Night photography - quick tips - Canon

NIGHT CITYSCAPES:
LEARN FROM THE PROFESSIONALS. There're three things to remember if
you want to master night photography. You need to be thinking
about stability of the camera, the settings of the camera itself, and
also the optical quality of the lenses. Night time's set in, and,
for the best quality pictures, I'd always suggest
using the lowest ISO possible.

In combination with what's
going to be a slow shutter speed, I've got my
camera set to ISO 100. That requires my camera
to be completely stable. Use a cable release or
remote to isolate any movement away from the camera body
when depressing the shutter. Shoot on a prime lens,
or a good quality zoom lens.

For this shot I've
chosen a 50 mm to put an emphasis
on the city skyline. With regards to
aperture, I've gone for 5.6 As I know it's
pin-sharp on this 50 mm. Try manually focussing
on your point of interest using Live View at
maximum magnification. It's a great way to get
the best detail in your pictures.

But, remember to keep
the lens on manual focus. I've got my shutter
speed set at 8 seconds to capture this
great shot of the city and to place emphasis
on the dramatic sky. Working at night gives
you incredible flexibility. I'm now going to use
a faster shutter speed to shift the emphasis
onto the city lights.

Most scenes at night are a heady
mixture of different light sources. So you can, like exposure, make some creative
choices about white balance. By selecting Tungsten, the camera's going to correct
for all the warm tones in the picture, and I'm actually going to get quite
a bluey-green finish to the image. In contrast to the first
picture, by selecting Daylight, the image is going to
come out a lot warmer, and the lights are going to
have an orange glow to them.

I've moved to a busy part of the
city to shoot some moving traffic. With a slow shutter speed
it's going to leave light trails right across the frame. My priority here is shutter speed. I've got it set at 4
seconds on ISO 200 and F14, which gives me the correct exposure.

It's quite a long exposure, so I've still got my camera
on a tripod to keep it sharp. You can easily introduce
a subject into the foreground by adding in a bit of flash. The subject will be lit by a
burst of light from the flash. But they're going to
have to be really still, as I'm still doing that long
exposure for the light trails.

The camera's in manual
mode, so I've got full control. Shutter speed's at 2
seconds, aperture F11, ISO 200. Switch the flash on and make sure
your subject stands nice and still..

How to Use a Digital CameraDigital Photography Techniques

I am Chris Conklin on behalf of expertvillage.Com.
Now one of the big differences between the digital and a film camera is pretty much as
like I was talking about the digital takes the compact flash cards, which come in a variety
of different types depending upon the camera that you get versus film. Typically, film
is going to give you about 36 frames for a roll, digital can give you thousands. Another
advantage on a digital is you have the viewing screen on the back where you can look at your
picture pretty much right away. If you dont like it you can erase it and you can move
on.

What I typically do when I am out on a shoot is I will just go ahead shoot and then
bring all of the shots back in and then I. Can look at them in my photo editor, there
are a wide variety of different photo editors that you can use that are on the market depending
upon again, what you are looking for and what you want to do with it. Now, in the shot mode
you can go with single or you can go with multiple. I like to shoot in multiples, just
in case that may be I did not get the first shot that I wanted, it gives me an opportunity
to keep the button down and go into a multiple flash type of a unit.

As an example if I put
this on automatic take some pictures, just clicks away and keep clicking away until you
let your hand off the button or you have reached this maximum based on the setting and the
camera type. Typically, a camera like this would take 3-5 snaps per second depending
upon the settings you can take the burst of couple of dozen different pictures before
it kind of exhausts its power or needs to reset itself..

New York Film Academy Photography School in New York City

Hi, my name is Mohmed Memon, I'm from
India. My name is Michala, I'm from the Czech Republic. My name is Ana Maria del Castillo. My name is Alfonso Valderrama.

My name is Tatiana. My name is Dara Sepheri.
My name is Caroline. I'm from Honduras. And I came here to study photography.

I went to
college for advertising and graphic design. And I thought it was time for me to get a
formal education in photography. As a career path, it's very important to study it, to actually
know what you're doing, how you're doing it, and why you're doing it. The New York Film
Academy was the only one that really provided intensive courses.

And New York of course, New York
was the best. I thought it would be completely technical. I thought we'd stay in most of
the time and do mostly studio work. It's totally the opposite.

Since the beginning, like going
to galleries, studying other photographers. We went to many museums all over the city,
just photography exhibitions, art exhibitions, everything. All the classes in general, it
was very intensive. Classes like Shooting Lab, Photo I.

We learned about equipment,
lenses, flashes. I learned a lot about light. It's amazing what you can do with a photo,
how you can transform everything. And at the same time, a lot of different kind of softwares,
like Lightroom, Photoshop.

The imaging classes were great. Everyone had something different
to teach me. One of the things that I really liked about the New York Film Academy is the
fact that you have people from all over the world. All of our classmates are from completely
different cultures, completely different countries.

And getting to know them, it just opens your
mind to see what the world is really like. We had a lot of fun as a group. In all that
experience, everything come together. I definitely look at photography in a different way now.
Here I found I love more of the fine art part of my and exploring that side.

I want to do
more fashion shooting. I really like photojournalism. I need to be myself. I need to show what I
know.

I need to show what I want to say in my heart, in my photography. This experience
completely changed my life..

Mountain Photography (7 Powerful Tips)

Hey guys how's it going I hope
everyone's doing well I'm here today with seven powerful tips you can use
when photographing in the mountains I'm super excited for this video because
Mountain scenes are my absolute favorite type of landscape to photograph there's just
something so sublime about hiking and being in the mountains it's really
beyond words. The power - forces greater than we can possibly invoke. The
beauty - they can stop us dead in our tracks at first sight. The constant
change - from morning to night from one week to the next
there's new things to explore every time we visit.

They fill us with peace and
solace, with fear and exuberance and anyone who climbs them can't help but be
humbled in their presence. It's no wonder they pull in the heartstrings of many
hikers and landscape photographers. Mountains present a number of challenges
and things we need to plan for. More specific to hiking photographers, we have
to juggle with the regular requirements and gear such as the 10 essentials +
whatever camera gear we decided to bring balancing weight and mobility all the
while.

All the normal rules of landscape photography and composition apply, but
there are some unique challenges we are presented with when in the mountains. I'm continually finding ways to improve my own process and have compiled 7 tips you may find useful for your next trip, whether you're an absolute beginner or a
seasoned photographer, I hope you can take something away from it, so let's get
started. Tip number 1 - do the research ahead of
time. In the military we had a saying, "failing to plan is planning the fail" and
while the consequences typically aren't as severe with photography the same
sentiment can be said for photo trips.

Exploration on location is an important
part of the landscape photography process, but planning ahead can help you be in
the right general area at the right time. So before you even step out that door
make sure to research your destination and its current conditions. Research can
be divided into several categories: 1- finding a location. We covered how to
find a location using the social networking site meetup in the last video
which you can find in the description below.

2 - Hike research. Things like GPS
tracks and topo maps what type of pass we're going to need,
trail conditions, any hazards that we're going to come across, all these things
are important normal consideration anytime we're hiking in the backcountry.
3 - Photo research you'll want to check out sites like 500px.Com, Google
Earth and one of my personal favorites is to search the hashtag of the locations name
on Twitter and Instagram because that usually brings up more recent photos. By
doing this it will help us pre-visualize and pick the right gear.  You know we want to look for composition ideas, but at the end of day we want to make our own photo.
Finding unique original landscape perspectives to photograph is much more
enjoyable and much easier to get the creative juices flowing, so don't spend
too much time trying to track down the exact tripod holes of someone else's
shot.

4 - Weather; of course there's several sites and apps to get average
forecast at expected conditions. Mountain-Forecast.Com is one of my favorites
because you can set the elevation according to where you plan to go. 5 -
Light conditions: this is speaking directly to us as photographers. Of
course we want to know things like the sunrise and the sunset times the
moonrise the moon set times and the moon phase.

By knowing when both Sun the moon rises set and knowing their position and angle in the sky we'll be able to set up
our composition in a way that captures that dramatic light. We can use apps like
the photographer's ephemeris as well as Google Earth.  Tip number two, and for good reason: it's the two hour rule. You've most certainly already heard about the
golden hour and experienced it -  that magical time with dynamic light around
sunrise and sunset.

The problem is they call it the golden power not the golden
two hours or golden we don't know yet until we get there and find out but what
I find happens quite often is that photographers either show up too late or
leave too early and much of the magic that actually happens doesn't occur
right around the time of sunrise and sunset especially in the mountains.
The most difficult thing is being there, getting up for sunrise or sunset, managing the elements, waking up in the dark driving in the dark, hiking in the dark,
putting on a headlamp, getting out in the cold, managing all the different things that
are occurring, and even though Mother Nature doesn't always cooperate...All these biting flies, a perfect example of that I can't think of a single time that I've
regretted getting up. I follow the logic of the saying I'll sleep when I'm dead.
So just do it - you can make great, even amazing photos at any time but being
there during that changing light gives you a greater chance to create a more
dynamic scene. Unless you are at the summit where you can see out to the
horizon when you're in the mountain the Sun can set a couple hours earlier or
rise a couple of hours later than the actual time that it breaks the true
horizon. And if you are in a valley somewhere where the Sun doesn't come into view a
couple hours after actual sunrise then most of the magic will actually be gone by the time you see it.

Depending on your location, the peaks could block the Sun
and shorten or even eliminate the golden hour. A tip to maximize your time in
nature is with a simple overnight trip that way you can hike in at a relaxing
pace midday location scout with plenty of time to find interesting composition
ideas before sunset and then after sunset decide to get a good night's rest
or plan for astrophotography and then get up for sunrise in the morning and
hike out by 10 a.M. So in less than a day you've gotten two to three different
photo shoots and really explored the location under different lighting
conditions. Tip number three - keep your camera accessible.

I see so many
photographers with their gear tucked away in a bag on their chest or worse yet
and the bottom of their backpack and the reality is that some things in nature
just don't happen twice, so that moment, that picture-perfect moment will come
and go before you have the chance to react, whether that's the red alpenglow
on some distant mountain peak or the still reflection in an alpine lake or
the wildlife that just comes into view by the time your futzing with your
camera and getting it all ready to go it'll be over so it's very important to
keep your camera accessible. I prefer to keep my camera
right here on my chest I also keep my tripod to the side of me instead of on
the back of my backpack. The lens cap it's got to be off, you don't want to walk around with the lens cap on, you can use the lens hood as protection or UV filter if you really
feel like you need to and in terms of settings for your camera you want that
to reflect the fact that you're walking and you are probably not going to have
the time to set up a tripod because if you do that at that time you can change
the settings of the camera so auto ISO. Is your best friend so think
about how you want to carry your gear how you want to walk with it.

There's
still ways that you can protect it and keep it safe
I have it here in my chest but I also have it backed up on a leash here so
just in case it was to ever fall out it's protected. Tip number four - find your foreground. When everyone is shooting at the same
location it can be discouraging if you are wanting to create something unique
but a great way to do that is to find your own perspective using foreground. A
good foreground draws the viewer in and creates a sense of depth, so ask
yourself "how can I lead my viewer through the image?" And then get close, get low, change your perspective, change the height of the tripod if you're using one.
Reflections, shapes, lines can all be used to draw the viewers eye through the
scene and if there aren't many interesting elements one option can be
the human form which brings us to the tip.

Tip number five - use a sense of scale.
With natural elements like trees mountains and lakes it's often hard to
tell how large or small everything really is. Of course this can be further
exaggerated as an effective way to make an abstract image but for more
traditional landscape scenes it usually helps to add a sense of scale and a
great way to do that is with the human form not only that but a person in the scene often acts as a focal point and can help the viewer connect more deeply
with the experience of being there subjects might include a person such as
yourself or your adventure buddy or your own legs, a physical object such as a
tent, kayak or a hammock or any other number of things. Tip number six - watch
your contrast. You may see a beautiful lake but since the lake isn't being
directly lit the camera might see all the distracting leaves on the edges of
the frame catching light.

The viewers eye will naturally be drawn to the brightest
parts of the scene or the parts of the scene with the most contrast. A quick and
easy way to determine the strongest point of contrast if it's not obvious is
to squint and blur the scene in front of you. Now ask yourself "what is the
brightest object?" And then open up your eyes. If that's not your subject or
something leading to your subject then you might want to reconsider how you
capture that frame.

Tip number seven - bring a telephoto, and I'm referring
here to lenses with a focal length 200 millimeters or longer, preferably more
than 300. Most people already know about the importance of having a wide-angle
lens the capture the expansiveness
in one frame. You've seen those shots with flowers in the foreground sweeping
middle-ground with the mountains in the back, but  one of the best things about
those expansive views is the telephoto's ability to reach out grab a snippet from
the landscape to focus on. This can be especially useful in inclement weather
or if you're not at the scene during prime lighting conditions where using a
wide-angle would result in too much contrast in the scene.

Almost all of the
wildlife shots in my portfolio are a result of having a telephoto lens on me
and being able to act in the moment and respond to the animals presence. To
recount, 1. Do the research ahead of time 2. Show up before and stay after sunrise
and sunset, 3.

Keep your gear ready and accessible, 4.Find your foreground, find your perspective, 5.Add a sense of scale, 6. Watch for contrast and 7. Bring a telephoto lens.
So that's it for this video, stay tuned subscribe and hope to see you again soon!.

How to Shoot Architectural Digital PhotosUsing Reflections in Architectural Photography

In this segment we are going to talk about
using reflections in architectural photography. Now this is a photograph of Philip Johnson's
classic glass house in New Canaan Connecticut. And this was designed in nineteen forty nine,
sold to the national trust, owned by the National Trust for historic preservation. And you can
take a tour there.

Now this has been photographed by all the great Architectural photographers
of the last century, Julius Shulman, Ezra Stoller, and many of the other greats. But
when I went there last year I've never seen it photographed from across the swimming pool
here. Now this is the swimming pool which lies, actually about thirty yards away from
the building. But what I've done is I've crept down really close to the edge of the water,
used a twenty four millimeter tilt shift lens and shoot this just as the sun was coming
up.

This is about five thirty in the morning. And the night before I arrived I asked the
national trust to put on the lights which they did, and we got this amazing reflection,
not only of the glass house in the water but all the trees surrounding it as well. Shot
at dawn, pre dawn, about five thirty in the morning. Always remember that if you can use
water in your architectural photographs, you going to create an awful lot of depth in the
picture.

Which is a very important part of architectural photography..

Small Studio Setup Exploring Photography with Mark Wallace

AdoramaTV presents 'Exploring
Photography' with Mark Wallace. Hey everybody, welcome to another episode of 'Exploring Photography' right here on AdoramaTV, brought to you by Adorama, the camera
store that has everything for photographers, especially photographers
like Norm Beer and Norm has been so gracious to let me show you something
that i think is pretty fascinating. It's your small studio. Now this used to be a two car garage essentially and you've converted this to be a full-fledged professional studio absolutely.

And the cool thing about this is a lot of people have been writing to me saying hey I've got a small space, a room in my house, maybe a garage, sort of tuff shed, something like that. How do you make that into a studio space
and the thing that I love about this is you've done a lot of really cool things to optimize every inch of this garage and so that's what this episode
is about. We're going to show you how Norm has optimized the space to do some really cool things including some really awesome things with the ceiling, some storage where the garage is... Anyway I.

Want you to tell me about it so let's
first talk about this background and all these lights that you have up here. How
you've done it. Let's start with a background, now what is this this? This is just a three roller system and we've got white, grey and black interchangeable...
Takes just seconds to switch out and behind it is a dead flat white wall as
well so if I don't want that I can just use that which works out great So all kinds, you can put any colour you want. This is a nine foot rolls, basically what these are? Yeah and I can actually go wider but it set for nine right now.

Alright, now something that I think is really cool is you have these lights and flags and stuff that seem to be sort of floating in mid-air because there's no stands underneath these It's magic! It's photography magic. How is that happening? Tell us about
what you've done to the ceiling here. These are some struts that I picked up at Home Depot and I was looking to find a solution and found these and thought, you know what, this will be great. It was much less expensive, believe it or not, than that angle iron and these hold a tremendous amount of weight I mean we
could hang off of these no problem and nothing is moving.

So these are bolted into the studs is that right? They're bolted into the rafters. OK and what are these things called? If somebody's going to buy them, what are they called? They're a Superstrut. A Superstrut. Superstrut.

Alright and then how do you mount this stuff to your superstrut? It's got a channel basically, right? Yeah there's a channel and there's
some parts that interlock. They lock up in there and they're bolted and the nice
thing is that that way we can get our safety cables and nothing can fall, so
even if we do have something happen, the lights aren't coming down on a client's They're just going to sort of dangle there? They're going to just dangle, yeah exactly and on these we have the grip pads and we've got some magic arms and they hold everything in place. So this is all Avenger, Kupo, Manfrotto? All of it. Ok is your basic stuff and so you can
just bolt, you clamp that onto a bolt and then that's going to support quite a bit of weight.

Now you've also over here, on this side, created sort of a storage area for
your light stands and that kind of stuff using a similar system. You can mount C stands, grip arms, arms you name it. It can all mount right there. It's out of the way, it's
off the floor and it actually, you know, it looks sexy and to make this look nice and look sexy like you call it you got also hung rods to put curtains up essentially.

Yeah and that is just half inch pipe, threaded pipe, cut to the right size, mounted to the same ceiling joists, and again I just got these
little Home Depot curtain hangers and the curtains and they're interchangeable.
I can change it any color I want so if I. Need to get a color cast for some reason or if I want a different background I can just turn and shoot up against that and
make it totally flexible. OK, well let's talk about this area over here because you've got a bunch SKB cases you've got a bunch of soft box, you've got some tether
tools equipment over here so let's take a look at how you've organized your
storage for the big stuff, and again take a closer look at these curtains and then
after we do that let's take another look at your storage over here. So let's do
that next.

Alright so now we're here...This is sort of the garage, this is where the garage door would open and cars would normally park but you've converted this to some storage with these SKB cases, is that what these guys are? Yeah these are SKB cases, but to clarify something the garage door still opens, ok, and I can still get two
cars in here if I had to. If you had to, ok, still functioning garage. It's still functioning so I didn't take any functionality out of it, which is great. Yes these are SKB cases.

These are
amazing cases all of my big gear gets stored really nicely and here when I'm going and shooting events it's really nice and compact. They're super sturdy So you just pull these out as you need? Pull it out as I need it, everything. I know what's what. It's all marked.

I did see this. This is sort of a trick that I liked. Tell me about what this guy is and what it does. Well this is actually a repurposed flight drug box case Ok because you used to be a...

Flight paramedic and fire fighter Grids are always damaged. I don't know how many times I've picked up a grid especially a 5 or a 10 and you can't see through it all. In here, it stores them really nice, they're protected, as long as you don't leave it
open and drop it you're totally safe. So if you don't have a flight case like this guy you can just use, you know, anything that's made by Tenba or SKB, just a case that's going to keep your stuff separate from being dropped and smashed and all that kind of stuff You know, people have said 'Oh that takes up a lot of room' but the insurance on it for those grids is worth it.

Yeah, because you don't want to show up to shoot and have... Your money comes all smashed up and no good. So do that, it's an awesome trick and then
this over here I noticed you have one of my favorite things, a tether table on a rolling stand with a little cup holder. With the famous Mark Wallace cup holder That's right.

To hold all your coffee. Exactly! Now so what do you use? It seems, like, in a small studio this would
be like high on the list of things that you'd want, just so you'd have a place to put all your pocket wizards, your laptop, all that kind of stuff. Oh absolutely, it's essential. I really do need it.

I use it all the time. I'm actually
thinking about getting another one so that I can have a separate table just
for these items and then for the laptop. Right, now, I've got, I have to say, I have
about in my studio, I think we have like six or seven of these. We have them all
over the place, because not only do we have laptops on them but we also keep things like our light meters, we keep spare parts and if we were using grids we'd stick that on there, sometimes we have shot lists we put iPads.

Gray cards that fall off! All that stuff, cables and the nice thing about having a rolling stand is you can just move them out of the way if you need to. Exactly. Alright, enough of this stuff. I think you get the idea.

Let's take a look at the other wall which is
your storage system that you created for your stands and all the hangings stuff.Well this is something I think is one of the best ideas I've seen in a small studio. Essentially you have created your own custom storage space so how does this
work out? Well, what I did was I took some OSB, mounted it to the wall so that it's in the studs and I can mount anything anywhere in this and it's
going to be solid. So I took the leftover Superstrut, mounted it and the Superstrut is actually into the studs at the same time. Alright, so pretty darn solid.

Very solid and, yeah, just got different sized bolts and that's the nice thing with the Superstrut is you can put any size bolt in there you really want, and be able to mount anything, essentially. Yeah so you're holding your boom arms, you're holding your bases, you're
holding grip, you're holding booms, cables, all kinds of stuff on here and
it's really easy to pull something off and use it in the studio so it's a
fantastic idea. Norm this has been really informative for me and I think for a lot of people now you actually had a large studio in Phoenix before you moved up
here to Eugene, Oregon is that right? I did. I had a fine, big studio down there.

So massive, and so everything is in this space? Everything is in this space, tucked away. And usable. So I think if Norm  can do it, I think anybody can do it and this will work with
speedlights or studio strobes or pretty much anything that you can bring into a
space like this. Well, you know, what we've done is for
more information about some of the different boxes and tools and stands and
stuff that Norm is using, I have included links to those things in the
description of this video so check that out and also for more small studio tips
and for lighting setups in shooting and all that kind of stuff, check out the
Adorama Learning Center.

It's absolutely free and don't forget to subscribe to AdoramaTV, because it's free and we don't want you
to miss a single episode but thanks Norm and thank you for joining us and we'll
see you again next time. Do you want great-looking prints at low-cost? Be sure to visit our easy to use online printing service. AdoramaPix has professionals
who treat your images with the utmost care that you can count on. For a quick
turnaround on photos, cards or albums use adoramapix.Com.

MAKE MONEY WITH PHOTOGRAPHY5 Ways

Hi bonjour a Bienvenue to all my
French people watching this video. Today I talk about five ways to make money as
a photographer. My name is Benjamin Jaworskyj
photographer and adventurer. Ten years ago I started to teach myself photography today I travel the world as
a professional photographer and filmmaker.

Learn from my experiences, mistakes and tips and join me on my photography adventures. Making money as a
photographer is a big thing for I would say like everybody who just photographs
for bit longer like 1 year 2 year or anything and things about hmm my images
are not too bad maybe I can make some money out of this. So today I will talk
about the five ways that I can definitely recommend to make money with.
There are some advantages and disadvantages with each of them, none of
them is easy so making money is not always an easy thing and or never I
would actually say and maybe you have some more than just write it in the
comments below. All the things I tell you about I did myself and I will talk about
this as well in the different tips.

So number one is stock photography or micro
stock photography. That's the thing maybe you heard about so there are like
websites you upload your images to and other agencies newspapers persons or
just private persons photographers and stuff like that for their composing or
whatever they need for websites web designer they go on the website and they
buy your images the disadvantage with this is it's not made for like making
huge amounts of money with one image that's why it's called micro stock you
make like a lot of sales but it's working good and you get a small amount
for each sale but in the end because of a lot of sales and because it's
international you can make some bucks out of this. I tried it myself
seven years ago I uploaded like 100 images there a different topics I
just tested myself and I made after one year around a
hundred euro so it's not that much I. Don't know how it is today I will test again
and there are totally different websites like Fotolia, Adobestock they belong I
think now together and Shutterstock, gettiy images, iStockphoto and they have
all complete different deals and different things that they offer so you
should definitely check the terms of conditions and think about if it's the
right thing for you but it may be a good thing for just images that you think
they're great and they are just laying around
on my external drive so why not upload them tag them, that takes some time and
then just maybe sell them so give it a try .

Number two is the whole event market
thing so you can go on events or maybe you've been to an event and there's a
photographer taking photos of the event and after that on a website there are
the images you can download the image and just be happy with that share it
with your friends and say oh look at this how drunk we we're so that's the
thing I did as well and I did not get much money out of this it was maybe nine
years ago it was just when I quit school and just made some money out of
everything you know how it is when you just go out of school and you may. I was
into partying and I like the club thing and everything here in Berlin and as an
event photographer there you make between 15 euro per evening till 50 euro
per evening and you made like 400 images and have to edit all the images and
deliver it the next day because it has to be online the next day. No matter how drunk
you were you don't have to be but you can be but you don't have to be when you're
photographing yeah next day Sunday it has to be online. So that's your job and
it was not a lot of money and there are definitely I would think professional
photographers out there that make good money out of event photography and
there's always a market it's always a party and people like to see the images
afterwards so give it a try as well maybe
it in your city or village when it's like a ban somebody's like...

Number three
wedding photography and a lot of people think about wedding photography that's
why there are quite many wedding photographers out there but the good
news is wedding photography is a very special thing I did it myself I did it
twice and it was more like I did it for friends or friends and it was more about
I go to the party anyway into the wedding so I take photos as well and
give it to them afterwards and all we're happy but it's not my type or my
personal type of photography and not what I like to do every day. But weddings
are a thing you only marry hopefully once in your life so people are willing to
spend an amount of that to get nice photos out of that moment even with all
video footage now and all the stuff they don't just want photos today they want a
whole video they they even want a whole Facebook page for their wedding and all
the stuff. And so yeah there's a market you can make good money out of this it
depends on I would say realistically from 300 up to 5,000 euro per evening
per per day and I think there are even more you can even get more but you can
as well get less as always. It always depends on how good of a salesperson you
are actually and that's what professional photography I would say is
all about delivering and sailing.

Sailing? Selling, dumb German. Number four real
estate and people are always buying houses selling houses want to rent a
flat especially in a city like Berlin big city a lot of people want to come a
lot of people want to leave and real estate market is huge and the better the
images from the real estate agent or agency are the better itself and the
more people are interested in an object and the higher the quality of the whole
thing is rated so when you're a good photographer and when you are into like
interior even exterior like to just even if
you're into landscaping it's kind of similar with the right light and
everything to to just photograph it. Team together with the real-estate agent and
you can both benefit from that being together thing not in a sexual way okay
you can but you don't have to it's all about sailing and you know. And the last
thing is social media and it's a quite new thing for a lot of people, for a lot
of people it's as well just usual they are on social media and you can make
money as a photographer out of social media how does it work
well actually it's all about the following so the more people are
interested in your photography in your work the better you can market over
social media.

Let's say as a wedding photographer you put out great wedding
photos every day and there is a guy who's following you and he gets married
and then he says oh I see all the nice images on Instagram I want to have this
photographer as a wedding photographer and he only knows you from social media
so maybe he's not even in your country but from somewhere else and he hires you
because he doesn't give a shit about money and he just wants you to be the
photographer and even maybe just wants to be featured on your Instagram or your
Facebook page as well so this is a huge market and that is only one side of the
whole social media thing as well with a huge following you can not only reach
the persons personally but you can reach out to brands and brands pay you for an
advertisement so you not only take a great shot like for example a car brand
you take a car brand and the agency says well we have a client and you have to
take nice photos of the new whatever car is out there and you not only take the
images but they pay you that you post it on your Instagram that many people not
only see the image but are interested in the brand as well so it's a huge
advertisement world out there and if you are not an
Instagram you're totally missing something out. Facebook is cool but
Facebook is out right now Instagram is the hot shit and
when you'r not on Instagram you definitely missing an opportunity not only to reach
people not only to inspire people but as well to make money. Those are five ways
to make money as a photographer I hoped you liked the video and write me your
thoughts what I just talked about in the comments below I think a lot of people
have something to say right now. I'm looking forward for that and check out
quick commercial learnfromben.Com this is my website you can find all
about landscape photography in my landscape photography video cause we
filmed it in the beautiful landscape of Norway I have an easy Lightroom learning
course and another course about editing landscape photos with luminosity marks,
the power of raw and all the great stuff so check out learnfromben.Com
And in professional photography it's all about checking out who needs the image and why
or what do they need it for.

When you have those two things you can make money out of photography in like every genre. I wish you all the best au revoir, a bientt
see you soon and I give a shout out for the people wondering why I talk French in
this video I'm not from France but I. Give a shout out to all the different
countries in each video that are watching my videos today
it was France what country are you from write it in the comments below and
write what does hello and goodbye mean so I can maybe pick it up for the next
video. Au revoir mon chrie..

Macro photography tutorial for beginners

Hi! If you're wondering why these flowers
are on my desk, it's because we're doing macro photography. Hi! I'm Adam and welcome to First
Man Photography and before we get into the video if you haven't done so already head
over to firstmanphotography.Com fill in your details to join the e-mail list and I'll send you
a free copy of the ebook on how to capture 'Perfect Exposure Every Time". Okay let's
get into this. Okay, macro photography if you've read about
before it can seem quite complicated but it's literally just getting down in close focusing
close, magnifying the small and blowing it up larger-than-life and most cameras now have
a macro mode on them and today we're going to be using DSLR with kit lens and then I'm
going to show you a couple of little cheap items you can buy to take your macros to the
next stage on a very tight budget We've got this macro reverse ring, we've got this prime
fifty mil prime lens which is still quite cheap and this macro extender tube which can
use in get even closer.

Now this video is the first video in my series
of macro videos and the second part is going to show you a bit more of an advanced setup
and the third will get into the complex world of focus stacking. Please subscribe if you
haven't done so already to keep getting hold of these videos as soon as they come out and
there will be a couple of little competitions coming up and I'll be giving away some pretty
cool gear that will help you on your macro journey. Okay so lets get into this and start get
our little studio set up and well start shooting these flowers. Okay so here we are, weve got everything
set up and the first thing were going to shoot with your DSLR camera and a standard
kit lens.

If we talk about settings for a minute, when you're shooting macro photography
with first thing I always set is the aperture because when you get so close in to your subject
he aperture has a big effect because depth of field becomes very very small the closer
you get so I always start with the aperture first depending on what I'm shooting but a
good way to go is something like f/5.6 Or f/8 and work it from there. We're then going
to balance the exposure with our ISO and our shutter speed depending on whether indoors/outdoors
what the lighting conditions are in the period when you're shooting. So if you are shooting
indoors, you almost certainly going to need to add light because when you get those small
apertures you're really going to need to add some light to get the exposure you want especially
since we're getting so close to the subject that you block a lot of the light coming in
to the subject that we're shooting flowers in this case. So what I've got in this very
simple setup is I have this microphone stand here and I'm going to add this light or this
bulb which is on really really cheap light so I'm just going to clamp this light onto
a mike stand and use it to illuminate our subject which in this case is the flowers
so Ill just go ahead and switch that on Thats now added some light to the flower
which we can use to shoot.

Okay so lets get down and take a few pictures and see what
we come up with. I want to be thinking about my composition going in because its the
same as any time you compose a shot you want to get it right and you want to think about
what youre doing before you take the shot. Im going to take a picture of this orange
flower and youve got to think about what to have in the background as well. Im going
to try and get a bit of this rose in the background because with a kit lens I cant get in so
close that the flowers going to fill the frame.

Im just thinking a little bit about
my background and what thats going to contain. Im going to get down and take a shot and
as we can see with that its quite a nice shot.Its got the flower in the
background but the background beyond that flower is in darkness because of the small
aperture that light from this lamp is not lighting up anywhere in my background so thats
gone dark in the picture. Now one way to cope with that is to add a background much closer
to our subject and that can also add some colour. Ive got this Filofax here and Im
going to very simply stand this up and that is now going to act as my background.

Okay so now Im going to get down and Im
going to show you what I mean. I am going to do one more thing though before we do that
just to add a little bit more interest by giving it little spray with this very cheap
water spray, give that a quick spraythats itand Im going to get down and take
that shot again. Okay, so you can see that really adds an extra element to the image
with that background and that water. Okay, well will move on and will now use the
reverse ring.

Okay, so next were going to use the macro
reverse ring and all you need to do is take the ring and simply attach it to the filter
thread of your lens and then simply detach the lens and you reattach it on the opposite
way round. Now thats reversed the lens and its going to allow us to focus in much
much closer. Now, with this because weve reversed this we've removed the contact between
the camera and the lens so theres no more power getting to the lens anymore. So if youve
got a lens that focuses by wire like this one does, you won't be able to use the focus
and it also will not be able to adjust the aperture The way youre going to have to
focus is by moving forwards and backwards, closer or further away from the subject until
its in focus.

Now your depth of field is going to be extremely extremely tight because
it opens up as wide as it can and with this lens will be about 3.5 Or 5.6 Depending on
where youre zoomed in at. You can lock the aperture before you detach the lens. Set
your aperture, hold the depth of field button and then remove it and it will lock the iris
in place maintaining that aperture. Lets take a quick shot and see what we come up
with.

Ive still got my light which is still going to be necessary especially when getting
this close in. As you can see, with that shot, it is very,
very tight on the depth of field but you can still get an effective shot if you're creative
and use that depth of field to your advantage. Okay, lets move on and will use the macro
extender. Okay, so here we have our macro extender and
as you can see its just a tube through the middle that moves the lens away from the
focal point of the camera which allows us to focus a bit closer to our subject.

Now
this does work with the kit lens but it makes things extremely difficult. So if you have
a prime lens kicking about like this 50 mm f/1.8 STM lens which is only about a hundred
pounds and Ive reviewed before if you want to check that video out and this is a really
good one to combine with the macro extender. All in, this is around 120 so still not
a massively expensive way to get into macro but is obviously more than a kit lens and
reverse ring. Anyway, lets attach it.

All you need to do is take the extender, take
the lens attach as you normally would and then you attach the extender to the camera.
So then were ready to shoot. With this extender, it does have electronic contacts
so youve got your autofocus back if you want to do that. Ive got my autofocus set
and Ill have a little look at the orange petals on here and see how close I can get
in and grab that shot. Yes I like that composition, take that as you see a pretty nice shot.

Okay,
lets try another one. Ill just have a little at these red petals and I want to
get some of that a green leaf in the background which is going to work as my background. Ill
just have a little look at thatIm happy with thatcapture that and as you can see
weve added another pretty nice shot. So I hope youve enjoyed that video and
if youre wondering why I didnt use a popup flash to light the subject its because
when you get in that close the lens can physically block the light coming from your flash so
will end up with quite dark areas in your image which doesnt look good.

You can get
round this by using a dedicated macro flash and Im going to show you how to use that
in the next video where we look at a more advanced setup and then Im going to be
giving away that flash to a subscriber. So if you haven't done so already, please subscribe
to the Youtube channel so you can see that video as soon as it come out and to be in
with a chance of winning that flash. Also, please Like the video if you did, Like
the Facebook page, do what ever you need to do to keep up with up with all the First Man
Photography content as soon as it comes out. Im Adam and this is First Man Photography.Out..

How to set up Custom White Balance Digital Photography and Video

Hi there, It's Marlene Hielema, from ImageMaven.Com and in this video blog post going to
teach you how to do custom white balance. You can use this technique for your
still photographs or your video   When you set up your custom white
balance are going to need some sort of a reference point and I use a white balance gray card. It's
specifically meant for measuring white balance. You can also use this kind of a tool it
sometimes known as an expo desk and this fits over the lens whereas the gray card you point the
lens at it and you measure the light reflecting off it, which
actually measures the color.

Okay, so it's not for exposure but it's
for white balance. And you can set up a custom white
balance for any indoor or outdoor lighting situation so if you're
taking basketball photos of your kid at the school gym you want to take a custom white balance
of the light falling on the scene so you would hold your reference card
out and let the light fall on it or you take this and put it over your
lens and point it at the light source So here's the thing, anytime the light
changes you need to redo your custom white balance. Alright so that's it so read your
manual and learn how to set up custom white balance for your particular camera. And I'm going
to show you a couple have demos of how to do it with two of the cameras that I
own and yours will be very similar.

Okay I'm looking at the back of
the Panasonic Lumix FZ200, it's a point and
shoot camera. Right here I have my white balance control. I'm going to choose that and
right now you can see that it's on auto white balance. So I'm gonna go down to white balance, custom White Set 1.

Now I have my white balance card here I'm going to hold that in front of the
lens. I'm going to go back and I'm going to arrow over. I'm gonna
make sure that the card, the square here that comes up that's the
area that it's going to measure on my white balance card. And there I choose Set/Menu and now the custom white
balance, you can see right down there, is set up
for this camera.

If you use the disc you have to basically do the same thing
you go through the same menu but instead of holding the card in front of the lens you put this in front of the lens and
you point it at the light source. Okay let's look at
another camera. Now this is a Canon 5d Mark 2, and to get custom white balance on this
it works a little bit differently. The first thing you have to
do is go into the white balance menu and in this camera is on the top and you want to change it to custom.

So that's the custom one right
there. Okay so now we have to take a reference image. So I'll just put the grey cart in front.
There's my reference image. Then I'm going to go back into my menus, choose custom white
balance, and find the image that you just used for your custom white balance set up, and in this case it was this
particular one.

Choose that, and hit OK. That image now becomes the reference
file or the reference image for your custom
white balance setting.   So I hope you set up your custom white
balance on your next photo shoot.  Alright, thanks for watching.

It's Marlene Hielema from ImageMaven.Com. And do me a favor please share this with your
friends who need help with their white balance. Getting custom white balance will
guarantee you get better color your pictures. See you next time!.

Photography Studio Equipment for Beginners

We've been getting lots of request to update
our "What to Buy to Start your Studio" list. So, here's the updated list for 2017. You know after working this business for 25-plus
years, I really understand the things a photographers and videographers face. I know the industry.

I know what you need to overcome the problems
you face. Sit down with me in a mentoring session. I'll help you overcome the problems you're
facing. Sometimes you just hit a wall and you need
some help.

I can definitely do that for you. So, go to theslantedlens.Com, click on the
mentoring button and set up a time when we can Skype together and I can help you solve
your problems. Hi, this is JP Morgan. Today on the Slanted Lens, we're gonna take
a look at that how to start your studio, the equipment you need to buy to start your studio.

From three different points of view, we're
gonna update it today. We're gonna look at those three different
places to enter into the market and to be able to put together enough equipment for
you to get out, take pictures and make some money. Now that's what this is all about. It's giving you the equipment you need...When
you say start your studio is to start to make money in photography.

This list is starting your studio from scratch. It doesn't take into account...You may have
a camera and a lens already or you may have a computer already. I think the one thing we didn't put in this
list that you really kinda have to have is some way to look at images. A computer, a laptop, some way to be able
to look at images.

Does not have to be Macintosh, does not have
to be a brand new Macintosh, but some way to look at images. That's not included in these numbers. This first category is $1300. This is a very inexpensive way to get into
the market to be able to make some money.

It's around $1300. Let's take a look at it. First, a Canon Rebel T7i. It's gonna have an 18-55m lens, it's a kit
lens.

This is a great entry point. When people ask me what camera should I buy
when I just wanna start in photography, this is the camera you should buy. You can go down a little more to the older
ones, to the T5i or one of those as well, but the T7i is brand new. It comes out in March.

It's a great place to start. With that, you're gonna have to have some
way to augment the light. So, I got a Photoflex MultiDisc Reflector
in there. So, you get that reflector so you can bounce
a little light in on the person.

You're gonna be shooting mostly with natural
light with his kind of $1300 kit. You're not gonna have money for strobes and
things. You're gonna need a stand to be able to put
that reflector on so that Coupe [SP] stand is kind of the universal stand. That stand will last you your entire career.

It truly will, and you'll probably abuse it
to death. Then we're gonna have a SanDisk 64 Gb card. Interestingly enough when I did this lesson
last time, you could hardly get a 32 Gb card for this price of $35. Now, you can get a 64 Gb card.

So, things...Those cards have dropped down
in price quite a bit. An A clamp so you can just clamp your reflector
on the stand. And we're gonna add a tripod, the Vanguard
Alta 233AGH tripod that has the pistol grip on it. The reason I put a tripod in this kit, and
a lot of you are thinking, "Wow.

I would probably never use that." I want you to learn how to use a tripod. I want you to learn what a 1/4-20 is. I want you to learn how to put your camera
on it. I want that to become a part of your work
flow.

And think about times you're gonna use that. You won't always use it but you use it sometime. And last of all, we gotta have a card reader. That way you'll be able to read your cards.

You can look at it on your computer. So just to recap the list, we got a Canon
7Ti with a lens. We've got a reflector, a stand to put that
reflector on, an A clamp to hold the reflector. We've got a tripod to start to learn how to
use our tripod, and we've got a card reader and a card.

And we're off and ready to go. So, in this next kit, we're gonna raise our
price to almost $3000. It's gonna give us the ability to get a little
nicer camera some things. But it's gonna give us some options we didn't
have in our beginning kit.

First we're gonna start with the Canon EOS
77D. This is a new camera that's just coming out. It's a crop sensor camera but a fabulous camera
with a great pixel count. So, check that one out.

We're going to put with it though a 28-75mm
lens. It's a crop sensor lens, so it's made for
that camera. So, it's a true 28-75 2.8 Lens. But that's more of a wide to portrait lens.

And I like that lens a lot because of that. A 75mm gives you the ability to get on the
face a little better. It's a nicer kind of portrait lens. We're gonna also go now with some strobe.

We're gonna do two of the Baja B4s. So, they have two B4s. Those B4s in that battery platform, you can
take that out on location, shoot anywhere you need to whether it's just a fabulous way
to work. But with strobes you gotta have several things
to support them.

We've got a wireless transmitter, then we
gotta be able to modify our strobes. So, we've got a Photoflex Extra Small OctoDome. I like the OctoDome because it's round, it
gives you a nice catch light in the eye. It's just a pretty look for me.

And one Photoflex convertible umbrella. I love that convertible umbrella because you
could pull the cover off from it and shoot through it and get a beautiful light like
that, or you can leave the cover on and bounce out of it. It's a great light. So, then we've gotta have a speed ring for
our softbox.

We're gonna add that as well. And we're still gonna keep our Photoflex MultiDisc
reflector. We now have three stands, one for each of
our heads and one for our reflector. We've got our 64 Gb memory card, a card reader,
an A clamp, and our tripod, our Vanguard 233AGH.

Tripod. And there is our $3000 kit. Now, in this last kit, we're gonna go all
the way to almost $5500. It gives us a lot more options.

We're starting to get into more professional
equipment and equipment that last you throughout your entire career. We're gonna step up to an older camera and
there is a reason I do this. I like the EOS 6D. I like the 6D because it's a full-frame camera.

You have the ability now to have a high pixel
count on a full-frame, just gives you gorgeous images. But it's a very inexpensive way to get you
into the market. If you're gonna get into that full-frame world,
and I think you should. So, I think it's a great camera.

We're gonna step up to a 24-70mm. So, a true 24-70mm, it's a Tamron, 24-70 2.8
Throughout which give you a great lens to use on that full-frame camera. We have our Baja B6. So, we have a B6, so a little more power.

And then we have two of our Baja B4. So, we now have a three-strobe kit, so you
can do three-point lighting. You can have a key light, a rim light and
a fill light, and just be able to set things up in the studio and on location. With those Bajas, you have the ability to
be outside, inside.

It works fabulously. We're gonna have three speed rings now, so
we can put modifiers on all three of the lights if we choose for or just one, two or three,
whatever we like to have. Again, we need our wireless trigger so we
can fire them. We now have three strobe heads, so we've gotta
modify those strobe heads.

So, I've included an extra small OctoDome
which is very small and gives you a nice catch light in the eye, and a small OctoDome which
is a larger OctoDome. You could replace the small OctoDome with
a softbox, a medium softbox. Both of those would be interchangeable, two
very similar kinds of things. You have to decide which one works best for
you.

Then we go to that convertible umbrella. So, we now have our three ways to modify those
three different lights which gives us some options. We have our speed rings to be able to put
modifiers on those lights. And then we have to have four stands, three
for our lights and one for our reflector.

This is a very solid kit now. You have the ability to put up a reflector
and a light, or three lights and a reflector. You got a lot of options with that setup. Last of all we've got our SanDisk 64 Gb card.

And I think on this one I'm going to sneak
in two SanDisk 64 Gb cards, because you're gonna need them. And maybe even three. I'm thinking I always get three in this package
and still keep it at that price of $5300. And then we have our A clamp.

We're gonna have an A clamp for your reflector. And last of all, I'm gonna step up to a much
nicer tripod. This is the Vanguard Alta Pro 284 Carbon Tripod. They are light weight.

They are fabulous to carry around. They are much more expensive, but just the
light weight portability of this tripod makes it worth the money you spend on it. So, there is your kit. Your 6D, your 24-70mm, your three monoblocks,
your modifiers, your reflector, your stands, your A clamp, your card reader, your tripod
and you're ready to go.

So, there you have it. There's three entry points into the world
of making money with your camera. First one is just about camera and just one
little reflector. Second one is more about strobes to be able
to give you more ability to shoot in different places, different times.

And the last one gives you a really nice full-frame
camera that gives you the ability to give you great images and a full, three-point light
system. So, check those out. Figure out which one works best for you. Take a little bit of each if it works for
you to do that.

Most of this equipment is gonna last you your
entire career with the exception of the camera and lenses. You probably gonna wanna update those as you
become a little more professional. As you understand, you wanna do different
things, you're gonna change those out. But the rest of the equipment is gonna last
you pretty much the rest of your career.

So, keep those cameras rolling, keep on clicking. If you want just a great work horse lighting
kit, there's this new StarLite Kit by Photoflex. We're giving one away now, so get a word with
us at theslantedlens.Com and sign up today. It's the lights, the softboxes, the stand
and the case.

So, get over there. [00:08:06]
[Silence] [00:08:18] Subscribe to The Slanted Lens like all my
buddies here did. You can come and hang out with us. We have a wild time together, me and my buddies
here, my mannequin buddies.

We have a great time together, so come and
join The Slanted Lens. Subscribe. You can be friends with us too..

Lighting Tutorial Soft Light vs Hard Light, Diffusers, and Reflectors for Photography

Hi, I'm Tony Northrup and for Chapter
3 of my book, Stunning Digital Photography, I'd like to talk to you about the qualities of
light and shadow. And I'm in the studio today with my
mannequin friend. No chelsea today because I
really want to be able to study the light and be able to poke at her face and with light, if you turn your head
even just a little bit it completely changes the quality of the light. I needed somebody who could stand still like only
a mannequin could do.

So as we look at a close-up a the
mannequin's base we'll see that is pretty dark, that's just
ambient light. We have just the room lights on so that you can see me but I will go ahead and turn on this
light here just the modeling light. This is a strobe but
it has a light that goes continuously and this will illuminate the model's face. This is a big softbox or
called an octobox, and as you can see it has a
huge light surface here and this creates a nice, soft, even light because you have light coming
from inside where the bulb itself is and it's hitting this corner and this light is bouncing in that direction and bouncing
in this direction and there's light over there bouncing in this direction.

If you stand in front of it it's really bathing you in light from all different
directions and the light isn't traveling in a straight line, it's travelling in every direction. So I'll spin it around to our very patient
model and what you'll see is the quality is a soft
light and it's actually really nice. Now, the
light is over here on the right side of her face so it's coming in from here and its leaving this very gentle shadow
along the far side of her face and you can see a nice gentle shadow
underneath her chin here. So that's what I.

Want you to pay attention to is the
difference between the highlights and the shadows and how they move
between the brightest areas and the darkest
areas. This is what we call soft light; when the highlights in the
shadows aren't that much different and the
differences between them are nice and smooth. I'll turn this off and go to a hard light source, a bear bulb. As I turn this light on, what we're going to
see is hard light, and this is the harshest type of light.

With the hard light you see very harsh
transition from highlights to shadows. The shadows here are much
much deeper and the highlights, you can see, specular
highlights here which are the super bright highlights that gleam. It's those specular highlights
that will make the face look kind of oily and gross and everybody gets them, especially when you
use hard light and these are the properties of hard light. Soft light has smooth
transitions from highlights the shadows and the deepness of the shadows isn't
that deep.

They're almost as bright as the highlights. Soft light has very smooth gradual
transitions and nice mid tones and a nice light fall-off, and
the difference between the shadows and highlights isn't usually as
much. Now for portraiture, I think it's obvious the soft light
looks better right? The soft light looks great! But if you're trying to show the texture
or something the hard light is often better. In fact, for things like birds
and wildlife, pets, I really like hard light.

Even on an
individual you want soft light on the face, but I
really like hard light on the hair. So understanding the
difference between soft light and hard light, shadows and highlights, is really key. Now let's try modifying that light a
little bit by adding in a diffuser. I have a diffuser here, so let me move this light back a little bit so I can put the diffuser between her.

So take note of that
shadow on her face before but the diffuser up and as
I put it up look how the shadow on her nose changes. Without the diffuser and with the
diffuser. And that's the difference between hard
and soft light. Now I'm gonna do something else, I'm gonna move it closer
to her because remember, one other properties of
light is not just the size of the light source, this is making a
small light source much larger.

By how close it is to the subject. So
even at just a couple feet you can see a really distinct shadow on her nose. But as I move it closer and closer; see
how that shadow changes? How hard or soft a light source is is defined by the
size of the light source and how close the light source is to the
subject. So you can take a hard light source like this
and move it much closer and the light in fact will be softer.

If I
get farther away it gets harder and harder. If you need
more evidence just think about the sun the sun is a huge light source but if
you go out in the middle a day when there are no clouds in the sky it's going to be extremely hard light.
It's the biggest light source in our solar system but it's so far away
that it becomes a little pinpoint of light. If it's an overcast day, well it's really the same light source, right? But those clouds, they're gathering all the light and they're
reflecting it in every different direction. So the clouds become a massive light source and
suddenly we have a much softer form of light.

Another factor that can
make light seem softer, even if it really is hard
light, is how much fill light you have. So, right
now we have a little bit of ambient light but most of the
light is coming right from this bulb here. What I will do is bounce some
light in from the other side and see how it changes the light on the subject I'm gonna grab a reflector and a reflector, it's pretty much, the name
describes it right? It's like a big thing that reflects light. So I'm gonna put this on the other side
of our patient model.

So as I slide it into place, look how those shadows change. Without the reflector and with the
reflector. No reflector, with the reflector. Still one light
source but the reflector is bouncing the light back and filling all the shadows.

It's still a
hard light and you can tell, just look at the line
in the shadows, the line in the shadow's still hard, right? The transition here is still harsh, but
there's more light in the shadows. It's a hard light source with fill. We talk about fill ratios sometimes in
photography, and that's the ratio the light in the
shadows verses your main light. So I'd like to show
you one more thing and that's the combination of the reflector and
diffusers.

So I'll grab this diffuser again and I will put the reflector up next to our patient model, and then I'll
put that diffuser in there too. And as we can see here, we see very even
light without the diffuser it gets harder with the diffuser it gets softer. Without the
reflector we have deep shadows, and with the reflector we have much more even lighting and softer shadows that aren't nearly as dark. In other words,
brighter shadows.

Now I want you to do the same practice
all the time! Whenever you're out, whether indoors or
outdoors, I want you to be studying the light. If you're outdoors on
a completely sunny day you'll have one main light, that sun will be
super bright. But I bet the shadows on the faces won't be pitch black. No, there'll be some light
in the shadows, you'll be able to go under a tree where there's not sunlight
and still be able to see, right? That's because the world around you is
creating fill.

The grass is reflecting light up, the
atmosphere itself has little water molecules in it that diffuse light. It's all pretty amazing stuff and its
complex. And there's no way I can teach it all to you because you just need to be
aware of it and then start absorbing it as you go from place to place. When you're indoors, I want you to take a look at
the lighting in the room and see how many different
light sources are there are and how they're effecting the shadows on
people's faces or coffee cups or objects around you.

Notice those shadows and which light sources are filling in
those shadows, or maybe there's only one light source and they really are pitch black. Which light sources are
genuinely soft and which are completely hard. When are
you seeing soft gradual transitions from highlights to shadows and when are you seeing harsh transitions. When are you seeing specular highlights that are just super bright and kind of giving you a sense
for the shiny and smooth texture of a surface and
when are you seeing very smooth highlights that kind of make you feel like
it's a little softer and not quite so silky smooth.

If you like this video and you want to see more free videos go to my page and click subscribe. I also hope that
you click like for this video this is part of my book
Stunning Digital Photography. So if you like this you'll probably like the book it has more than seven hours of video in it, as well as a whole book, right? If you think books are lame, if you'd rather just learn by watching videos, we'll you're not gonna learn great by just
browsing random youtube videos, you'll never get a comprehensive education. But I do have a DVD series out there,
over seven hours of video that walks you from start to finish
through all the basics and intermediate level stuff of photography including lighting lessons like this
one.

So I hope you'll check it out. You can go to sdp.Io/store or just search for Tony Northrup at
Amazon. Thanks so much..

Landscape PhotographyConquering the Camera Settings

Hello and here we are again ready to
shoot some landscape photography in today's video what I thought I would do
is spend this video talking a little bit more about landscape photography
settings it's something a lot of you asked me about a lot so today I will
show you my process. Also today's episode is sponsored by Squarespace if you need
a website a domain name or an online store make your move with Squarespace In a lot of my other videos I talk
quite a bit about composition and how I. Visualize a shot, how I then set the
camera up, position it, the perspective all that type of thing which is how I
capture the scene in front of me. I've been a little bit reluctant though to
talk about the camera settings but this video is dedicated to that.
When I first attach my camera to the tripod I'm always going to switch it
into manual mode because I think that....

Or I want the camera to be an extension
of my arm, of my body, or just when I put it on a tripod it's an extension of me
and to do that or to achieve that I. Think you need to have full control over
what the camera is doing so manual mode is the place to be I then it will always
shoot in RAW I just don't see any reason not to shoot in RAW after that I then
think about the exposure triangle now that's the relationship between aperture
shutter speed and ISO I've got an ebook if you want to download that that
explains all of them in detail but it's essentially balancing the exposure
triangle to get the right effect or the right exposure for you. So I'll generally
start with ISO and ISO 100 is going to work for the vast majority of situations
there are some times when you might up it a bit to get the shutter speed up as well
but most of the time I'm going iso 100 After that I'm going to think about the
aperture and I use the aperture to adjust my depth of field mostly if I
have something in my foreground that's quite close to the front of the lens
then I'm going to have a higher aperture number which means a smaller actual
aperture so usually around f/16 you'll be able to get everything in focus but
if you don't have anything particularly close to the front of the lens then I
want to maximize the sharpness that the lens provides and I'm going towards f/8
that's around the area where you're gonna get maximum sharpness sometimes
you'll go to f/11 dependent on that foreground again but f/8, f/11 or f/16
will be the vast majority of my shots. I then just use the shutter speed to I
just roll the shutter speed up and down to get the right
exposure I will use it creatively sometimes with long exposures but that's
how I use the shutter speed just to get the exposure right so if you can
master the settings on your camera get that manual mode nailed down then that's
when it's a bit like driving a car just becomes second nature you won't remember
your journey or what you've done on your camera and then you just really start
getting those creative juices flowing okay so that's that I'm gonna pack the
stuff into the bag again I want to get a shot taken so I found this beautiful little cove
here with this tremendously impressive waterfall.

When you want to practice
your landscape photography settings in manual mode there's nothing better than
finding a waterfall and there are lots of them when you're shooting in the UK
so I've got my shot composed here I'm at a vertical and I'm just getting the
stream leading you up into that waterfall and then that waterfall is
prominent in the shot. The sky above has a few flakes of blue and a bit of cloud in
there as well and I'm managing to capture that all in one frame because
the dynamic range of my camera is pretty good and it's relatively good light for
shooting this sort of shot so all I'm doing here is because I'm not using any
filters other than the circular polarizer to take the glare off the shot
off the water that is.... I'm at f/22. I'm or I'm working between f/18 and f/22 when
we're thinking about the exposure triangle that I talked about earlier what
that allows me to do because I'm reducing the amount of light coming into
the camera I can then increase my shutter speed and
I'm at.....

I'm only at one quarter of a second and that f/22 aperture in the
current lighting is allowing me to do that and what that does is just let the
water move through the frame for about a quarter of a second and it gives you
that nice bit of movement in the water ISO for this shot is at 100 I want the
least amount of sensitivity from the sensor and I want a nice clean image
which is so 100 gives me so I'm gonna wait for the light to go overcast
again and then I'm going to capture this shot beautiful scene let's shoot it. Okay so I'm pretty much back where I
started at Ribblehead Viaduct this is a composition I have shot before last
time I did a vlog here it's a really nice composition. You get a good view of the
viaduct and then you get the Ingleborough mountain in the background and that's
the same composition that I've gone for today but today I'm going to use it to
show you what I do to get the exposure right how do i meter my shot? First thing
I do is like I said get the exposure triangle right with the sort of creative
way I want to have it so I'm f/16 here because I've got some of these Reed's in
the foreground of the shot and I want them to be sharp and I want them to be
within my depth of field so I'm at f/16 I'm ISO 100 I'm then at a 1/10 of a
second and the way I go about getting that exposure is firstly I will look at
the meter, the built-in meter, on the camera a lot of the time it will then be
okay but I will then check it using the live view mode so I just click into Iive
view it pops up on the screen and you can use the LCD screen itself to
see how the image will look I will then use the histogram to get it as spot-on
as possible so my histogram here is looking pretty good it's not peaking to
the left with the blacks it's not peaking to the right with the highlights
and then I'm not going off the top which means it's over exposing for that
certain colour tone I also use it for focusing a lot of time because the focus
on this camera using the live view is absolutely perfect
if you camera doesn't have the touch to focus on the LCD screen
look through the viewfinder focus in then switch the automatic focus off so
you then in manual focus that's focusing and metering let's take the shot. Two
second timer is on there so it doesn't move around and that is looking really
good okay so I am set up for my final shot
of the day and this is my composition pretty much with the viaduct going left
to right in the scene and then I'm hoping to get lots of beautiful golden
light on that viaduct shining through with some big shadows and that should
look really good.

I've got the camera really low down on the floor because I'm
on this limestone ledge and I want the ledge to appear as if it is right in the
frame in the foreground and then just leads you in straight up to the viaduct
without getting all of this sort of rubble and rubbish from this old cave
system here. Settings wise I am at f/16 because that stone ledge is right in the
foreground and very very close to the lens it's still looking sharp at f/16 so
I'm happy with that i'm at iso 100 again and when you are
shooting the sunset you are always going to have a much brighter sky than you are
in the foreground so balancing the exposure is the challenge with a shot
like this you've either got bracketing or you've got ND grads, I use bracketing
because it's easier. I usually do two stops either side that's what I'm doing here
and it's going to be a really nice scene when sunset comes I'm gonna capture that
moment it's actually gonna come just before sunset because it's gonna dip
behind mountain there first but I hope you have got some value out of just
seeing how I go about using my landscape photography settings because once you
master it you then just don't need to worry about it in future and partly
that's why I haven't included in my videos up to now because I don't want it
to be the thing you focus on it's not the camera settings that are going to
make you a great landscape photographer it's about the visualization about
getting out actually into these amazing landscapes and then just putting your
personality into your photographs and the camera settings are purely a technical
thing that you just need to master you can then explore all those other things
that I was talking about before. So I hope you've enjoyed the video it is sponsored by Squarespace now.....

Go to Squarespace.Com to start your free
trial today and go to Squarespace.Com/firstman to get 10% off your
first purchase and if you could leave a comment down below let me know what you
think of the video and have a bit of a discussion about what settings you use
because I'm learning from you I hope you're learning a few things from me as
well and it should hopefully benefit all of us.
Anyway, I'll see you on another video very very soon
I'm Adam this is First Man Photography in the Yorkshire Dales absolutely
stunning Out!!.

How to Create an Online Photography Portfolio (with Tips!)

Hi, I'm Tony Northrup and for chapter one
of my book Stunning Digital Photography, I'd like to talk to
you about making your own online portfolio. Now it's not something just for
pros either, everybody needs to have a portfolio because this is key to tracking your progress
and improvement as a photographer. A portfolio is how you
show your best work to the world but its also how you
keep track of your best work for yourself and that's really
important. Whether you're an amateur or a professional photographer
because like all artists, photographers aren't
competing against each other, I certainly would want to take on Ansel
Adams, right? We compete against ourselves.

We're constantly trying to take a better
picture than we took yesterday and how do you know if you
don't keep track of what your best work is. So many times when I meet a new Photographer,
they sent me to their Facebook or their Flickr or even worse like
their Twitter or Tumblr. And that's fine, that shows me there
recent work, but sometimes your recent work isn't your
best work, right? What if you're a wildlife photographer and you have a couple of
rough days chasing down birds, and all you  have are some seagulls and sparrows, well I might not
dig through enough of your work to find those beautiful bald eagle pictures And of course if you're a professional
photographer or you want to be a professional photographer, even
if you just wanna sell prints, or give that a shot portfolios are how you do that. That's
the website you set up where everybody can go see your work and be super
impressed and want to hire you Or browse through your pictures and find
something that they wanna buy a copy of.

For that reason pros absolutely need a
portfolio site but like I said I feel like all even
moderately serious amateurs need one too because it's such
a critical part of becoming a better photographer. For a long time setting up an online
portfolio has been kind of a challenge like either it ended up looking kind of ugly or you had to have a good knowledge of
HTML and CSS. Well I found a new website, Squarespace, that
makes this much much much much easier and I
recently moved my own portfolio over from my old hosting provider to Squarespace and I've
been really happy with them. So I'll walk you
through my process of setting my portfolio so
you can see just how straightforward it is.

First I'll  visit Squarespace.Com/tony to get that 10 percent discount. I'll click get started in the
middle here They have a variety of templates here to choose
from and you can see they offer templates for
more than just portfolio websites; stores, restaurants. I'm just interested
in portfolio so I'll narrow it down and then we can browse through the
different templates and get an idea of the type of style that we like. And don't worry, if you change your mind you can
always switch it later.

So for me I think I like this Wexly one
here you can preview it by clicking the view button and get a live preview and this gives
you an idea of what it's going to look like This is nice because it shows thumbnails
right away, you can scroll through quickly and click something to get a larger
preview: and it allows you to quickly jump through so, I like
that design a lot and if you scroll down a little bit you
can see all these different portfolios made with that same design, you can see
how other people are using it. And you can see
even within a given design you have a lot of different options for how it's
going to be laid out. So let's browse through a couple of the other ones Forte here starts with that one single fullscreen image, it doesn't give you
that kind of immediate gratification of browsing through
the pictures but it would engage somebody more as you can
see the different design leads to a very different style When you choosing your site's template
you should pick something that vibes with your style of photography. So if you're a family portrait photographer pick
something nice and friendly And if you're a fashion or commercial
photographer, pick something sleek and modern.

Whichever style you use
I want you to grab your cell phone, your smartphone
and grab the smartphone of everybody around you and make sure that the site loads and
displays okay because Mobile Compatibility is an absolute must. You can see the Flatiron site
provides kinda the best of both worlds fullscreen immersive image with the
ability to browse thumbnails for the impatient. I think Flatiron matches my
style pretty well. So I'm going to click create a site like this and here you just log in providing your name
and email So here we are at the Content Manager page, and this is where you're going to configure your site and add pictures to it.

And as you can see
they don't leave you without help at any point there are little wizard dialogues that pop up and tell you
exactly what you're doing and where you are Each template starts with a set of example
pages, but you have complete control of it so I'm gonna choose make a page like this
and customize it myself and we can see within the portfolio this
particular template has multiple subfolders So course we don't want this photographers
pictures on there, though they're lovely So I'll choose "make a page like this" and add my
own and I think I'll start with commercial Now to add my pictures I'll just click the
"Add items" button here and you see I can just browse my thumbnails so I'll pick some of my
commercial pictures. Now I'll create a second gallery for my wildlife shots and I'll add some of those
pictures in I can already tell I'm going to have way too many wildlife shots
and I'm going to have to do some weeding. Now click "view gallery" to see how
everything is looking so far I can already see one challenge is that
the photos are sized so that they're scaled
from left to right and that can cause parts of the picture
to be cut off. Thats one of the challenges that you
deal with with these full screen immersive interfaces.

Now as you can see I
squeeze the window in from the left here the template automatically resizes it and
now that the window isn't as wide its scaling it from top to
bottom. I can change that by selecting the
options down here, right now it says full bleed, and maybe I'll just go for center and I'll click "save" to save it. So now we can see the pictures are no longer being cut off
but they are also no longer fullscreen, that's a choice that you have
to make regardless of how you set up the site because
people have different shaped windows people will be browsing this on their iPhone and tablets and smaller screens
and wide screens. If you decide to stretch rather than
center your pictures go into the Squarespace interface and
drag that little circle around to put it over the focal point of the picture.

This will allow Squarespace to
better center it and better decide what parts of the
picture need to be cropped for the best effect. As I click the mobile app's link
here, you'll see an interesting feature of squarespace which is the
ability to control everything from a mobile device This also gives you the really
powerful ability to view your portfolio from your iPhone or
iPad Now all these colors that you see are
completely configurable as well as the fonts and just about every
other element of it. So as you can see this right
now has a white background maybe I wanna go a little more dramatic,
I can pull this down and go black Ooh, stark and modern. Not too hard, right? If you want to try Squarespace out on your
own use this URL: go to Squarespace.Com/tony and that gives you your first month free
and 10 percent off of that.

You don't even need to put in a credit
card for the first month, so even if you just wanna play around and set up a site just to see how your
pictures might look you can do that and they won't possibly
charge you a penny cuz they won't have your credit card number, right? It's pretty
easy to do So let's talk a little bit more about how to pick your pictures. It is so hard to narrow down your body of
work to 10 or 15 pictures and I know this because I see a lot of people's
portfolios and they have like 50, 100 pictures in there and nobody has the
patience for that anymore. Maybe back in like the fifties when people didn't have
television and the Internet they'd sit there and they'd flip through
page after page of photos but nowadays you're lucky to get people to
look at five or ten pictures so you want to, say, put 15 pictures in your
portfolio? Don't go over that, I tell people
ten because I know they're not going to be able to narrow
it down that far but I do not want to see twenty pictures, at least in one category, on
your portfolio. That's too many and people won't get through
them.

So as you're going to your portfolio what I like to do is use Lightroom and I flip through and I rate pictures from
one to five stars and I reserve 5 stars for only my very
best work then I can filter the view to see just
my five star pictures and at that point I
start to narrow it down further. I pick at most one picture from any given set. I don't wanna see two
pictures taken on the same day. Forget it! You need as
much diversity in your portfolio as possible.

If you have two pictures which are
similar in any way you need to pick the absolute
best one Even though I know it's going to be painful.
If you're a wildlife photographer that means you put in one picture of any given species, tops. If you're a landscape
photographer that means putting in one picture of any given
location just pick your best one The sequence of your pictures in your
portfolio is very important but I can make it easy for you. Your first picture should be your best picture Your second best picture, make it the last
picture in the sequence. The first picture needs to grab somebody
but as they progress through their gonna linger on the last picture because that's
when the slideshow stops.

So you don't want to put it from best
to worst or they'll be lingering on your worst picture For everything in between, as much
variety as possible. Besides varying subjects, it is a
great idea to vary processing styles too. So put in some natural color pictures in
there put in some kinda over processed HDR-style photos if you
like that stuff mix in some black and white, maybe some sepia.
Especially if you're a portrait photographer and looking to attract some
clients you'll want just at least one picture in there
that's gonna catch everybody's eye and everybody has a little
bit different sense of style. So there are a lot of people out there who
like this kinda modern Instagram style heavily filtered picture and you should
have at least one of those in your portfolio if you're willing to do that.

Just so that
people know 'hey I like this type of picture this guy does this type of
picture' Generally, in your portfolio you want to use horizontal
pictures rather than vertical pictures because most people,
right now, will be consuming your portfolio on a PC with the horizontal monitor, so they'll
just look better. There are some pages that
everybody needs on your portfolio no matter who you are. Of course you'll need a photo page
and you might have multiple different pages if you want to show
multiple different categories of photos. You should also have an "About"
page that says a little bit about you if you're a professional you also want a contact page that tells people where
they can go and how they can get in touch with you In fact, even for amateurs it's a great
idea to have a contact page because I'll find that a lot of people will stumble
across your pictures and they might want to buy or use one of the pictures.

If you're a pro you really need to put up a
pricing page. A lot of people avoid this because they don't like to talk about
money or they don't wanna put a price that's too
high or too low so they want people to call them so they'll
negotiate, but people don't do that They'll look for prices and if they don't
final them they move on to the next guy. So put down some kind of pricing or
you're risking losing eighty percent of potential
customers. One of the most important part of your
portfolio is the domain name, and this is the place where a lot of people
mess stuff up.

Some people have a really long names and
they make their domain name, I don't know, "JonathanWeissmullerPhotography.Com" And guess what, I'm sorry Jonathan Weissmuller, if
you're out there nobody knows how to spell Weissmuller and if you have one whose names where
you're always spelling at the people on the phone and you're having to repeat yourself over and
over again, then it doesn't make a good domain name. You should choose something simpler,
something that you can relate to and I dunno, "Babbling Brook Photography" or "Waterford Portraits.Com" If you're a
professional fine arts or stock photographer, if you want to
be able to sell you the digital downloads or prints, you'll want a separate store on your
site. I went ahead and set one up on my own
Squarespace site and it works really well And you know what, it it's not that hard. It used
to be setting up e-commerce required like a team of people, but I really did it in like
half an hour despite dragging and dropping some stuff in and figuring out the prices.

Once you set up
your portfolio, you're not completely done. Of course the fun part is taking a picture
that belongs in your portfolio Revisiting your portfolio, getting rid of
the worst picture and putting in your new best picture. But you also need the kinda
revisit it on a regular basis to make sure, 1) that the designe holds up, because design styles change on a regular basis. If you're a portrait
photographer you should make sure that you know the people in your portrait
still have modern looking clothes.

You know I'm people with like mullets
and acid washed jeans in there anymore it's going to make a whole portfolio
look old. But you'll want, on a regular basis, to
update to the latest templates too, to insure that your website
remains compatible with all the different new browsers and all
the different mobile devices. That's pretty easy to do with Squarespace it's not so easy with some other portfolio providers. I think the best place to get a
portfolio is Squarespace.Com/Tony Visit that exact URL and you'll
get 30 days free and then ten percent of for the rest of your subscription if you
decide to subscribe, it doesn't cost you anything.

If you liked this video check out the
rest my book, Stunning Digital Photography. This is just part of chapter one and I have a ton of videos in there. Most of which you won't
see anywhere else. You can also see just free videos without
paying anything by clicking that subscribe button down below
and give me a like if you don't mind.

If you have any questions, of course you can contact me
by posting a comment down below on the page or sending an
email to tony@northrup.Org. Thanks.