Epson PhotoPC The 1995 Digital Camera Experience

Greetings and welcome to an LGR thing!
And this is the Epson PhotoPC, first introduced a the tail end of 1995 and
marketed into and throughout 1996 at a suggested retail price of $499 US dollars.
Making it not only the first digital camera from Epson but the first color
digital camera under $500 on the consumer market.
Intriguingly this was actually developed by Sanyo and then just licensed out
to different companies, Epson being one of them. And another being Sierra Imaging
releasing it under the SD640. But yeah this Epson is the one that we'll be taking a
look at throughout this video because I. Found it at a Goodwill a while back and
found it instantly intriguing.

I probably just haven't paid much attention but you
know, whatever: I think Epson, I think printers. And you know, that was maybe why they wanted to get into this in the first place. I mean why not sell you a
digital camera to go along with your Epson printer! And yeah they were
advertising them side by side with their color inkjet printer selling for $449.
And yeah, digital cameras, they were just super new and exciting and crazy at the
time. The fact that you could take pictures and have them go directly into
your computer -- you don't have to like, get them developed and scanned and whatever
else, it was just amazing to me.

I was like 10 years old when these things we
were coming onto the market, and first time I saw them displayed at like a Best
Buy I was just like "whoa how does that even work?" As a result these earlier
digital cameras and intrigue the crap out of me so let's take a look at this one.
After all it's "the quick easy way to bring pictures into your computer!" Yes
*into* your computer. *Zoolander clip plays* And the system requirements were pretty modest: just needed a 486 with Windows 3.1 Or higher and the most standard of standards the
RS-232C serial interface. And man this mid-90s digital camera marketing: "just
imagine what you can do!" Seriously, you've got to imagine it because this is new
territory for most people. "It's as easy as 1, 2, 3, 4, 5" but like, what
do you do with a digital camera? Well they provide a handy list of ideas
on the side of the box: letters, presentations, reports, proposals, flyers,
invitations, desktop and internet publishing, holy nuts.
For half a grand I mean, that's a bargain! And check out these specs: 24-bit color
images, 640x480 or 320x240 resolution, and it could hold up to 16 or
32 of those images, respectively.

And yes this has its own internal memory, one
megabyte of storage. As you can see on the other side of the box here, this is
the one megabyte memory version. This could actually be expanded with memory
modules up to 4 megabytes, and we'll get to that in a little bit, but yea. Let's
go ahead and unbox the box itself and see what we get inside here, which starts
out with a nice little plastic bag full of paper goodies.

And of course the
camera and the cable, and in my case some batteries. Back to the plastic baggie
though and inside of that you get a little strap that has seemingly never
been installed on this camera. And I. Don't really care for straps anyway so
it's gonna stay unattached.

You also get a rather substantial instruction manual
here covering everything from how to set it up, to how to take friggin pictures, to best practices for this particular type of camera. Because it mean, it's an
early digital camera, it's mighty restrictive in terms of what you can and
can't do in lighting and shooting conditions and all that kind of stuff.
Next up is a packet of the Photo PC. Software called Easy Photo. And this
comes on two floppy disks to get the actual camera connected and
communicating with your computer, as well as some software to quote-unquote
"develop" your pictures.

And we'll see that more in a little bit. There's also this
little card in here reminding you to remove the plastic cling film, yeah don't
forget to give yourself that pleasure! And there's an important reminder here
about serial baud rate among other things. And yeah that speed in
particular, you do want it to be as fast as possible because serial ain't quick!
There's also this fold-out thingy here showing all of the accessories that they
had provided by Tiffin. And I mean yeah look they've got filters and cleaning kits and UV
protectors and conversion lenses and tripods and cases and holy crap! All
sorts of stuff available for its 37 millimeter lens.

And then there's this
piece of paper which I just love. This is the original receipt from the person
that bought it before me back in the day. Apparently on December 13th, 1997 for $250, mm half price. And they got it from America Online *laughs* Why? I don't
remember them selling digital cameras but maybe they had some sort of
promotion going on.

I mean apparently they did. And enough of the paperwork let's
get on to some of this hardware stuff. So you've got the serial cable right
there, it's just a standard nine pin serial connector and in this case it
came with these old batteries. Yeah they are long dead but it just amused me to
see these again.

I remember those little testers on there that you had to press
ridiculously hard to show the battery capacity. And finally here is the PhotoPC camera itself. It's a little bit bigger than like a standard 35
millimeter point-and-shoot of the time, just a little bit wider. And the on/off
switch is down here in the bottom right which will slide the cover on and off of
the lens.

And it is indeed a fixed lens you can't do any zooming or anything like
that. Autofocus from two feet to infinity with
an ISO equivalent to 130 and an f-stop of 5.6, Not terribly great stuff.
But you know it works. Along the top here is where you have the so-called "easy
touch LCD," and no it's not a touchscreen, just silly marketing. And on the side
here you have this little door.

This slides down to show the serial
connection as well as somewhere to plug in the optional power adapter. Along the
bottom yeah, it's pretty much what you'd expect. Just a place to screw in a tripod
and some model and product information codes and numbers and things. And along
the back you get a viewfinder and a place for your thumb and that's it!
There's no screen to look at what you're shooting on this thing.

And then there's
this little rubbery deal on the side which completely comes off in a couple
of different ways. The first way is to get to the battery compartment and
that's why it has such a wide area here on the front: to fit four AA
batteries. And then another compartment opens up and here is where it gets a
little interesting. This is the spot for the expandable memory.

And this is flash
memory, in this case one megabyte is permanently installed in there, and
there's a slot for another stick of flash memory, from two megabytes to four
megabytes. Epson was really pushing this at one point. They called it
the PhotoSpan memory module. The thing is this was ridiculously expensive! From
what I can gather the two megabyte module was like $300 and then the four
megabyte one was around $600.

Well I don't know about you but I'm more ready to try
this thing out. So you power it on right there and the little LCD at the top
turns on. And this basic little display it's like an inch across and it just
tells you a few different things, with these buttons that can be used to switch
between "high res" quote-unquote and low res, and then a button for the self timer.
This right here just lights up a little red light in the front of the camera to
let you know that it's about to take a picture. There's another button here to
switch between the flash modes.

That would be the flash in the front of the
camera, not the memory. And then there's a button to delete the last taken picture.
That's right, only the most recent picture. If you want to do anything more
than that you've got to plug it into a computer. And of course you have the
shutter right there so you just press that down to take a picture, and it
takes a picture.

And notice that nice little gold reflective bit on the front
of the viewfinder there, you can actually see your reflection quite well and take
selfies that way. And yeah once you take a picture it will show the number of
pictures currently stored on there. And as you can see, pressing it to take a
picture and then the time it takes to actually store it to the flash memory is
a little substantial, especially on the "high-res" 640x480 mode. And yeah it really is just that simple.

Point and shoot. The viewfinder itself
even doesn't give you much of any information at all. There's no
range-finding. It just gives you those little brackets to kind of give you an
idea of what is going to be in frame for your picture and that's all you get.

Then
when you're ready to get your pictures onto the PC, turn it off, flip that
little thingy down, and plug in the serial cable and then you're ready to go
and plug it into your COM port on your PC. Yeah gotta love that traditional serial
bus. This is the days before the universal serial bus, so no USB when this
thing launched. Most cameras were using plain old serial.

Once you get the PhotoPC software installed you can go into this camera controls settings program
here and well. Here's where you do all the other stuff that you can't actually
do on the camera itself, like use it as the world's slowest and crappiest webcam!
Change the auto shutoff time, the shutter speed, and the date and time of the
actual pictures you're taking, as well as the connection speed for your serial
port. And yeah the Photo PC software itself is also very simple, you just
click the button and as long as everything is configured correctly it
will grab the photos from the flash memory of the camera and then very, very
slowly copy each one of them over to your hard disk. And there you go! You're
free to do whatever you want to do with your brand-new digital photos, ooh.
What are you gonna do with all those non megapixels?! Anything you want, including
some basic brightness and color correction and even spot removal tools
in this program.

And yeah I've had a lot of fun just taking this around and
shooting photos. I especially enjoy using older digital cameras like this to take
photos of things and environments where you can't really tell when the photo was
taken. Finding things from the mid nineties, the eighties or whatever, really
gives a convincing effect when you take photos with this thing. There's something
about its particular noisy low res washed-out style that I quite enjoy.

And
the fact that this one in particular actually does have some pretty decent
color reproduction for a digital camera of this time period? Ah you know it's neat.
Not bad Epson and Sanyo from the mid 90s, not bad at all. And that's pretty much it for the Epson PhotoPC. I hope you enjoyed this look
back at one of these earlier digital cameras. It's certainly not the oldest
thing around, heck it's not even the oldest digital camera that I have.

But
it's one that I find really easy to use and kind of fascinating with its
built-in flash memory. There were many more PhotoPCs later on, I haven't used
any of those so I don't know. I'm assuming they only got better or
whatever, but this one in particular being the first of its kind stands out
to me because of that. And I hope that you enjoyed watching and if you did then
perhaps you'd like to stick around and see what else is coming along here on
LGR.

There are new videos every Monday and Friday on all kinds of topics: retro
tech and software and gaming related. And who knows what else because I'm always
trying to evolve what the heck I'm even doing here because I don't know. With
that being said as always thank you very much for watching!.

6 Tips for Setting Up a Home or Office Studio - Photography & Lighting Tutorial

- Don't forget you only got 'til February
26 to enter the the win your NorthStar Lite go to TheSlantedLens.Com. Enter the
win for your NorthStar Lite. - Hi This is Jay P Morgan. I'm at a
location with Caleb and Lars, and we're going to show you how to turn a bedroom
into a home studio.

We're going to show you how to create a very simple backdrop
holder. You could put it on the wall. That takes a very little space. We'll show you
how to control the window lights that comes through the windows and last of all
some lighting.

Things you could make at home. They're going to show you how you're
going to set up your lights for a two lights video interview and we'll finish
with that. Let's get started, see what we can do. Just a couple of things to think
about before you start your studio interview is your extra bedroom.

One is
the color of the walls. If you got walls like this, which are great, they're
neutral that's not gonna bounce any color back into your image that perfect. If you
got room that has very heavy color, greens or reds, those kinds of things. They're
gonna bounce right into your shot.

They're gonna kill your color balance. So
the first thing I do, I get paint roller, I roll some paint on all over the walls.
You got neutral room, neutral color. Secondly, I'm gonna put up a tarp on the
floor, just to protect hardware floor. Laid on the floor, it's all gonna be
brown, and that'ts gonna give us a nice neutral color.

It's not gonna bounce any
blue back in the shadow of green so those are our first principle in getting our
home studio started. In my hand, I have a very simple backdrop holder way to hang
your backdrop on the wall. Well this is a half inched galvanized pipe. You've got a
plate, which you're gonna screw it onto the wall.

We simply screw in a three
inched pipe and now screw in an elbow, and now a six inch return or we can make this
longer. That's a very simple one half of our backdrop holder, so you could put this
against the wall like that and you could put your seamless on it. Put on the
ceiling. Put you seamless on it It gets everything out of the way.

You don't have
to have stands on the floor that create a big problem on the background. - This makes this very easy. You also
could put on here a one inch conduit. That one inch piece of conduit is very rigid so
as much as heavier or stronger that PVC or rubbery items items but this gonna give
you a great hold of your backdrop on as this hangs on the ceiling.

Now
unfortunately because we're in someone else's apartment here we can't shoot this
into the ceiling but if I was doing this in my house, I would shoot this onto the
ceiling or onto the wall. Once you got your two backdrop holder, your going to
get the right distance from each other. Obviously, you kind of understand this
principle. We have our one inch conduit, just few down on your's there.

On my end,
I'll bring this out , towards it's gonna go on there. I can slide that back far and
then we're gonna put an A clamp on each side to keep this from falling on. Again,
we would have this up onto the ceiling against the wall so it's a great way to
get your backdrop up and now we have C. Stand on on the floor.

It's gonna eat up
all the space on the floor of the room. Great for tight areas. Now, next thing
that we're gonna do is put our backdrop up. This is a cheap backdrop that I got up
from Amazon.

It's a white backdrop and is like 30 bucks. It's got a pocket in one
end. There's our pocket. It's been sawed on the one side and it drop itself, I
think it's 20 feet .

So it's gonna give us a long area. I can run that pocket on
here, and that's great because it hangs very nicely. One of two things, either saw
a new pocket on the other end but then you got a sawed up pocket just just enough
distance to fill the distance right before. So I'll do the opposite I'm gonna
put the pocket on the floor with another pipe in it.

I'm gonna drape the drop over
this and then A clamped into this bar in that way I could use the pocket on the
bottom with the pipe in it that create weights so it take out all the wrinkles on
the backdrop. Then if I wanted to, I could flip around and hang a pocket here and I
could sweep without as seamless. We used the whole piece. Now we got a lot of
wrinkles on this backdrop.

It's little hard for that to be really smooth, We may
have to steam it out a little bit. For one thing you can do if your just going to use
this as backdrop. You're not gonna sweep it, just take this
a little pole, and Cail gonna grab it for me and we're gonna put this, we're gonna
role our backdrop up on the pipe.  So this will put your wrinkles start to go away.
One of the first thing you need to get for your studio is a stool.

You can get this
at Walmart, Kmart Target any of those places. They use to have a three foot
stool, get wood one, a metal one what ever you like but you've got to have something
to sit down . Now you can already take a picture with our naturalized studio. So
let's put in up a fabric backdrop.

The problem with fabric backdrops is they
wrinkle. You got to try to keep it straight but their long unless you can
curl them out. Their very nice in that way, but a simple solution, you got a
savage or serve it like a seamless. A.

Nine-foot wide seamless or a 12-foot wide.
12-Foot is very expensive. A nine-foot wide seamless is perfect. Just put it
there, drop it down, build a backdrop behind them or you can roll them down on
the floor to undo full length. So let's put up a seamless just to see how that
works on backdrop set up.

So you can see up there, I put the cast back on so you
can see that's the way that will be hanging up back there. All you could see
is that pipe on the ceiling. So those are our seamless. You'd have to set your
backdrop holder on the ceiling distance to make that cardboard work.

Just easier to
have the seamless on this pole, in that way you can slide it out backdrop their
gonna last a lot longer. They can get dirty so you have to wash them at times.
But the disadvantage is they're harder to keep them wrinkle free, they're harder to
roll up an they're barely used. Where the seamless rolls out very easily, goes up
very easily but things like this start to happen to them. They don't last forever.
But you do have a synthetic call out the paper more paper out and you'll get a new
one.

This is all thesame as seamless there. This time let's have a couple of
shots and let's see. We got a window light from the right hand side of the frame but
now what we're gonna do is were gonna control that light from the window so we
can either have it as part of our shot or we can get rid of it completely.
So we're gonna put some eclipse blackout curtains which you can get from Amazon.
They're really really quite inexpensive, 20 or 30 dollars. This you can put up on
your window.

It will give us the ability to either use this. Open up and use this
or close it off and use it to completely controlled light in this room in this
room. If I were doing this, I didn't have to set this up on the side, I would put
this on another bar and put this bar up on that wall. You can hold them up or you can
put them on the curtain.

Rods are already there. Just somewhere to put this blackout
curtain on there . Usually, I want them to exceed the frame of the window cause if
you just get it on the frame of the window lights still beams through. So' I will
exceed the frame and very close and it would blacken out.

We blacked out the
window and that't why you you can't see me. Where am I? That's pretty effective.
Those blackouts curtains called eclipse are just heavy and take all the light out.
Another thing is that we added light here on the camera left side it's not gonna
bounce out into our white wall over here. So it's going to give us the ability to
add more dramatic, little more creative lighting. This room, ceilings and all ,
walls are closed when you put one light up, it's bouncing everywhere.

So at least,
it takes us one wall out f the way. If you put your light on the camera left side, I
mean most of your light will be out of that camera left wall, it's going to be
hidden in this black curtain and it's going to give us a nice shot of a person
without a lot of fill. Now you can control the fill, you can bring it up or down
whatever you wanna do. So now, we need to have lights.

We're gonna show you some
simple things you can build and you know those are interesting and kind of
beginning place but they're gonna show you using just same really decent lights.
We'll give you a good light on you person. Now we're going to talk about lighting,
we're gonna talk about home made lighting. You know, there are several things you can
do. Everyone starts up with this little baby thing right here.

They go to Home
Depot. They buy all this things at and they plug it in, put the diffusion on the
trunk. Back this on to an inexpensive stand. - You got a light.

It's a simple very easy
to start. This things you can put up a 100 watt bulb into them. Actually have a
300-watt at home depot. I don't think they're ready for that.

But they do have a
300 watt bulb at least give you an starting place for light. The hard thing
about this is there reflectors are very hard and it's very focused and it's just
seems like everywhere. So not my favorite solution but it's not terrible
solution. For eight bucks, it's not horrible.

So now let's go on to making a
softbox. A softbox is simply a four sided container that keeps your light around
your light and then nice soft diffusion at the front. So you can put your light well
controlled. It gets light away from the light bulb the diffusion material, and
lets the light bounce inside the soft box so you get a softer light as it comes out.
It does a directional quality about it cause you are looking straight at the
light you can feel the diffusion so you can diffuse accross the fuse and focused
light source at the same time.

So lets talk about how to make a soft box. I have
three different options, I have a plastic detergent container here, we get from a
plant in here in California. Just a normal everyday laundry detergent. This is a
little heavy , but in my work I have a cooler which is styrofoam.

What is
interesting about styrofoam is that styrofoam set is an incredible diffuser as
far as bouncing light. Bouncing light out of this piece of foam they call it.. This
set has some quality. This is going to be soft and a light nice coming out from his
cooler and it comes with a reflector.

I've got a Bakers box which again is a soft
box with a detachable reflector. So let's put up these together and just see how
successful they are. Let's start with an inch a little bit. It's very very simple ,
gonna stick this, gonna pull at back of my plastic container.

Drill a hole Now, we have a hole attached to our light
box. I'm gonna start to this light and Gail is gonna hand me the yellow handled
thin snips out of the tool bag. So what I'm gonna do is I'm gonna take and cut
this little tin part of in front of here. Like this.

The reason why I'm doing this
is because I want this little ring and it's going to and around my container for
my soft box so we're gonna disregard this. Now I got a ring here, I'm gonna cut my
hand. So this is gonna go through this opening. I'm gonna move this clamp here
from the front to the back and I know that's exactly that way it meant to be is
used, but quite frankly, as a soft box holder, it's not exactly what it meant to
be either.

So we're tighten up in there , so now this can go through the hole like
this. Perfect, and this will twist on the front. So hold it in place, with that 300
watts light bulb in there. I'm gonna take a diffusion paper on there and then we use
an A clamp to help hold a little bucket, gonna hold on to stand, because that's not
very tight at the back.

It doesn't work very well. So you could A clamp on there.
You got a nice little light coming through the light and also gives us a little glow
around which is something we didn't really anticipated but kind of a cool thing so
let's put a piece of diffusion on the front so there you have it. A 300 watts
light bulb in a laundry detergent basket and quality light look on my face. It has
a little bit of an over all fill on the room because the bucket itself is glowing.
So you got the key light on the face.

A. Little bit of glow in the room which is
interesting look. You make that for about 9 dollars and 50 cents. 15 Dollars with
the label and we got laundry detergent so you get clean clothes.

- Option number two, is the start from
cooler. I think this has a lot of promise and we're going to draw a hole at the
bottom of the cooler. Now for our Styrofoam Cooler Softbox, we're going to
take again a metal container. Put that in there.

We're gonna cut this open again.
All right and I'm gonna slide down at the front here, attach right under the front
just like what we did before. Now this is much lighter than our plastic tub because
the cooler was just so so light. Look inside here, we're gonna put our 300 watt
light bulb in there. Now, another option that we have here, I bought this on the
internet, bought everything on the internet and there's an adapter we could
twist this in and this will give us the ability to use this for regular household
light bulbs and that would be put on this like that which really makes it nice,
we're going to use regular household light bulbs.

We could use four, four hundred
watts. Right now, we could just use a single and put 300 watts so we could
compare of what this one looks like. Put it on to our stand. This seems to be a
little bit of a glow around this.

Well, not as much as the last one. So lit by the
Starlite Cooler Softbox. Pretty light. It doesn't bounce as much as the other one
did.

The back of the cooler is more secured. Also the front diffuser is a
little further away from the bulb which gives us a little more directional light.
For 300 watt light bulb, you buy from Home Depot for 499, this is a pretty decent
setup. Okay, now we're going to make a soft box out of a Baker's box. The reason
we've chosen baker's box is because it's white.

So the first thing that we're gonna
do, separate on that edge right there turn it over and reattach it, so it's going to
be inside out. So now as we turn our stuff in, we'll
separate the box here like that, and now we'll reverse our box to a white interior.
The problem that we have is that it flips on the other side so we're gonna tape that
down. So again, we got the baner's box, we'll take and we will do a hole on the
box . I'm gonna cut a little off like this.

Okay this is a little easy. I'm not
gonna have to move that bracket back at which is a better place for bracket to me,
because the cardboard is so much thinner. Print softbox assembly instruction is on
the inside. So we could use that for later so we're gonna attach our soft box to the
stand and clamped on the back.

We got to tape and use and use an A clamp for
security. And now we're going to tape long. Actually, we're going to put a 300
watt light bulb. On the front and there is our Bakers box .

It's a very soft light
actually and I think it's because it doesn't bounce around as much as it did in
the styrofoam and the plastic was harder in the surface and not the light out of
the front of the box a little harder. This seems very soft , it's actually not a bad
light at all. So let's wrap this up. We've got a soft box made up of a bakers box is
very soft.

We got a box as soft made up of soft detergent box and that was kind a
little more illuminate but still very soft. Our start from cool is a little
harder and a little brighter almost brighter , but in the end when you look at
all the different lights the colors off it's kind of are all over the place. This
is fun. We're gonna light our transits.

Whatever our transits would be just
because its a fun thing to do. But in the end, if I'm gonna work and take this on
sets somewhere the one they're not gonna transport because they'll gonna fall apart
in two. I can't walk into a CEO's office with a detergent soft box.
It just makes you look like you aren't really a working professional videographer
photographer so you need an entry level kind of trans light and even if you do now
home studio. Get a good set of entry level transit lights you could set up.

Bigger
lighting just right and really become workable situation. You can use for years
and years and years . Great one is Starlite by Photoflex. You get a great set
up.

You put those, you could use on location. A very durable great soft box
that are really on color white and easy to transport and still a way to go but anyway
the box is made up of a detergent box and you know a bakers box are fun. You got a
set of lights up so it's a easy to do and we'll get to show how to set our lights
up. We're gonna wrap up what we've done today We talked about creating a studio in
your home, a small room you're going to make into a studio a.

The principles I
want you to understand from this are- 1. Make sure the walls are of neutral color ,
2. You put up black out curtains to cover your window which kills some of the bounce
in your room. You can really get a little more dramatic light but give's you the
option of opening all those curtains so you can use window light if you wanna do
that as a light source really gives you different options there.

Two, that you can
create a drop holder for your ceiling . You get out of the way. You don't have to
have expensive stands, you don't have the floor spaces stands that takes up. Get all
those stands.

Rid all those stands. Put those drops from the wall on the ceiling.
Very easy backdrop container to make . You know making things. I'm not a huge fan of
making things, I'm just not.

But when they work and that backdrop holder really does
work then it's worth it. There's no other else out there. I mean for other things,
you get little pleasure rolling up there's a lot of steps out there. But that one is
cheap and easy and it really works so it's worthwhile.

The soft boxes were great.
They have great light. They're fun but we did our transfer and they were starting to
fall apart a little bit. They disintegrate a little bit. I expect them to burst them
to flame at any moment.

So but anyway, it was an interesting experience but again if
you want to get into decent light, you're gonna get something like the starlite. It
gives you a decent light you can use to travel with. It really becomes a
professional piece of equipment. - Don't forget you only got 'til February
26 to win your north star lite go to .

Slanterdens. Com. Enter the win for your
north star light. I hope you enjoyed our lesson on creating a studio out of your
spare bedroom.

Kick your dog out of he spare room or your husband, or your wife
or whoever is in that spare room and make yourself a home studio cause it's a great
thing to have. We wanna welcome our new sponsors Squarespace, they are great web
platform, great for hosting, for galleries, for videos. Check it out. They
have excellent templates.

They're new sponsors of ours. We're gonna talk about a
little more about web designing in the future. So check out Squarespace. It's a
great platform.

If you like us on Facebook, give kisses for Valentines Day.
He's not kissing me..

Dynamic Range & Stops

Dynamic range is the difference between
this and this. If you've ever taken a picture and the
sky looks completely solid white even though you could see texture in the
clouds with your eyes, that's a dynamic range problem. If you're taking a picture and your
subjects faces were completely in shadow even though the background seemed properly
exposed, that's a dynamic range problem. So let's
talk about how to fix those problems and what dynamic range is.

To understand
dynamic range, you have to think about what black and white are. And that seems
obvious because our brain kind of takes care of black and white for us
automatically, and our cameras take care of it automatically, too. But our cameras
don't always make the right choice. White is the very brightest part of the
picture and anything in the scene that might have been brighter than what the
camera decides is absolute white is going to be completely lost.

Everything
just becomes solid white, even if there were shadows and textures
in there. Similarly, black is absolute black and
anything below that point gets completely lost. Detail, textures and the shadows
completely disappear. So here's the problem: your brain can see
about 12 to 14 stops of data between black and white.

It can see this massive
amount of range, but your camera can only see about eight
stops of data, or at least in the pictures that you typically look at there are about
eight stops of contrast from black to white. So the way your camera handles that is,
it looks at a scene and kind of picks middle gray. What it thinks should be right
in the middle between black and white. Four stops of light below that are the
shadows and four stops above that are the highlights.

That gives you that, about
eight stops of dynamic range, and when you look at the picture it looks nice
and contrasty, it looks very natural. But it's leaving out a lot of data above
that white and below black that your eye might have been able to see just fine. So you can control how those eight stops
are organized. You could use exposure compensation to
make the picture brighter, therefor bringing up the shadows but clipping
more the brightest parts of the picture.

You could use exposure compensation and
dial in negative stops, making the entire picture darker showing more of the
highlights but clipping some of the shadows. You'll use exposure compensation up or
down to decide what the most important parts of your picture are, choosing
whether to clip the highlights or to clip the shadows. Basically deciding
which part of your subject is the most important part. And in something like a
portrait, you would want the face to be nice and brightly exposed.

What if you actually want to show more
than that eight stop range? You have two options for that. You can
shoot raw. Raw images capture usually between 11 and 14 stops of data however when you look at the jpeg
generated by that raw file, you'll probably still just see eight stops.
Shooting the raw does allow you to adjust the exposure compensation after
the fact, however. You can also adjust the raw file to show less contrast to cram
in all those 11 or 14 stops into the final jpg file.

High dynamic range techniques take the
brightest parts of the picture and kind of shift them down, making them darker
and will take the shadows and raise them up. This shows those details in the most
extremely bright and extremely dark parts of the picture without making the
entire scene too low contrast. You should always think about the
dynamic range of your picture and how much of that dynamic range your camera is
capturing. One more factor is the noise.

The brightest parts of a picture with
eight stops of dynamic range are about 256 times brighter than the darkest
parts. Now, you might not think about that,
especially when you're looking at a scene. But gathering 256 times more light
means that part of the image will be much cleaner. In the shadows, gathering 1/256 of the same light as the highlights? You're going to be seeing a whole lot of
noise because the camera simply isn't gathering that much light.

That's why if you look closely into the
shadows or you raise the exposure of shadows, you'll often see little red blue
and green speckles in there. That's that digital noise and can be really annoying
and ugly especially in very contrasty scenes such as night photography where
everything is either a shadow or a highlight. So to minimize that noise, I urge you to
look at your histogram while you're shooting, do what they call shooting to
the right. Make sure that the right third of the
histogram has some data in it.

If you're shooting raw, you have about
two stops of highlights that you'll be able to recover later. You might even plan to shoot a little
bit to the right of your histogram, knowing that you have a little bit of
that data. I hope this video is useful, if you have any questions for me add a comment
down below. To see more free videos click Subscribe and please share with your
friends.

Thanks so much..

5 Tips to Fix White Background Problems Take and Make Great Photography with Gavin Hoey

In this video I've got five top tips, to fix your white
background problems. Hello I'm Gavin Hoey and you're watching
AdoramaTV brought to you by Adorama the camera stores that have got everything for us
photographers and today I'm talking about white backgrounds. Now over the years, in my small studio,
I've used white backgrounds for everything from portraits, to still life, to product photography. It
really is incredibly versatile and along the way, I've learned a few of its
pitfalls as well and that's what I'm going to help you with today
in this video.

Now it doesn't matter whether you're
using a vinyl background, a paper background, a material white background or
even a pop-up background of some sort they are all slightly different versions
of white, but that really won't matter in this video because the techniques I'm
going to show you will work on all of them so, let's get a model in.
Let's get shooting! So you've got a white background of
whatever type. I'm using a Lastolite HiLite here
and you think ok well I've got a white background I've got a great model like Brian is
going to help me out with this video. Surely if i just take a picture that
background will come out white.

Well let's see.
I've got my little Speedlight up here I've got Brian sat just a little way
from the background and I take the shot and what I get is, well it is definitely
not white, it is a really really dark grey
background. Brian is correctly exposed because I've set
the lights before we started, but that background
isn't white. Now that's happening because of the
inverse square law and you can find out more about that over on the Adorama Learning Center.

Let's get Brian closer to the background if you want to hop up and move your
chair right up against the background, I'll need to move the light so that we
have a similar distance, between light and subject. I'll take the same shot again here we go. Now this time I get a lighter background
but it's definitely not white. So if you want your backgrounds to come
out really white you need to light them and in this case that means adding an
extra light, actually it means adding extra two lights.

I've got one already in the
HiLite on that side. I'm going to add a second street light
360 over onto this side. Now depending on your lighting setup and
your background, you may have your lights set completely
differently they may be coming in from the side and use flags or barn doors. There are so many ways that you can
actually light a white background but without light, you won't get that pure white background
that you're after.

Ok I've already metered this out let's take
a shot see how it looks, and as you can see, that white background
is really, really white. Adding those lights in, made a massive
difference and allows us to get the pure white that we are after. So you've got your background lights in
place and you take a picture. Well let's do that see what happens.

Here
we go and as you can see, things aren't quite as good as they should be. Infact the picture has extremely low
contrast and the edges of Brian's hair and his body, they are all burnt out. Well you've got to think about this as
being two separate exposures. You've got exposure from the key light
lighting Brian and then the exposure from the light on the background bouncing off the background, hitting the
back of Brian and they need to be balanced.

Now you could do it by trial and error
but I like to use a flash meter because it just speeds the process along. So let's start by metering off the,
the key light. That's given me f5.6 And if I meter off the background
and I do that by getting my flash meter turning it around, so I'm metering the
light that's coming off the background, hitting Brian and I'm getting f11. That's two stops more light on the back
of Brian then the front.

Now what I need is about the same light
front and back and I can adjust the background lights here, using the street
light remote control, to get me two stops lower. Ok let's take a meter reading we'll just
double check, yeah f5.6 We're good to go. Here we go Getting a pure white background all the way across your image, of course,
is the goal with this setup, but things can happen to make that more difficult
than you think. For example, let's take a shot like this,
here we go.

Now when I look at that
picture I can see that one side is well it is white and the other side is nearly
white. I mean it is almost white. There's definitely a hint of gray coming
in there. Now in this case it's a pretty simple fix one of the lights has
accidentally turned itself off.

That happens a lot when you have two
lights or more lighting your white background so it's worth checking that
you've got your lights balanced correctly and actually switched on. However it's also worth noting that it
may not be the end of the world and when we get to post processing in a couple of
steps time there is some things you can do there to help. Now what if you don't have multiple
lights? What if you only have one light? Well if I get my light out from the
HiLite, if I were shooting Bryan with a single light lighting him and a
single spare light, I would put it in behind, like that and
then I would take the same shot but with this one light here.
Let's do that, and as you can see I've
got light around the edge of Brian but the corners of this picture are gray. Does that matter? Well no because of
course I can fix that in Photoshop really quickly just by painting a bit of
white into those corners.

The key when you're doing a head shot, is to make sure
that the areas around your model, are white and if the corners
are a little bit gray, well maybe that doesn't matter so much. Having the floor in your shot is one of
those things that sometimes you've just got to do, especially if your subject
like Brian here is sat on the floor you've got to have a white floor, but can
you get your white floor really white? Do you need your white floor to be
really white? Well at the moment I just got the the vinyl rolled out here let's just take a picture and see how it
comes out ok Brian, here we go. And when I do that you can clearly see
that's not great, on many reasons, that doesn't work. Even though in the video the, the vinyl
floor probably looks whiter than the HiLite, at least it does to my eye
here, in the photo it's completely the reverse that lit background much
brighter than the floor.

So what's the solution? Well the solution involves
a little piece of extra equipment. So the only thing I've changed is the
floor, which makes sense, because that's the thing I want to be brighter and what
I've done is I've added a clear piece of perspex. Now you're going to find all sorts
of different ways of doing this Im just using a very thin piece of perspex. You
might be able to find some white glossy sheeting, anything that has a reflective
surface and mildly reflective surface is going to bounce some light from the
background off the surface into your camera.

I have to thank Zack Arias for
showing this tip many years ago and it's something I've used ever since. Ok let's take the same shot with the
perspex in place, and when I do that you can see straight
away the difference that makes. Yes there is still going to be some
Photoshop cleaning up to do but, by and large that reflection looks really good. Like a lot of photographers I shoot in
raw format and I edit in either Lightroom or Adobe camera raw from
Photoshop but when you bring your white background images into the software, you
might get a little bit of a surprise.

Let's have a look so here's an image. I
know this background is white but if I. Hover over it and I read the values on
the histogram they're going to be just down the bottom here, I can see my RGB values
are never a 100% I mean, they're close, but at no point is this pure
white with a 100% RGB. So what's going on? Is this a mistake by the photographer? No,
because when I took the picture, I had my camera in the highlight preview mode so,
I could see on the LCD that the highlights are blinking away saying you've
blown them out this is actually what happens with the
software and once you know it's going to happen, it's not a problem and the fix, well the
fix is really easy, it just uses the histogram and a slider.

So if I down to the histogram, I'm
just going to turn on the, the warning here which has a little white rectangle saying
you are now going to see any clipped highlights. Now to make sure my whites
are really white, I'm actually going to come down, not surprisingly to the white slider.
I'm just going to move it just a little bit to the right-hand side and as I do you
see how that spreads out and fills that background with white
just as I was expecting it should be. Now that works really well,
it's really quick and its really simple, but of course what
happens if you haven't quite got your background pure white? It didn't quite
work and in fact, in this case what about the the floor which is not
quite white? Well the solution again very simple and
very quick this time it involves using the adjustment brush, so I'm going to get
the adjustment brush.

I'm going to make sure everything is zeroed. Double click
the word effect if it's not, and then I'm just going
to change the whites slider. Now depending how much your whites
are off, in this case quite a few of these are quite off. I'm just going to max it
out for speed.

It's gone all the way to maximum. I'm just
going to start painting here and you'll see that my whites very quickly go white I can do the other side as well,
and we get a nice white reflection below like that, there we go. Now in this
case it works really well because of course, there's no whites on the model.
He's not wearing any white clothing and he hasn't got blond hair for example.
Things like that can make this operation a little bit more tricky.
If that's the case you may need to do it inside a Photoshop if you need to fix it or you
can try turning on the auto mask function here
inside of Lightroom as well.

Ok, so that works really well but what
about the outer areas of this picture? The areas around here where you can see
my studio, now of course what we could do is cropped this down but what I'm going
to do is actually come back to the adjustment brush, I'll make a new brush and this time I'm
going to take the exposure and put it all the way to maximum plus 4 and the
highlights and the shadows and the whites and the blacks.
Basically everything to maximum other than contrast and now I
can just paint around here, now the auto mask by the way is turned off I should
point that out but I can basically over expose all these areas to
get that nice and bright and clean and white and there we go. That works really well.
If I've made any little mistakes, I can see I have there let's just come down here, choose the
erase option and we just erase that bit back in. There you go, and there it is my beautiful white
background image completed. Now at this point is worth reminding you that there
are no rights or wrongs in photography it's an art form after all, so the mistakes
that I've been talking about here can be somebody else's perfect picture.

So don't let that put you off however, if
you want a really white background hopefully you found these tips useful
and of course if you want to see more tips myself and the other amazing
presenters right here in AdoramaTV you need to be clicking on that subscribe
button over there. I'm Gavin Hoey thanks for watching..

DSLR Pinhole Photography

A pinhole camera is basically a light-proof
container that has a tiny little hole in it instead of a lens. Inside, you put some photo
paper in there, which captures the image. And you develop the image in a darkroom. Now, if you don't have access to a darkroom,
like I don't, and you want to take your project into the 21st century, you can convert your
DSLR into a pinhole camera.

I'll show you how. To make your own DSLR pinhole camera, you'll
need a spare body cap, which protects the camera's lens port when there's no lens attached. Eyeball the center of the body cap and mark
it off. Drill a hole there and be sure to completely clean it off.

You don't want any
of these bits of plastic in your camera body. Using a small pin, poke a hole in a small
piece of aluminum foil. You could also use this stuff called black wrap, which is black
matte aluminum used by lighting technicians on TV and movie sets. Line up the pinhole in the middle of the body
cap and use black electrical tape to tape it down.

I made this one with a slightly larger
pinhole to let more light in. The tradeoff is that the image will be more blurry. OK, I have my pinhole body cap ready. I'm
going to pop it on the camera.

This is cheaper than any lens you can get. And it takes pretty
cool pictures. Let's go out and try it out. So we're in Central Park, I've got my camera
and my tripod.

It's time for my favorite part. Let's go take some pictures. As with regular pinhole photography, there's
not a lot of light coming into the camera and there are two ways we can deal with this.
We can bump up the ISO and we can make the shutter speed longer. For this picture, I set the camera's ISO to
2000 and the exposure time to one fifth of a second.

So you're probably not going to be able to
see through the viewfinder, so you'll want to do what photographers call "chimping,"
which is taking a shot, checking the frame, and making any adjustments until you get the
shot you want. Here are some of the shots I took today. I
think they turned out pretty well. There's so much you can do with DSLR pinhole photography.
You can blend multiple exposures to make a pinhole HDR like this one.

Or make a pinhole
time-lapse like this. Or you can shoot digital pinhole video like
you're seeing right now. If you do mod your camera, I want to see how the photos turn
out. Post them to the MAKE Flickr pool, and I'll see you next time!.

DSLR Digital Photography Course for Beginner - Photography Training Courses

DSLR Digital Photography Course for Beginner - Photography Training Courses Jared polin froknowsphoto.Com Thank you for watching this video because in the next few minutes I'm gonna show you exactly how you can learn almost everything you need to know to start shooting Fantastic videos with your DSO are faster than you ever thought possible It doesn't matter if you're a seasoned professional beginner or hobbyist photographer if you want to take your DSLR video skills to another level and produce professional world-class videos keep watching The best part is that what you're about to learn will work for you Even if you're a one-man band without a crew or on a shoestring budget, but before we get to that Let me ask you a few questions Are you new to DSLR video have you had a DSLR for a while? But haven't ventured into shooting video because you're just not sure where to start are you a seasoned photographer who wants to add? DSLR video to your arsenal do you want to make more money with your DSLR or Do you want to learn how professional filmmakers shoot and produce video with the DSLR if you answered yes to any of those questions? Then you're in luck because I've teamed up with Award-winning filmmaker Todd wolf to finally create a solution to learn exactly how to shoot and produce breathtaking video with your DSLR in a matter of days you don't have to deal with months or years of bad results and Frustrating experimentation like I did you also don't have to waste a ton of time trying to filter through the inaccurate and scatter tutorials available around the internet And you won't have to spend a ton of time and money in school taking classes to learn everything We've included in this guide We have created this six-hour comprehensive video guide that not only teaches you the fundamentals and basics of DSLR video but puts them into practice by joining Todd and I on location for for real-world video shoots that include a music video commercial interview short film and even a YouTube production But what's great is that this guide isn't the stiff boring and useless training? You've seen on other websites and in college courses Or books we do it in a fun and informative way and after you watch this guide You'll have all of the knowledge you need to start shooting impressive DSLR video today, but why wait let me give you some free tips right now straight from the guide enjoy All right, I think I ate the most balls there, so so why are we using Hungry Hungry Hippos to demonstrate anything? Well, we're gonna get into frame rate our cameras have the ability to be set at different frame rates And that's what Todd's gonna explain, so what are the different frame rates? We're gonna be working with the general frame rates that everybody's gonna find in their cameras is 24 frames per second 30 frames per second And 60 frames per second so what you're saying is that at 24 frames we have Literally 24 individual still images, and 30, there's 60 still frames that all make up the video It's exactly right, so what is that giving us 24 frames per second is going to give you that cinematic film look? It's gonna give you a motion blur We've all grown up watching movies shot at 24 frames per second and a lot of guys tend to gravitate Towards, 24 frames just to imitate that look so that gives you a certain look that may be good for one thing But maybe 30s better for something else, but 30 frames is gonna. Give us a more realistic look There's actually more frames there capturing more action, but it's gonna give you that video, so what are we gonna do here to demonstrate? We're gonna stick with that cinematic movie like look so 24 frames per second is where we're going to live on all these examples the Only thing we're gonna change is the shutter speed so let's start off with this one fiftieth of a second and see what that looks Like what we're gonna. Do here show you how shutter speed affects what's going on in the image We're gonna use a metronome, so we have something that's constant and moving We've already locked in the settings for the camera because all we're focusing in on right here is What's gonna happen when we change the shutter speed all right? Let's see what happens with this metronome as an example all right, and we're rolling and action Now this is a very pleasing image This is that cinematic look we were talking about a great place to be this looks all right What's gonna happen if we slow it down to a thirtieth of a second? Let's see what it looks like? So we're down to one thirtieth and we're recording now. What's gonna happen here Is we're just picking up more of that motion blur not a terrible thing But it's definitely something to be aware of if you push it down that far So we've shown you a lot of different lights that you can use for your setups But we haven't shown an actual setup and Todd's gonna tell us about a simple one right here We're gonna do a classic setup called a three-point lighting scheme.

It's got your key It's got your fill, and it's got your hair light So what I want you guys to know is that we've already locked in the settings for the camera This isn't about the settings of the camera and what lens and all of that. It's all about the lighting so Todd What are we doing here first thing? We're gonna. Do is we're gonna turn on our key light. That's our main source of light It's gonna be the strongest light in the whole scene So let's turn that on and see what it looks like So while Todd is doing that I want to let you know that if you just have one set up I know that this is called three-point lighting But we want you to know that with just one light you can still make this happen We just want to show you that one two three lights and how that all works together Just so that you have an idea that you can build off of that for the future So we just showed you guys a lot of different options that you have to get audio into the camera but there's one mistake that I made when I first started out because I didn't know any better and that was how to set the Audio levels in my camera I set it to auto and auto may not be the right choice Why is auto not the right choice Todd well it would be great if the camera did all the work Unfortunately when it's set to auto when it's real quiet and nobody's talking it looks for sound so it Raises your recording level and you get a lot of hiss next thing you know somebody starts talking again And it compresses that audio to try to keep up with all the different levels right so basically what's happening There is the camera is set to auto and it's just it's bouncing up It's bouncing down based off of just whatever audio is there so if you have some quiet times.

It's really gonna raise those levels You're gonna hear a lot of hiss and that isn't good I hear a lot of hits and a lot of my early videos and that really is the reason why so what is the way? Around it well the first thing you got to do is get out of auto and go to manual If you enjoyed that be sure to watch until the end because we'll give you another free look inside our video shoots But before we go any further if you're not familiar with who I am my name is jared polin aka the fro from froknowsphoto.Com I've been a professional photographer since I was 15 years old and during my career I've shot photos for stone the Philadelphia Flyers Perry Farrell of Jane's Addiction Matisyahu and hundreds of well-known musicians tech visionaries business owners and celebrities for the past four years I've been creating fun and informative videos That have helped hundreds of thousands of photographers and videographers Of all skill levels my training videos have been featured on sites like digital photography school DP review peda pixels F. Stoppers and many more I've been a photographer for over 20 years and when my first DSLR gave me the ability to shoot video I. Thought the transition would come naturally I was wrong, but I didn't know why yet at first I thought shooting video was easy I set up the camera set my exposure Exactly how I would set it if I were taking a still and then press the record button Little did I know I wasn't even close to doing things properly I didn't know what a frame rate was and why it was important I didn't understand that the exposure triangle was totally different for video And I had no idea how important audio was I quickly discovered that? Photography and videography are completely different animals and just because you're proficient at one Doesn't mean you're proficient at the other which I found out the hard way here are some questions I had how should the different settings be used for the look or style I want How should I set up the scenes to keep the viewer engaged? What are the hidden rules of shooting amazing video that don't apply to still photography? How do I minimize the time I spend editing in post-production? How do I get the sound just right for any situation? What do I do as far as composition and storytelling to make the video memorable and? A bunch of other things like what gear should I use what lighting equipment? I needed and how to do all of this on my own Without a crew I tried reading articles and watching videos from around the internet But the information out there is scattered and often low-quality it made learning how to do it professionally on my own nearly impossible at this point I knew I needed guidance from someone who was more skilled at video Production to show me all the things I was doing wrong and to guide me towards better video Otherwise I would continue wasting time shooting videos that were just good enough So what did I do when the time came to film some very large projects? I sought out a seasoned professional who was just as good at video production as I am at photography And that was Todd wolf I hired him to shoot and produce both of my video guides the froknowsphoto Guide to getting out of auto and the froknowsphoto flash guide if you've ever seen either of them You know how high-quality Todd's video work is I ended up learning more from Todd about video in a few short weeks Then I was able to learn in the previous four years on my own so After creating the first two guides in helping tens of thousands of people understand the fundamentals of photography and flash photography People started to ask me how do I shoot video with my DSLR and that's why I teamed up with Todd and gathered all this Information in one place to answer that exact question and once you've seen what we've created It's going to dramatically cut down the learning curve for teaching you how to capture video with your DSLR. So here's another sneak peek inside So we're out on location at a bowling alley and not only are we gonna do something pretty cool But I have my bowling shoes on because I'm ready to bowl, but Todd.

What are we really here to do? We are here to shoot an EP K which is an electronic press kit, so this could be for any corporate client any Business out there and a great way to make a couple bucks mr.. Dave Leno back here. He's an avid bowler He's looking for an e PK to help promote himself And how knowledgeable he is sure and another thing that an e PK can be used for for musicians for any business owner you're telling the story of what they do in an easily consumable piece of content that they can put anywhere and Use it pretty much as an advertisement so you have the clipboard here. What are we talking about? I got a clipboard here I have got a shot list first and foremost last night.

I kind of just thought out everything I want to get not cutting off creativity whatsoever there We're gonna be inspired while we're here to do some extra things, but at least I've got a roadmap And I'm not gonna miss critical things. Yeah, remember what we talked about pre-production That's what you have to do to prepare yourself Todd. What are some more rules? We're gonna get into well some good things I want to talk about now our coverage and the almighty one eighty rule now this 180 rule is something that I just Ruined at the very beginning, but it's something that I made the mistake once and it never happens again so that's why we're here to show you the Examples to see what a good use of the 180 rule is and what it looks like if we break it So let me just give you the basics. We've got a camera above us here and between the two characters There's an axis between us.

There's an eye line between us. We don't want to cross that eye line with our camera We want everything to be on one side or the other right now. We've got all of our cameras on this side That's generally where you want to keep them it helps the audience understand where things are Relative to one another now if we cross that line which we will show an example of it will disorient the audience Can you break the rule absolutely but know the rules and then you can break them? All right Todd I see you have the slider set up. What is going on here well I'm gonna come in here for a two-shot kind of tried to fake it here when I swung it around I think that'll give me a good movement to come into this shot, but this is gonna Give us a really cool effect while getting both of them in one shot So go over the two-shot again two shot is obviously we've got Two folks here that we're gonna get in the same frame at the same time this isn't singles This is a two shot So we refer to dirty and clean and before, but in this case it would be clean except I decided to grab some glasses from behind the bar and stack them here So I put a nice foreground element as I'm sliding back and forth and it's gonna look really cool So before we can get to shoot we we had the scratch audio coming from the camera before on the first shot But now that we're in a two-shot.

What are we doing to get better audio well now that I'm tighter I actually was able to rig my rode mic here on a boom pole over top of them It's not gonna be the best sound right now, but it's the best for the shot. I'm doing right now It's not pointing at either one of them directly so it's gonna get a little bit of both of them pretty good But not the best where I'm gonna get the best sound is when I go on for close-up So what's the lighting setup that we have right now? Well The bulbs we have our daylight and our cameras are set to daylight under the daylight setting you've got your cloudy and you've got your shady at that's just a Variation of the daylight so as of right now our whites are white Right so if we popped up this white card. We would see that everything should be pretty white mm-hmm absolutely now We also have some other variations in here We've got some tungsten bulbs in here So let's switch to tungsten so we can kind of show what's gonna happen while we're still in daylight settings on the camera Boom, so we are awash in a beautiful orange. Glow right so basically What switched here is we just changed the light to tungsten balanced light But left the camera set to the daylight white balance so what would we do here to get the proper white balance? I mean we have tungsten lights on now so we should switch our camera to tungsten all right, so let's do that all right So there's another look inside to sum it up.

We're gonna give you all the tools and fundamentals You need to go out into the world today and create amazing video content with your DSLR. There are a lot of misconceptions about what's necessary to shoot DSLR video like I need a top-of-the-line DSLR camera and lots of expensive equipment to shoot Quality video not true in fact on set Todd used an entry-level DSLR camera to film his real-world shoots People will also tell you that DSLR video is so complicated that the only way to learn is to go to college and spend tens of thousands of dollars on tuition and Years of your time this is also not true We've taken our years of real world experience and condensed it down into a six hour Comprehensive video guide that won't cost you thousands of dollars Lastly the biggest misconception of all is that you need a big crew to shoot quality, DSLR video This is absolutely not the case That is why we structure this guide to show you that you can do this on your own as a one-man band When we say you can be a one-man band We really mean that you can do it all you'll be able to set up any camera lock in your settings Set up the lights shoot the video Record the audio add dimension with camera movement Direct the whole thing and much more Todd and I both wish we had a guide like this when we first started shooting DSLR video It would have saved us a lot of money and years of frustration It doesn't matter if you shoot videos of your kids interviews weddings your own YouTube videos Movies anything even if you want to make money. We've got you covered in this guide We pull back the curtains and not only teach you everything you need to know We also take you on set so you can see how it all works as we're shooting video in the real world You'll literally be able to see our exact camera settings equipment setup lighting all of it I really mean it when I say that anyone could shoot stunning DSLR video with any budget and any skill level This course is a no-holds-barred all-access pass to Todd and my expertise we seriously hold nothing back It's like having us as your personal mentor at a fraction of the price better yet You can watch these videos over and over again So join us on the inside of the froknowsphoto guide to DSLR video and fast-track your learning to finally create quality DSLR video quickly and efficiently on your own Normally, this guide would sell for a hundred and ninety seven dollars, but for a very limited time we're offering you a special discounted price and When you order the froknowsphoto guide to DSLR video today You'll also get these fast action bonuses my youtube tips I give you the exact model and mentality I follow for being successful on YouTube Todd's editing tips Todd gives you an entire video of bonus tips and tricks that he uses as a professional editor our DSLR video PDF checklist this list will make sure you have everything you need before you get out on a shoot never leave home without it and Finally we've created Assignments these assignments both basic and advanced are meant as homework because the only way you'll become a better Filmmaker will be to get out there and shoot remember you won't pay the normal price of 197 today click the Add to Cart button below this video to claim your discount on the brand-new froknowsphoto guide to DSLR video for just $97 you can also purchase it as a DVD for a few extra dollars We're so confident that you're going to love this video guide and get so value out of it that we're offering the froknowsphoto Iron fro guarantee for a full 60 days. What does that mean exactly? Well if you don't think this guide was worth every penny will refund all of your money.

There is no risk to you That's how confident. We are that this guide is going to accelerate your DSLR video skills faster than you ever thought possible Thank you for watching this video. I look forward to seeing the amazing videos You're about to create click the Add to Cart button below to get started jared polin froknowsphoto.Com See ya.