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

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

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

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

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

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

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

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

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

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

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

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

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

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

Subscribe now. Watch this, watch this video..

Learn About HDR Digital PhotographyFinishingan HDR Image

My name is Brandon Sarkis on behalf of Expert
Village. Today, I'm going to give you an overview and introduction to HDR or high dynamic range
photography. This is kind of a really gritty, kind of a grim, almost apocalyptic-looking
image. It also looks very unnatural.

It looks highly processed, which is one of the neat
things you can do with HDR photography. You don't have to make them look synthetic or
processed like this though. Let me show you some other examples I have, like this one.
Clearly that one does not look heavily processed. This one doesn't either.

This is just a building
that I shot here downtown. There are some trees. That's actually an HDR picture, but
it still retains that level of naturalness. It's just a matter of how you want to approach
the project.

It's the same with this bridge, same with these tree moss that were growing.
Here's a theater. These I kept that natural look about them. Now, if you want to see one
that has another strange unnatural look to it, it's this one. It almost looks like a
painting.

It looks very synthetic, very fake. If you see it full sized, you can also see
some other really weird line details to it, and then you contrast that with this, which
looks super realistic. You can really utilize HDR photography to get some really interesting
effects as long as you play with it. Sometimes the effect you're going for will be the exact
opposite of what you end up with, which isn't necessarily a bad thing.I'm a big fan of it.
I'm constantly playing with it.

I'm constantly learning new things about it. I have found
that my best images tend to come out night. I highly recommend if you're going to do this,
either really like not overcast days, but days with lots of clouds and like individual
cloud detail or lots of like really bright days with clouds or at night if you can take
like nighttime scenery, you can get some really interesting effects out of that. Like this
was taken in the middle of the day, and you can look at the detail in the clouds here
and it's pretty amazing looking as opposed to this one, which was taken on a fairly overcast
day.

There's not a whole lot of cloud detail. This one right here was taken on a regular
day too, and you can see all the detail in this one. It's just a matter of working with
your photos, and you can get some really amazing results. You can get some results that will
surprise yourself, and I can't recommend it enough.

Hopefully this has been a helpful
intro on how to shoot HDRs and work with them, and I look forward to you guys checking out
my videos on Expert Village. Thanks a lot!.

RAISE your landscape PHOTOGRAPHY game using LONG EXPOSURE

Hi I'm Adam and welcome to first man
photography today I'm in Whitby where we're going to be talking about how to use
long exposure photography to up your photography game let's go before we get into this today this video
is sponsored by Squarespace if you need a domain name, a website or an online
store then make your next move with Squarespace since I was in Glencoe in
January I have not been out to shoot any landscape photography and that's because
Glencoe was just so epic but I was really happy with the shots I captured
and like I've mentioned before when I am doing landscape photography particularly
I ride a wave there are ups there are downs and when I hit high like Glencoe
there's always a slump afterwards where my creativity just eludes me for a
little bit and it takes some time to get things back and going again one of the
things is to employ different techniques and that is what I do with long exposure
photography so I'm going to talk you through some of the things to do to
start shooting some really nice long exposure images and just gives you
another technique to be more creative and create something different to
everything else you see there are a few things you're gonna need though in order
to do that and we'll talk about that in a minute but isn't it just absolutely
brilliant being at the beach the feeling I always
used to get when I was younger as you drive down to the coast that first sight
you get of the sea it's just so exciting my kids get excited about it now and I
still feel excited in the very same way you then get out the car in a place like
Whitby you can smell the sea air the fish and chips it's just a really quite
a special thing at the seaside so the things you need are firstly a scene to
shoot and I've come here to just by Whitby Abbey and I've got this view down
to the harbour and the bells going off..... I wonder what time it is..... So I have Whitby harbour
here and it's perfect for a long exposure because you need to have two
elements you need to have something is moving and then something that's static
in your image because it's lengthening exposure and smoothing out that out that
movement that creates the interest in a long exposure shot and makes it
different from a normal static shot so after that it's about gear really and
you're going to need a camera that has a bulb mode or a timer in order to push
your exposure longer than 30 seconds you're then going to need a filter an ND
filter a solid ND filter of either six ten or even sixteen stops which I'm
using for this shot here you're also going to need tripod because any movement in
your camera will lose sharpness out of your image so a nice sturdy tripod is a
recommendation and then also you need to if you're using a DSLR you need to cover
the eyepiece because light can creep in through the eyepiece and during a three
minutes plus exposure that can really damage your image and make very strange
things happen. So once we've done that we need to compose a shot and that's
what I've done here I've got the Harbour sort of leading you up into those small
lighthouses at the end of the harbor and it's going to be a really
straightforward image I've got the sea or horizon going along the top of the
rule of thirds line and that's going to be my shot and as I smooth out the water
and smooth out the clouds it'll be quite an interesting image so then it's about
firstly taking a normal exposure so we can then adjust our exposure time
depending on what that is so for this scene it's one three hundred and
twentieth of a second at f/8 and ISO 100 that's for my normal exposure and then I
need to use an app or a exposure calculator to work out how long that
exposure is going to be so in this case it is three minutes 20 seconds I use
photo pills app there are loads out there that will work out your exposure time
before you put your filter on though you need to make sure you have your focus
locked because once you attach that dark filter to the front of the camera the
camera will not know what to do because it won't be able to see in a normal way
so you need to get your focus locked and then switch to manual focus so we're not
going to get any focusing issues also you need to turn your IS off if you have
image stabilization because that can introduce some movement into the image
as well and we don't want that it's quite windy at the moment so with that
kind of exposure I am going to get a slight amount of movement which will
reduce the sharpness a little bit but it shouldn't be too bad so once we've done
that we just need to punch in our exposure time on this Canon 5d Mark 4 it
lets you do it with a built-in bulb timer if you don't have one of them
you're going to need to put in a shutter release cable and just turn it into
build mode and then lock off your exposure for as long as you have decided
it needs to be and then just time it with your phone or some of the shutter
release cables actually have a time so I'm gonna go ahead I've got the bulb
mode set I've got the timer set and I'm just gonna use the 2 second timer so
there's no movement in the camera and then go ahead and shoot okay so I'm set up for my second shot of
the day just as the Sun is moving into golden hour, one of the really nice
things about long exposure photography is it really says to the viewer that
it's not just a snap shot you have literally put the time and the effort in
to capture something different than anyone else walking by would have
captured and this is quite a good example of what I've got set up here and
where you can really use long exposure to your advantage so across the harbor
there towards the other harbor wall there is this really interesting ladder
and the composition I have is just with that ladder in the scene and then the
the harbor wall essentially filling the middle of the frame with the horizon on
the top rule of thirds and then the on the bottom of the wall on the bottom
rule of thirds I have the 70-200 mm lens on there and I'm zoomed
fairly well in at about 100 millimetres on that ladder and with the layers of
the seaweed and the moss and the brick in the shape it's all working perfectly
for a long exposure because there's some really interesting textures in that wall
and that ladder and then that's contrasted against the really smoothed out
water and then the smoothed out sky when I do the long exposure so for this one I
only have a 10 stop filter for this lens so it is going to be a 51 second
exposure and that's still enough to smooth out the water and smooth out the
sky and create that effect that I'm looking for.

The type of ND filter that
you use really depends on your budget this one which I'm testing out today for
the first time is a very very cheap one this was about 20 pounds and it fits on
the front of the 70-200 I have used expensive ones I've used cheap ones this
is actually looking to be pretty decent it doesn't introduce a color cast or
anything like that so I'm fairly impressed so far and long exposure
photography does not have to be expensive
on top of what you've got this is a ten stop one like I said but yeah
pretty good. Another great thing about long exposure is that if you have people
walking through your scene and particularly in a busy tourist area
like this you can remove them from the shot using the long exposure because as
long as they keep moving through your scene they won't be captured at any one
point and it's a really good technique for removing people from your scene so
I'm all set up to take this shot I have the bulb timer on again I'm at f/16
it's gonna be a 51 second exposure iso100 hoping that nice golden light
stays on the wall shoot that wait 51 seconds let's have a
look So I'm all setup up for my last shot of the
day and I've had to have a bit of a mad dash down to the next town or village
from Whitby down to Sandsend because the tide as you can see has come
right in and there was no beach left at Whitby. So i had to rush dow...... I'm
worried about the sea cathcing my feet here had to rush down to Sandsend
because I wanted to finish the day with a seascape with long exposure when it
comes to sunsets which it is about now long exposure is not the best thing to
capture a sunset especially if you've got the Sun in the image because you can
imagine as the exposure goes the Sun is moving through scene so it just doesn't
look right what long exposure is absolutely perfect
for though is that time after sunset which we're just getting into now as then
that's normally the time that the color fills the sky if you've got a good
sunset and using long exposure to capture that is great because what it
does is as that color develops and as the color moves at different spots
through the sky if you're exposing all the time that that's happening the image
will capture all of that color so actually you capture a little bit more
color than you would normally capture with just a very quick exposure image
and that's exactly what I'm doing here so for my composition I'm using these
I don't know what the called.....

I do know the name but I've forgotten these
poles leading into the sea and then I've got the sea washing up just over this
wall here which I'm stood on the tide is coming in so I'm probably gonna get wet
feet very shortly that's my composition from the bottom
right hand corner up into the image and then just smoothing out that sea with a
nice long exposure then capturing as much color in the sky as I can at the
moment I have a six stop filter on there because as it gets the end of the day
and the light comes down a six stop filter it's good for just extending that
exposure to around a minute to two minutes depending on the light so the
good thing about the six stop filter is your camera can still see through it so
you can still compose through the liveview you can't really see through the
viewfinder we can still compose through the live view when it compensates for
that. Sunset wise tonight are we gonna get any colour... Huh....I don't really know
because at the other side there is the wall here for the road but at the other
side of that where the Sun is actually setting behind you there there is a
massive bank of horizon cloud so there's not gonna be
any massive color but I do have some very high altitude cloud here which
could still catch some color maybe 20 minutes after the Sun sets. So I'm gonna wait around for that and try and capture that in this
long exposure I might experiment with different things
you can experiment with different lengths of exposure to get different
effects in the water if you want some swirling do it for a bit shorter a few
seconds even and you can really experiment using your long exposures and
use it creatively and it's another technique just to get the creative juices flowing
and that's exactly what I use it for anyway stick around to the end for the
image and a really awesome time-lapse to finish the day as well but
I really hope you've enjoyed the video leave a comment down below and let me
know what you think of long exposure any questions as well I'm quite happy to
answer and please do share the video because that really helps me out this
video as you know is sponsored by Squarespace
thanks so much to Squarespace for continuing to sponsor me but if you go
to Squarespace.Com to start your free trial today and go to Squarespace.Com/firstman to get 10% off your first purchase anyway I hope you've enjoyed
the video I'll see you on another one very very soon.

I'm Adam, this is first
man photography, at the beach in the beautiful North Yorkshire Out!!! Sharp and it creates a nice gypped Jukes
it creates a nice juxtaposition.

Photography Tutorial - Basics of Composition

Speaker 1: Stop chasing me, I have a Canon
in my hands, it's a Canon I tell you, it's a cannon. Jared Polin, froknowsphoto.Com,
here with another super secret project video. This time I want to talk about composition.
I will be using a Rebel T3i, I have on here a 16 to 35/2. 8 But to keep it more realistic
to what most people starting out with, I am only going to shoot it in the range of 18
to 35, because most kit lenses are 18 to 55s and I am not going to go below F 3.

5, Just
to keep it more realistic. But when I say composition I have here Kermit de Frog as
my subject and he is an inanimate object. So we are going to play around here, I don't
even know what I am going to do, I haven't even tried to compose an image here to see
what would work best with just basically a kit lens. If Canon actually sent me kit lens this time,
I would have used it, but they sent me a better piece of glass, because I asked for it.

But
it still has to go back, I still have to send it back soon. What I plan on doing here, is
just going through different angles, taking pictures and showing you what they look like
to see how I am changing you the composition, changing up my angle, seeing what works best.
Because the best way to learn your composition is to actually go out and see it and do it.
So that's why Kermit de Frog is here for my subject and just a little cut out, my mom
made this in 1983 and it has been my doorstop ever since. She used to do a lot of ceramics and this
is one thing she brought home in 1983 when I was roughly 2 years old. So yeah, let's
get to the composition video end of this or the composition part of this and I will right
back to use this Canon T3i, hopefully you guys pick up some information from this, we
will be right back.

All right, so we are back now, T3i in hand and this is about seeing
and feeling the image. Sure there is not much going on here. I just Kermit de Frog sitting
over there and I have to find the image. If you can practice this yourself and find the
image with inanimate objects and things like that you are going to train yourself to get
much better when you are in an actual shooting situation, all this practice of trying to
find the right composition is going to lead you on the right path to getting that composition
when you're out there shooting what really, really matters.

This is a great test. I have to sit here and
work through the different, you know it's not the biggest range of lenses, it doesn't
go 18 to 55 like those kit lens, it's going to go 16 to 35, but like I said, I am only
going to shoot from 18 to 35 and at the lowest aperture of 3. 5 And that's going to have
to change as I hit 35 because most cameras, when you don't have the 2. 8 Lenses, are going
to do that.

But what I am going to do here is try to find the image. I am just going
to move around and search for it and we are going to pop the images up on screen as I
shoot them to see what we are getting. And then see if it's good composition or bad composition,
so you know really sometimes people start out and they shoot like this. So let's see,
that's a 35, full standing up, shooting the child or whoever down at the low angle and
it looks like this.

What could you do to make that better? First things first, if this is my subject,
I'm getting down on my subject's angle because this is how you want photograph a child or
subject on this low angle, boom, let's see what this looks like, there you go. Now right
now, I'm in aperture priority we are not going to worry too much about exposures right now,
because this is all about composition. So there is, oh I thought I had a bug on me,
I don't like bugs, there is the first image, not every interesting, there's a second image,
getting even better and like that angle, do you see what I did it. I threw them off to
the right-hand side, now let's put them right in the middle, so using this Canon, I hit
this button over here, the top right corner, it lights up the different focusing points.
And then I select the middle one and hit okay, so here he is right in the middle.

So now you can see the picture basically in
the middle, look at the difference between the first one, he is off to the right hand
side. And the second one, he is right in the middle, which composition is stronger, that's
up to you. But I like him throwing off to the side, because that to me is a better image.
Now what would a vertical look like, do we want them right in the middle, like this,
do we want to focus and do this? You know, you are just getting a different feel for
what's going on. Could we come here and shoot an even wider shot or do I want come over
to here and be like all right, Kermit, let's see what we have got, let's work with you.

Oh right there, Kermie, so here we go again.
I am picking my focusing point, by hitting that center button and moving all the way
over to the leftmost focusing point, I think I am still learning how to use this bad boy.
And there we go, focus right on his eye from this corner, all right, there we go. I want
to get more of his body in there, so I am going to go wider. And here we go, now, I
threw them off to the left hand side, but I got his whole body in there and that's looking
much better than the shot before. The shot before is good, but look at the tree right
in the background, it's like he has got a tree coming out of his head.

Let me focus,
lock in, you see, now you see this tree coming out of his head. That's not good, how can
we -- how can we fix the tree coming out of the top of his head. Well, we could move slightly this way and
be like, all right, I don't want the tree coming out of your head. So let's go vertical
and now the tree is off to the side focus, focus, boom.

Now we see the difference in
where the tree is much better than the tree coming out of the top of his head. So really
what this is coming down to is just seeing what's going on in the frame, what's going
on in the background, what's going on in your, just in your sidelines. It's all about seeing,
it's not just about where your subject is what your subject is doing. He is not moving,
I have to move myself, many times, when I.

Am shooting models, I don't ask them to move,
if they are in a bad place, I will move myself and the last resort is ask them to move, because
I want to -- you know I want to see the image. I am always looking, I am always looking through
the camera, going all right, let's see, what could be the right angle, because you want
to look through the camera, because that's what your image is going to be and not so
much, always just looking not through the camera, you want to use the camera, to see
what your frame is going to be, because then you are going to see what's going on. So those
are just some simple examples of what I am thinking about when I am looking through the
camera and shooting the pictures, was there a distraction in the background, would he
look better at a high angle or a lower angle, would he be better right in the middle, could
he be better to the left or the right, and these are just basic composition things that
are going through my mind, every second when I am a shooting a picture. When I am looking through the viewfinder,
am I looking right at the subject all the time, no, I am focusing on the subject, but
I am checking the outer border, is there something protruding through the outer border that doesn't
need to be there, is there a distraction.

I don't know, but that's what I am looking
for and what I am thinking about. So that's about it for the basic thing on composition
right thing. I hope these images help you out, I hope it give you a little bit of inside
into what I am thinking about, so you can try to think about that as well. So that is
another super secret project video, this time composition with Mr.

Kermit de Frog, Kermit,
thank you very much. Jared Polin, froknowsphoto.Com. See ya..

Learn About HDR Digital PhotographyEquipment for HDR Digital Photography

My name is Brandon Sarkis on behalf of Expert
Village. Today I'm going to give you an overview and introduction to HDR, or high dynamic range
photography. Let's start off with the things you're going to need to take an HDR photo,
or to make an HDR photo. First and foremost, camera.

You're going to want something that's
capable of doing multiple exposure shooting or auto exposure bracketing. It doesn't have
to be something really big and nice like a DSLR, you can actually do it with a lot of
new point and shoots, off our multiple exposure bracketing or auto exposure bracketing as
a feature set. The next thing you're going to need, this computer, and you're going to
need two particular kinds of software. You're going to need an HDR software, or high dynamic
range software.

You can look online, you'll see there's about eight or ten that I know
of different software packages, there's also plug-ins for popular things like Photoshop
that you can use. They all pretty much achieve the same result, there's just different ways
of doing it. Some are Windows only, some are MAC or Windows, some work in Linux, so, fair
enough. And you're also going to need an image editor, something along the lines of like
a Photoshop or a light remover and aperture or something.

So, knowing that, let's get
started and I'll give you a brief tour of how to set up your camera next..

Photography Tips - Backlighting - an Introduction

Another way you can go against
conventional wisdom is to shoot against the light this is called back lighting I've got a rim, a halo running across my shoulders through my hair and down the other side, it's called a rim light this is caused by back lighting and it's making it extra decorative i feel. Back lighting works particularly well
with translucent subjects such as a bottle of wine glass, due drops, ice things of that nature. It's also great with portraits now janey is shooting against the light with the video camera and that is why i have this rim light going on all around me. To explain the technique i'm going to talk you through a back lit portrait by doing one of Nat here.

As you can see the sun's coming from
right behind us it's really quite strong we've got the river we got some trees
off into the distance there, these are really really useful because when you're
back lighting a portrait it's often best to have your subject against something dark, if you have, if i have Nats head against the sky we'd probably lose that rim lighting effect, because the sky is really really bright. Now in order to get that isolation against the background i'm going to use a fairly long-ish lens because that will help me to isolate Tash, against whats going on behind her. When shooting into light you want to always make sure you've got a lens hood on, the lens hood acts like your hand over your eyes when you're looking into the sunlight yourself if you don't use a lens hood the chances are you'll have a milky
washed out picture or a little boom boom boom boom boom ringlets going across it. This is called lens flare it's great as a technique and it can look really smart but the purposes of what we're doing now let's just say you
don't want it, so use a lens hood.

So let's have a go shooting a picture of
tash that's it straighten your dress out. Excellent. Now just kind of look over into the trees Nat, can we just have a moody old looking into the distance. Turn your face a little to your right that's it plenty, i don't want to get too much light on the tip of your nose.

Now when you frame-up the shot, to make sure you've isolated your subject against the
background, suns gone down a bit but it's still plenty enough for back light for rim light. Just shoot the shot, chances are the camera will get confused
because there's loads of light going on behind your subject, that might upset it
and you'll need to overexpose to compensate. The background will get really bright but it means your subject will be the correct exposure. So i need to brighten up that last shot i did of Tash i can do that by dialing in a bit of exposure compensation, i'm going to go to plus one stop, that's going to make the picture twice as bright but the background will get brighter but tash will become the correct exposure.

Let's re-compose the shot, there we go, that's it Tash. Let your shoulders relax a bit, it's very good, we're getting good at this. There we go that's great, Tash is now at the correct exposure. Come on sun we want more of you.

Another way you could do it it would be
to press the auto exposure lock button on the the back of the camera, if you go up close to your subject fill the frame with her or him or it, according to what you're doing you press the auto exposure lock button like that, and as long as i hold my thumb on that button doesn't matter where i point the camera, it's going to keep that same exposure locked into the camera then all we have to do is re-compose your shot, and take the picture. Once again tash is perfectly exposed. Alternatively you could do it manually and that's much the same as the last technique, you just go up close fill the frame, read of the exposure on the camera's light meter this is a hundred and sixtieth of a second at F five point-six go to manual mode and set a hundred and sixtieth of a second at F five point six. Just like that.

Take the shot, job done, when you do that ignore the camera's light meter because it might say this is way over exposed, it isn't you've exposed for the subject not the background. That's really all there is to it. Back lighting can add a real dinamisum to your photography and i really recommend grab your camera on a sunny day, get yourself out there and have a go at this..

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..

Jewelry PhotographyDigital SLR Cameras for Jewelry Photography

Hi, I'm Michael Seto. This next clip, we're
going to talk about what sort of camera is ideal shooting jewelry photography. Jewelry
photography is very specialized. It requires you to get in very close to a piece of jewelry.
You tend to need a lot more resolution because of that.

You often are just focusing on a
very small thing and then you're going to have to crop in in your post production, so
you need a specialized camera. Something like this, a little point and shoot, is really
not going to do the job. If you're serious about your jewelry photography, what you need
is a thirty-five millimeter SLR. In this case a digital SLR.

This is a Nikon D200, but any
digital SLR will do. It gives you the option of changing lenses. Right now I've got a sixty
millimeter macro lens on this which is one of the ideal lenses for shooting macro or
close up and in this case jewelry. So, having a SLR allows you to change the lenses from
shorter, say sixty millimeter, to longer, hundred and five millimeter or even two hundred
millimeter or using some of the specialized lenses.

So, when you're shooting jewelry,
you want to get a digital SLR, this gives you a lot of options in terms of lenses, ISO,
and so forth; the other controls on the camera. So this is a perfect camera for jewelry photography..

Photography Portrait Studio Tour

Hi, we're Chelsea and Tony and today
we'll be showing you our photo studio. We're going to take you through the gear
that we use including our tethering station, our tripods, our backdrops, our
lighting, even light modifiers, so stay tuned. First thing i'll go over
is our camera gear that we keep in the studio. We use the Canon 5dsr, it's got
50 mega pixels and our favorite studio lens which is the canon 70-200.

And all of
that is on a Manfrotto ball head and tripod. We have a Dell 4k monitor, which is
really nice for seeing your pictures pop up. It's all on this rolling cart but Tony
went over all of this stuff and how to hook up tethering in our tethering video, so you
can check that out in the link below. Next we'll take a look at our lighting
but first i want to show you the Paul C.

Buff cyber commander. It's really nice because it can control
up to 16 lights and it can even store your lighting settings. So if you have
complex lighting setups, you can put the different variables in
here and it will keep them for you. This is the Einstein E640.

This is our our main strobe and we have
like a mishmash of different strobes that we use in here because I'm just
kind of a cheapskate. In fact, I bought all these used. This is the most expensive
light we have, it's why we have it as the main light. They run about 500 bucks new, I
think.

This strobe has an advantage in that it's very fast. So it can, it fires it and freezes the action. The
rest of these strobes aren't quite as fast, so the flash duration goes on a little bit
more and they might show motion, which could
reduce sharpness. But because it's our main light, we're pretty much taking
advantage of it.

It also has very good color balance, so the color balance doesn't
shift between strobes flashes. Which can happen with cheaper
lights. We have a beauty dish attached to it, yea, with a sock. Yeah this on the outside is a sock, it's a diffuser.

We'll show the the beauty dish from another angle, but we
really like the effect of the beauty dish. It creates, not
necessarily completely soft light, it still retains shadows which helps to
show shadows under the cheekbones and can just be a really flattering look.
You'll notice that I have a piece of sticky paper here with the number one written on it. All the lights have numbers on them
that allows me to more easily adjust them up or down from the cyber commander
because that can get confusing. And I.

Think it's important to mention that
this c-stand has kind of been a life saver for us. Right, that's actually our
fourth C-stand and because the first three just broke over time as you can
imagine having all this weight out on an arm like this, eventually will just wear stuff down. So
over the years- also the light will just lower sometimes if you get a cheap one. So this has been a really good one.

-The whole thing will twist.
This is an Avenger. And another helpful thing is this circular sandbag here.
Right. That's The Vest Guy. This is one of my
favorite ones, it's really nice and heavy, it keeps everything in place.

So
yeah you'll notice all our stuff is sandbagged, and that's for a reason. That's something
you learn the hard way, because at first you get a cheap light stand kit and you
don't put sandbags on them but then you have somebody in the studio and they
trip over it and knock the whole light over and then you break a bulb and then
the bulb is 80 bucks. And, just the sand bags are cheaper. But don't fill them with
sand, fill them with gravel.

Otherwise the sand sneaks out sometimes- the sand get's everywhere! -And will actually wear down your floors. An expensive C-stand is
really important. Do not buy a cheap boom or you will be buying several. Yeah, so
that's not very, like, sexy but that's pretty important.

That has been a lesson that we've learned the hard way. Yeah, while we're on the topic most of
our light stands have casters on them i just haven't found casters that fit this
particular C-stand yet, but the casters just make everything go a
little bits faster because you can just roll them from place to place. So, sandbag
plus casters gives you mobility and stability at the same time. This light is a Paul C.

Buff light too. The
White Lightning X series yeah - 1600. It's a little bit older, it's a big heavy and durable light it's
very powerful, it puts out a lot of light. It doesn't have all the fancy features
of this one, but it's cheaper so we use this as a fill light and in a traditional
portrait set up.

A big soft box on there. Yeah, it never hurts to have a big soft
box because it's very easy to move it away a little bit farther if you want
harder light, so. I like this Octobobox, it's not as easy to mount and dismount
as a beauty dish but it unfolds pretty quickly when you do need to travel. Our other lights
back here, we have three Alien Bees actually, and those are also Paul C.

Buff lights. We got a lot of Paul C. Buff lights. Yeah, I picked these all up used from
ebay, hence it's the varying colors.

But I. Think I spent no more than like two
hundred bucks on them. You'll be wondering whether you should
get the B400s or the B. 1800S, or the B 1600s, but -I think those are B800s.

This is a B800, that one's a B800 and I
think there's a B400, but yeah, generally all those outputs are just
fine. The higher outputs are a little bit better in that you can recycle the
flash a little bit faster, but for the most part, for the backdrop light, for the
hair light, you don't need that much power. Even for these, we just don't need that
much power. You need power for filling up an auditorium, if you're shooting somebody's wedding or a basketball game,
you need to fill the whole room, but in the studio, power doesn't matter that much.

Also notice with these Alien Bees, you
have to connect an external device to control it and these CyberSync
controllers cost a few bucks more, so at some point the Einsteins are almost as
cheap as these because the Einsteins have a less expensive remote control.
So just something to consider if you're weighing it, but we have a whole video
about choosing the specific of the lights. Here we have some nice barn doors
as a light modifier, you can just move it like to keep the light from spilling onto
your back drop or wherever. It just helps you direct the light. And this has inserts
here so you can drop a gel in there if you want to make the the light yellow
orange or red or blue or something.

Sometimes you want to start with a white
backdrop and just color it that way. We pulled out all sorts of junk for you
guys. These are some backdrops that are, they're
thick, they have a a black rubber back and then they have a design printed on
them. I really love these they don't wrinkle,
they're super durable and they make great floor in a photo shoot or
you can use them as a backdrop.

Yeah they they actually look
completely believable in a picture and it's a lot cheaper than getting a nice
wood wall and painting it and letting at age for10 years. Yes. You can throw a baby on there just
get an instant- you can throw a baby? Don't throw babies. But it's a good backdrop for a baby.
I've used it for product photography a lot so I really love these.

And then we
have our vinyl backdrops as well and we have white, black, vinyl and also a paper
green-screen. Yeah, and to adjust these we have yeah these pulleys and it just allows it to
more easily drop it down or raise it back up out of the way. And you'll notice
that I have a ladder that I keep back here because every now and then the
pulleys will slide off or we'll need to change a backdrop or something. Yeah, those aren't favorite actually, those pulleys.

Yeah, they don't work that great. We have a ton of stuff back stuck behind these for backdrops like
doors, and there's some wavy plastic here. So we just kind of make backdrops too and
then try to shove them back there. Oh yeah, we have this guest back here.

A mannequin. Um, excuse me miss this will often- what are you doing to her? We'll pull her out before a portrait shoot
and set her up so that we can get the lighting straight before the client
shows up. Poor thing. We have a few heigh modifying
tools here too, we have the apple boxes, which I often have to stand on to be as
tall as our clients, if they're men.

Otherwise I'm just shooting up at
them -yeah you'll show like a double chin if you shoot from underneath, so you
usually want to be slightly above eye level. Another thing that I do, I have several
stools of different heights here and those are great too because often your
client will need to sit down. Yeah we have a traditional stool, and
then we have a more masculine stool. It's good for group shots too, because you
need to have you know kids and adults at kind of the same height to fit everybody
in the frame.

So you want, sometimes you have people standing on
here, sometimes you'll have people sitting on a stool and you just need
lots of options so you can raise and lower everybody to get about the same level
and cram everyone in the frame. Yeah, one thing I like about a
stool is if you set up the light and your subject can't move then that's a good way, it's a good
marker, or sometimes we just use tape on the floor - yeah we'll put tape on the
floor but yeah, the average portrait client moves around. -I wriggle a lot, so I like the stool. We have all sorts of kind of
unconventional props.

We have smoke bombs and various blankets and christmas
baubles and things like that, but one thing i really like in the studio is
this fog machine. And it's made by... Chauvet I guess. And it's just a good way to add some
ambiance and get lighting going through the fog.

It's cool, it's interesting. Another
important part of the studio is having your second camera body ready just in
case something happens while you're shooting. So here i have a Mark III. Could be
anything, anything you like.

This is just a big monster fan that we
can use to add a little movement to hair or sometimes just cool the room down. It's just a regular fan, Lasko. So that's
just a few of the cool toys that we have in our studio. If you want more detailed
information about building a photography studio, check out my Photography Buying
Guide, which is a ton of information.

You can also look for a lot of information at
northrup.Photo and please subscribe to see more free videos. We put out of
three new videos every week. Share with your friends, give us a like.
Thanks, bye..

OnePlus 5Discovering portrait photography with Kevin Abosch

People often ask me What does it take to make a good portrait? Im Kevin Abosch and photography has
been an important part of my life For at least the last 30 years. With portrait photography,
one has the potential to create images Charged with an intimacy and depth
that connects us to the subjects we shoot. When we speak of portrait photography
we usually think of the subjects as being people But I use the term broadly to refer to any subject we focus on with the intention of creating intimacy. With portrait photography you can
discover and reveal a new facet Of a close friend, a relative or
just someone you bump into on the street.

There's no secret to shooting a good portrait. In fact I prefer not to speak in
terms of good and bad. What really matters is that you are
happy with your own results. Figuring out what works for you
takes time and lots of trial and error.

There tends to be a consensus, however,
around what people find desirable. Technically speaking, photography is about light. The source of the light, how it hits your subject
and how the reflected light reaches the camera. Having an understanding of this
and even how to control lighting Will have a profound effect on your images.

It can mean the difference between a well-lit subject
and a subject so dark it becomes a silhouette. Where is the sun in the sky? Is it midday and up so high that it casts
deep shadows under the eyes and nose? Maybe thats what you want. Or you might want to avoid the sun altogether
and bring your subject into the shade. Yes, by all means place your subject in the light that helps you achieve the look youre going for.

Might sound like common sense,
but as my father used to say, Common sense isnt very common. With portrait photography it can take a bit of time To get all the elements just right..

In-Camera Digital Double Exposure Tutorial

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\pard\pardeftab720\sl380 \f0\fs26 \cf2 \cb3 >> Sara: Hi guys, my name
is Sara from Sara K Byrne Photography and today I'm going to be talking to you a bit
about how to do in-camera double exposures. \
\ I won a fearless award for a photo I had last
year and ever since then I've been getting questions on how to do this.\
\ So this is a technique that originated with
film photography where you expose the same frame of film twice, but nowadays there are
a lot of cameras that allow you to do the same technique digitally. \
\ I'm going to show you how to do them on the
5d mark 3.\ \
Ok so now we're going to go through the menu on the back of the camera. There is a little
paint brush looking button right here, its called the creative photo button.

If you hit
that a little menu is going to come up and the center option is for multiple exposure,
so just click on that\ \
to turn it on you go to on function/control.\ \
Multiple exposure mode we are going to set to additive, we're going to use this because
its the most similar to how film works.\ \
Theres three other options and we'll do a brief description in the blog post.\
\ We're going to just do two exposures, you
can do more if you'd like.\ \
We're going to be saving all images and we're going to be in continuous shooting mode.\
\ Right here, this is a cool thing.. It allows
you to select an image for the base image so you don't have to shoot them right in a
row. You can in you want, but say you've taken some photos earlier in the day and you wanted
to use those.. Like I'd taken this photo last night and I'm going to be using that one for
one of my base images.

\ \
Lets go use it, take some photos.\ \
Silhouettes are a really fun place to start because you can blow out the sky behind the
person and the second image you take is only going to fill the dark areas of the first.\
\ So we have some base images that I shot earlier,
so we only need to find textures to fill them with.\
\ The mark 3 is awesome because if you use live
view which I highly suggest, it will show you the overlay of both images and you won't
have to remember what your previous composition was.\
\ Now in the menu you'll remember I chose save
all images, this saves the two photos individually and the composite result in raw form, which
is why I'm able to show you the before and afters.\
\ Sometimes I want to have more context and
facial texture in the subject. If you have really directional sunlight you can have the
subject face the sun and slightly underexpose skin tones. \
\ You're going to end up shooting upward a lot
of the time, and you should use the sky to your advantage. Its great for isolating the
subject and background textures, for example if you shoot the top of a tree line instead
of shooting into the trees, the sky will blow out the rest of the image behind her head.
I purposefully kept her face in the darker part of the image to retain the full facial
line.

\ \
Alright, thanks so much for watching guys, i hope it was all helpful for you. If you
have any questions, I'll do my best to answer and I'm so excited to see what you come up
with!}.

Night Photography Stay Focused with Doug McKinlay

Hi you're watching AdoramaTV and I'm Doug McKinlay. In today's segment we're going to look at some of the do's and don'ts of getting some of the really great  evening and night pictures. AdoramaTV presents, Stay Focused with
Doug McKinlay. First and foremost we need to find the right spot, if you know your city really well, you're
already ahead of the game.

A little trick I use is I carry a little
notebook with me all the time so when I'm working, whether it's here in
UK overseas, if I see something that might be interesting
for an evening shot I just mark it down, simply writing down a location and one or two lines about why its interesting. The next we have to think about is
logistics. Primarily what I mean is where and when the sun sets, of course this will be different where you are located. But for here in the UK, I prefer to shoot
from late autumn through early spring.

I just find the sky
much more interesting at these times a year, plus it has the added advantage of I'm not struck out until 11 o'clock in the evening every night like I would in the summertime. Like all successful photography preparation is key. Once you've find your
location its time to consider a few of the technical aspects of what we want to achieve. What lens will I use? How much movement if any do I want to include in the shot? Is my
tripod sturdy enough to carry my heaviest lens? Once you've crossed all these t's and dotted those i's, it's time to get down to making serious pictures.

So we're in our spot, we're here before the sun has gone down, it gives us lots go time to get set up. The camera is on the pod, I've chosen my f-stop, I've chosen my lens. I know that the London Eye behind me and the London Assembly buildings are going to be
lit up at night. The London Eye will be moving, so I want to show some of that movement, so a really slow shutter, I'm guessing 30 seconds to a minute maybe more.

It also gives it a nice icy sheen-like
affect on the river its not such a bad thing either if the boats go back and forth, because you'll get the trailing lights going through the picture. Now in terms of white balance, I tend to shoot auto and adjust in the computer when necessary. When I'm shooting I tend to shoot a few minutes apart and just
check my LCD screen every now and then to make sure that everything is sharp. But we're going to be using slow shutters
therefore we cannot touch the camera.

You either have to use a cable release, or a 10 second timer on your camera. So now its a bit of a waiting game, we're waiting for that light to start to fade a little bit to give us a little bit a movement. So the light is getting perfect the sky and the foreground are starting to even out, I'm going to get some nice slow shots now. I'm just going to take one.

I got a 3 second exposure at f/11, its going to give me a nice sheen on the river, a nice slow action on that wheel. It's not bad, but I want better. I want this to be really slow, I want those colors and that movement to
jump out at me, a little more waiting. Don't forget to check out Adorama's
latest contest where you can win some amazing prizes! So the light is getting really nice now, and I'm going to make progressional pictures, I'm going to stop down the aperture to
f/16 and increase my shutter speed.

25 Seconds and then 30 seconds plus. So 20 second exposure, you can see the river is starting to get all
glassy, nice and glassy, ice-like, but I'm still unhappy with it, I
want it to be slower still. Once we're past 30 seconds we need to switch to bulb. Now for our
purposes tonight we're using this cable release thats got a locking system
on it, so once we lock it the shuttle will stay open until we unlock
it, it's more or less a guesstimate.

I'm going to leave it on for like 45 seconds, so I'm going to count in my head before I let the shutter go. Now thats what I'm talking about, thats a picture. Well thanks for joining us here on AdoramaTV, don't forget to subscribe for more great video's let us know what you think, you can like,
comment or share this video, and come on by the Learning Center for more great tips and tricks. Do you want great-looking prints at low-cost? Be sure to visit our easy to use, online printing service
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