority of the people that
I graduated with I would say 95 to 98% of them never got anywhere in photography, so
maybe they tried for a couple of years and they failed, but they moved on to something
else.

So, the majority of the people that go to
school for photography are not exiting the world and becoming photographers, it's just
not that easy. So, I have some more notes right here is,
if I was to go do it again  there's that debate you go to a four-year school and spend
the money or do you try to venture out on your own and invest in gear? It's a tough decision, but if I was in your
shoes and you needed to go to college not needed, but you would like to go to school,
I would go to the largest most popular four-year school that you can get into because it's
about connections, it's about the alumni network, it's about being able to graduate in four
years and have connections and opportunities with different businesses all around the world
from people that went to the college that you went to. Now, I wouldn't go for a photo degree as a
masters or a badge or whatever it is, I would not go straight up for photography. I would go into business, branding, and marketing
with a minor in photography, with a minor in advertising, with  what else do I have
here business marketing, audio/video, anything that has to do with being creative that will
allow you to step out into the world and be able to take on multiple roles.

There are not many jobs out there today for
strictly just photography, it's not like the old days where we were like, "Yeah, I'm going
to work for a newspaper. Newspapers aren't paying, that's not a viable
job as a photographer anymore because you just can't make money and if anybody tells
you that is not all about money, well they're probably not making any. It is important that you at least make some
money that you can sustain yourself, you can always do the passion project, but if you're
looking for career and you don't want to live in your parent's basement for the rest of
your life you're going to need to find a way to be successful. And that is being a photographer of videographer
understanding how to edit video, edit photos, understand audio, know little bit about branding
and marketing and business so that you can step into any business out there in the world
and be a creative that can bring more than just photography to the table.

I'll say this about VaynerMedia, the Gary
Vaynerchuk's company they put out a job posting a couple years ago that if I wasn't in this
business right now that would've been my job out of college. They were looking for somebody who was a photographer,
but could set up video shoots and photo shoots and handle working with a client. They're looking for people that do more than
just take pictures, but they are creative, they can be well-rounded in multiple different
levels of things that you can go out there to do. So, those are the dilemmas, those are the
things it that I highly suggest doing.

I think you can go to a four-year school why
do I say a four-year school that's the largest out there? Because they have the most activities for
you to participate in, say it's Penn State University, that's a huge school or Ohio State. Any of these large schools have athletics
departments, huge academic departments where there so many different extracurricular activities
you can participate in, but with the sports, you've got the football teams, the basketball
teams, lacrosse teams, the women's volleyball, the swimming, the track and field, the softball
and baseball and chess, and political things. There are so many different opportunities
for you to take photographs in a huge school that it doesn't matter if you're into sports
or you are in the academics or you are into other clubs there are things and you can go
out there and capture and learn. So, take the photography classes, but also
get involved with anything photo-related, call the president of the school and so you
want to do a photo shoot with them, do a project photographing all the professors, doing video
of the professors, getting their opinions and capturing that for a project.

Just do it, you pay to go to these schools
so use that to your advantage, you ask for things because you're paying the school to
allow you to do that stuff, so take advantage of all of that that you have in front of you. That's why I think a big four-year school
is a great place to go to not only get the education, but to get the alumni, it's all
about networking, the people you meet today are the people that are going to help you
in business in the future. And all of the alumni associations that have
been there for a hundred years or more at different schools they're going to help you
find jobs and get a jump start somewhere. I know this is long winded, but that's the
thing, I don't know that a two-year straight up photography school makes much sense anymore,
you need to be more well-rounded going out into the world today.

So, I'm not discouraging you from going and
pursuing photography, I'm encouraging you to take the photography, but do all of those
other things that I mentioned to make yourself more well-rounded so that you can either start
your own business or walk into another business through an alumni association contact or you
just can go apply for a job because your super well-rounded, it's a starting point to get
out there into the world. So, is it worth it to go to college to become
a photographer? I will say no if all you're looking to do
is just take pictures, I honestly don't think that's a viable path for anybody, but I will
say yes it's viable if photography is a subset of the things that you're going to go do when
you get into college. There's a whole other thing out there that
says take the money that you'd have spent on college and try to start a business, that
is something that you can do, but I will say there's a lot of grants, there's a lot of
scholarships, there's a lot of opportunities for free money out there regardless of who
you are that you can get that's going to cut down on the bills that you have to pay to
go to college. And just to throw a monkey wrench in there
there's also the option to not even go to college to find a business that will hire
you or to allow you to be an apprentice or just a tagger along to hopefully learn in
the real world to get real-world experience instead of spending all that money on school.

Now, you may not get paid a lot or you may
not get paid at all to get a job with someplace that will take you in and then allow you to
be their apprentice to learn. There's probably not a lot of opportunities
out there for that, but if you want to skip school altogether because somebody is going
to give you the opportunity to get real-world experience, well I would possibly look in
that direction for what to do after high school. Now, it's more risky, but it could have a
lot of upsides and a lot of rewards, it's one of those things where if it's something
that you want you will find a way to get it. Now, it's not to be easy, but think about
it real-world experience that you don't have to pay to get, but you are actually not sitting
there in a school classroom doing this you are on the job getting real-world training
that will pay dividends in the long run.

So, those are the two alternatives, I know
this is long winded, you could skip school, you can go out on your own, you could become
an apprentice, you could go to a four-year school, you can go to a two-year school, it's
all over the place, but those are some of my suggestions. What do you guys think? Leave a comment down below, I look forward
to hearing what you guys have to say and that is where I'll leave it. Don't forget to subscribe here on YouTube
Jared Polin fronknowsphoto.Com. See you.

Subscribe now. Watch this, watch this video..

Daughters Recreate Their Mothers' Wedding Photos

- You have tears in your eyes. - Unbelievable, man. - I was 20 year old. Exactly...

Like her. - Actually, I'd say we belong
to two different communities. So, there was a lot of opposition. Last minute when I was in that attire, like, I did feel, like,
a runaway bride.

- You awaken into being a
woman, and you realize that you need to balance a lot of things. - I think I would like
to get married post 27. - That's too late. (Giggling) 25, max.

- I can see a beach, I can see
a lot of people having fun. - [Interviewer] But... I don't know how to finish my thought. So my Mom and I are like frienemies.

Sometimes we're like really good friends, but then sometimes we
have our off moments. So when I think of marriage,
it's about two souls who wanna get together. When Mom got married she was independent. She was standing on her
own two feet and like, that's a good thing,
that's what I want to do.

That's what I wanna get
and once I get that, yeah, I'm open to all options. - She's a very practical
pragmatic kind of person. She would probably feel
like a chaos from inside, but not sure. - The biggest difference was, in her case, she was told to get married
and you know, she kind of, yeah, she agreed to it.

It
wasn't really now, then. But in my case, she wants
me to be happy first. She wants me to settle and
then marriage is on the cards, but not too soon. - The first thing that she'll tell me when I'm getting ready is, "Whatever you wear, you will look good." I was telling her that don't
worry about my marriage.

She's like, "No, this is damn stressful, when will you get married?"
And blah, blah, blah. I'm like, don't worry. - Uh... My reflection.

(Gasps) - Oh my God. (Giggling) - Oh! My God! You look so beautiful! - Flashback, huh? The tea is back on! (Giggling) - She's looking more beautiful than me. (Speaking foreign language) - She's looking traditional. To get her into something
like this, will be a feat.

- Everything is same, except this Garland. - Expenses of the clothes
are done, I'll wear this one. - She is looking more
beautiful than me, of course. - [Daughter] Aw...

That's not possible. - Yeah it is. (Speaking foreign language) And I have given birth to a baby girl. - I am actually very overwhelmed.

Nothing but the best for my daughter. - That day you should look different, and you will look different. - Just waiting for the reality. - I feel like, uh, you will
have to wait for a long time..

5 SIMPLE DIGITAL PHOTOGRAPHY TIPS AND TRICKSMayank Bhattacharya

Hey guys Mayank here and today I will share few of my not so professional photography tips to get better photographs. So it's not a necessity to have a super expensive DSLR camera to shoot some amazing photos. You see, everyone is a photographer these days. Be it a cell phone photographer, a digital camera photographer, a passionate DSLR photographer or a professional DSLR photographer.

But everyone is a photographer! All you need is a photo capturing device. So you see everyone loves photography but I believe there are few elementary photography tips that all of you camera loving person should know to get the most of your photographs! Tip number 1. Good Lighting. Since most of you are using your cellphone cameras or your Digital Photo Cameras, don't expect your camera to capture amazing photos in poor lighting conditions.

Light up your screen as much as possible to get the best,-exposed-shot you want. Tip Number 2. Use the sunlight. That's the best and the most powerful source of light you can have for free.

So use them to expose your shot nice and bright and you can have amazing stills that you weren't having before. Tip Number 3. Stay Stable. Stability is the most important part of a good photograph.

Since most of you are using your cell phone cameras or your digital photo cameras, you don't have the full manual photography controls in that camera. So you need to be stable to get the most and best of your photograph. Else you end up with something like this. Tip Number 4, FOCUS! The focus on your subject or your model is the most important thing to get a CRISP, CLEAR image.

Well, if you can't focus at your subject or your model then boy you suck at photography! And lastly, tip number 5; Follow the Rule of Thirds. "Rule of thirds" divides your frame into 9 equal parts with two horizontal and vertical lines. So your subject or your compositional  element should be placed on these lines or on their intersections. Aligning the subject withing these points creates more tension, energy and interest than the regular self centered shot.

Now I am not saying that you cannot capture amazing photographs without following these basic photography rules. Of course you can! And you should! But that is only once when you know what are these basic photography rules and  you know what do you want in your photography frame. Or your composition... So I hope this video helps all you beautiful photographers out there And if it doesn't...

I just hope it does! Be sure to comment, rate and subscribe to the channel if you liked this video. There will be a lot more to come. This was just the basic/elementary photography tips for all you amazing photographers out there. I hope this video helped.

And I will see you  soon!.

Shooting events with changing lighting, concert photography

When photographing
live performances in small venues where
the lighting changes continuously, try using Manual Exposure
and Auto ISO Sensitivity Control. Auto ISO Sensitivity Control allows the camera to adjust
ISO sensitivity automatically if optimal exposure
cannot be achieved at the value
currently selected by the user. To use
Auto ISO Sensitivity Control, go to the Photo shooting menu and select
Auto ISO sensitivity control in ISO sensitivity settings.
Highlight On and press Ok. Choose the maximum sensitivity.
Lets try ISO 12800.

This lets the camera
raise ISO sensitivity as high as 12800 if required. Next, adjust
shutter speed and aperture. Youll probably
want to set shutter speed fast enough
to help avoid motion blur. Here, we shot
in Manual Exposure mode, at a shutter speed
of 1/160 of a second and an aperture of F4.

This feature,
which takes advantage of the high ISO sensitivities
offered by digital SLRs, will help you get shots that perfectly capture
your creative intent..

D850 First Impressions Wedding Photographer

JERRY GIONIS, WEDDING PHOTOGRAPHER
FIRST IMPRESSIONS of D850 I'm Jerry Gionis, a wedding
portrait, fashion photographer from Melbourne, Australia
and Las Vegas, USA. I had an incredible time
putting the D850 through its paces in a realistic wedding environment. Guys, this is the one
you've been waiting for. Perfect combination
of high resolution, the ability to change
the size of the RAW file.

The touch-screen. You can pinch out,
pinch in, double tap. Solid shutter mode. Triple the focus point
than its predecessor.

The D850 has almost
10 more megapixels and we've gone
from 15 to 99 more cross sensors. There you go.
We've got an auto-F. Beautiful. The crazy thing is, I'm doing these shots
that are wide, full length.

Multiple people in these shots,
and I'm zooming up and I can't think
I can go any further, and I'm seeing detail everywhere. I can count the eyelashes
on someone's eye. It's incredible. That kind of detail is unheard of
in this kind of a small body type.

Now, when I started
shooting with it, I understood that all those
features that I've used before are already there.
Then I found out there was a touch-screen
that could silently shoot. Now how many of us
wedding photographers go into a church,
and want to photograph silently and not be noticed? Flipping out the screen, lifting the camera
right up above my head, getting a different perspective,
and simply touching on a face, it will not only focus
but take the photograph silently. The minute you look
at one of these files on the back of the camera,
and you zoom up to it, and you see the effortless,
beautiful detail that you'll see, you'll start thinking about
all the things you could do that you didn't even consider,
when you didn't have the right gear. It's the artist, it's not the tool.

But when an artist uses
an incredible tool to complete their vision,
that's a marriage made in heaven. I AM THE NEW BEGINNING..