Low Light & Night Photography Tips Tutorial

Hey there today i'd like to go ahead and show you some low light and make photography tips on this tutorial and these are some really handy tips if you're getting new into doing night photography or you never done night photography and look and you might be get into it so let's get started so on this tutorial i'm actually going to go over the best website and apps for night photography these are really handy to have for planning out your night shoot and we're also going to look at the what gear do you need for night photography there's some necessity gear that you do need and it doesn't necessarily cost you a fortune to get either also i'm going to do is what is the best time of year to capture the Milky Way so we're going to go over the time period depending on what part of the world you might be in for capturing the Milky Way and this particular shot you see right here was actually taken in silverton colorado and it was right after the first snow in the fall and i was able to capture the Milky Way shootin right over town it's pretty cool be in the right place at the right time okay for those of you that might be following me on social media I've probably noticed a lot of my photographs are night photography type photographs so if you haven't been following me you might want to go ahead and check the links below this video and that will direct you in the right direction for you know if you want to follow me on Facebook or Instagram or Google+ so a really good website to check out and this is a free one it's called a dark sky finder you can either google it or just go under website dark sky finder com this is actually a really slick the website you can actually zoom in to the location you're at and it works for any part of the world you might be in and what it's going to show you is where the worst light pollution is and where the darkest guys might be in your location so if you look up at the chart above you'll see that obviously the brighter the color that's the more light pollution than less stars you're going to see at night but to the left the darker the color that's the best sky's to try to do night photography in now a really good app to get for your phone it's called deluxe moon standard and what's really cool about this app it only costs a buck ninety-nine it's really cheap this is a really handy app to have in your phone and I actually use this on a lot for planning out different shoots at different times of the month and what's really cool it actually shows the moon rise and set times and also it's going to show you on a calendar when the new moon is for the best night photography and full moon for doing more landscape night photography so a good tip is for gear is to find yourself a good head lamp but you want to make sure that headlamp has a red light on it this red light what's really good about it it helps from impaired in your vision so I. Find actually a lot of times when I'm out shooting really late at night for long periods of time my eyes will actually adjust more and more to the dark skies to where I don't even have to turn on the headlamp even on a moonless night but as soon as you do have to turn on the headlamp you can mess with your eyes and then you're trying to readjust again so a good tip is if you do have a headlamp with a red lamp you just only use the red lamp when needed and that will actually help for you know keeping your eyes from dilating too much and a good head lamp with a hundred fifty Luminum is a probably your best bet and you can actually it's nice about that bright of a headlamp is you can keep it on the red light and still be hiking along so the next thing we're going to look at is having a good camera for night photography now one thing for sure is full frame cameras have the best for low noise and most of the newer cameras nowadays have amazing low noise on them at high ISO. But I just want you to know you don't have that buy a super expensive camera to do night photography in fact a huge portion of my photographs i'll be showing you on this slide show we're actually taken with a nikon d 3200 now that camera body alone only costs 350 bucks but it's the lenses that make the difference a lot of times to wear the full frame sensor does come in is you can actually shoot a higher ISO and what's really good is you don't have to use the noise reduction in the camera so for example you can shoot a 30-second shot with full frame and then shoot another 30 second right after that without have to do noise reduction work on the nikon d 3200 i'll do a 30 second shot and then i have a 30 seconds of noise reduction going on in the camera so it takes one minute to shoot a 30-second shot and if i don't use that noise reduction feature in that camera the picture will come out really bad we're acadia me fix it in post production so full frame cameras if you have the money is the way to go for doing night photography but at the same time there's ways to get around it too to save you some money if you're just getting started now I an obvious one is having a good tripod that goes a long ways you know having a good tripod to sit you know this is going to be sturdy it's not going to be flimsy it can hold up into windy situations that come along and there's going to be a lot of times you might be out shooting at night where the wind does pick up and that's where it's good to have a nice good sturdy tripod it's not gonna move on yeah and what I like to do with these tripods is to either get a good ball head or a pistol grip these are two handy attachments for the tripod that work really good for adjusting your camera at night so these are definitely worth looking into and once again you don't have to go out and spend a fortune on the tripod but it's worth spending at least say 150 bucks to get a decent one at the minimum but you can't get away with cheaper ones if you shop around now another one I like to talk about is knowing your camera settings now I can't stress it enough that if you're out shooting with other people it's good to know your camera settings where you're not having to turn your head lamp on all the time because every time you turn a head lamp on you're disturbing other people around you that might be doing night photography with you so a good trick to do is to actually get your camera hang out in your living room shut all the lights off do this at night when it's really dark and start trying to figure out your buttons on your camera and the biggest things you want to know is the self timer on your camera and know the play button and the zoom in and out buttons for checking pictures and see how focus their in so that's a good little trick is to do a little test run on that and you want to do is look into buying a good camera remote so one big advantage of a camera remote to use then trying to use your self timer every single time in your camera / shooting night Photography is the beeping noise now you can you can do is undo the noise or undo beeping on your programming in your camera but a lot of times to just having a remote with the cord hooked into your camera works really good too so another really good remote this is one I use all the time it's a multi-function remote works good for time-lapse photography and this also works pretty slick too if you want to be in your picture say you're by yourself somewhere so what I'll do a lot of times I'll set this remote to say one minute start it and then I'll go run to get in position with my head lamp lit up and then once it clicks down to a minute then the shot will pull off which usually can last anywhere from 20 to 30 seconds so this is a good way to do some self photographing and then I also use this all the time for a lot of my time lapse so if any of you have been checking out any of my landscape photography type adventure videos I do post on this channel and you see some of those night time lapses or even the day ones they're all actually taken with this remote now another really cool remote that just came out and I'm actually getting ready to purchase this one this one runs for about a hundred bucks and it's at Alpine laboratories.Com and it's called the plus wireless remote this thing is actually really slick it actually runs off your phone and you just kind of hook it into your hot shoe up above and what's really cool with this one is you can do time-lapse you can adjust your settings for you know different types of photographs and what's you can beat it and this makes it like of your own remotes what's really cool about it so it's definitely worth checking this one out if you it's probably the most advanced mode remote that's come out now so it's definitely one I'm going to add into my personal kit there and obviously it does run off your smartphone and it's great for time lapse and photographing the stars so a really good thing to probably put in your camera bag is buy some Mag lights for your camera bag and I'm going to show you why it makes your night photography stand out when you can what they call light painting with these bag lights so what I did here this was taken a couple summers back i was driving on a remote mountain road late at night and it came up the spot and I could tell off in the distance the Milky Way was starting to break out in the clouds so I. Parked my truck jumped out set up the tripod throwing the camera and I set my self timer on the camera for about five seconds just didn't want to be dealing with the remote then I grabbed a Maglite and I set up the bag light to where it's a harsh setting on it so you can usually do a real spread out one or you can go into a tight beam with it so i set the tight beam on that one hit the cell tower five seconds and then all of a sudden the camera went for 30 seconds so this is going to be a 30 second shoot on my wide-angle mm lens so once the shot started then lens opened up I started on the left side and started painting up and down and I went along the ground and then I slowly went to the right side kind of painted up the grass and then went up the trees on the right side just a little bit and then I.

Shut the headlamp off I did all that in 10 seconds and then there are still 20 seconds left to go for the shot so I. Just kind of stayed still kept it really dark there and after the full 30 seconds was completed this was the result of that photograph and this one actually turned out pretty sweet look and I did enjoy this night and I'm surprised on how good that photograph turned out so a good thing with night photography is you want to buy lens with Infinity focus now you see down to the bottom right that's a symbol for infinity focus and then go ahead and look on your lenses you might actually have one of these lenses in your bag right now but if not I'm going to go through some lenses that you might want to look at buying so these are really handy for focusing that night I. Pretty much always focus on Infinity when shooting the stars because if you don't have that it's really hard to dial in your manual focused to try to get the stars to look clear one of my most favorite lenses which I probably use this one probably eighty percent of the time when I'm doing my night photography is the tokina 11-16 millimeter f 2.8 Lens some of the things I do love about this lens it's the wide angle that could definitely capture a lot of the Milky Way with this lens and what another good feature is the price on it this one actually you can find it online on amazon or ebay for around 450 bucks and it's amazing that glass and the quality of pitchers I've been able to achieve off of this lens and what's really good about it it's a really fast lens at an aperture of 2.8 Also known as the f-stop so the trick is to find the lowest aperture lens so 2.8 Or lower like 1.8 Which is really fast or really good ones for doing night photography so another really good lens is to Rokinon 14 millimeter 2.8 Lens another really fast lens it's a fixed 14 millimeter where you can't really zoom in or out but what's really good about this one is the price and you can find this one online for around three hundred bucks US dollars so it's definitely a good lens and it's really sharp glass and once again the quality from this lens is really amazing so definitely a good one to check out also so another lens i have in my tool bag is the or my camera bag actually is the nikon 28 millimeter f 2.8 Lens believe it or not this lens is very cheap 50 to 100 bucks us this was actually my first lens i bought for night photography when i first started getting into it also broke at the time that this was kind of a good intro lens for learning night photography and I've been able to pull off a lot of pretty amazing pictures over the years and I. Still use this lens to this day and I.

Just can't believe the quality of the glass that's in this lens when you first buy it it just feels so cheep but the quality of images you get off r is pretty amazing and actually that picture to the right was a recent shoot i did i was up on the Boreas Pass or user Hoosier pass where that was taken at and this was actually taken with the 28 millimeter lens and the quality of that photograph i was very impressed with it so still one of my more favorite lenses to this date another great lens to look into and i probably use this lens the second most for night photography is the 50 millimeter f 1.8 Lens this lens is amazing the quality of pictures i get off of this lens just blows my mind on the glass and what's really cool about this one it's still a really affordable lens around 180 bucks us and shopping around once again on amazon ebay you might even be able to find it a little bit cheaper that picture to the right was taken with this 50 millimeter lens and this was taken just outside of Canyonlands National Park on a camping trip I did a couple years back and we were camping up against this rock wall at his camp ground and it was so cool looking with the fire lighten up everything so I. Actually walked away from camp and it was such a calm night smoke and everything was just going straight up so this is one of those photographs that to this day I just love and it's really cool that you know I was able to pull this off with such a affordable lens on top of that so a good tip to think about when doing night photography the lower the apertured number which is your f-stop the lower the ISO you can get away with because here's one thing if you could be cranking out iso really high up getting up around 3200 or even 6400 or above and of course some of these newer cameras you can get away with that especially the full frames and not have such a noisy picture but if you don't have a full frame Camera you start reaching up to the 6400 iso or higher your pictures are going to look absolutely horrible so the trick is just get yourself a really fast lens get that ISO as low as you can get away with sometimes doing a lot of star photography 1600 I can get away with but like this shot here I was able to get away with only a 400 ISO on this one which kept it to really less noise so once again to review the lower the aperture number the lower the ISO which equals lower noise in your photographs so if you want your photographs to be nice and clear without having to do a lot of post-production try to get that ISO as low as possible this photograph was actually taken with the 50 millimeter lens too and I shot this one but the Copper Mountain Resort and it was probably about 40 45 minutes after sunset there is still a light blue tent in the sky the stars are just barely starting to show through and I. Pulled this off by doing a five second exposure at F 5.6 Iso 100 now to probably make this photograph even better would have been to jump up the aperture to a 7.1 And I probably could have reduced the time down to save three seconds I just basically wanted enough light to show the mountain in the backdrop with the blue light but yet you know try to keep the lights on not get too overexposed as you could tell in this shot the lights did get a little bit over exposed and I wasn't able to really dial it in you know in post-production there and another good tip all my photos I do take are in raw format and I purposely do that because I. Have a lot more control in post-production especially a lightroom and photoshop and editing and I'll probably do like a lot of future tutorials on how i edit out these kind of photographs and there's definitely some good tricks to know how to do these okay now I want to show you or actually tell you some of the best times to capture the milky way and that is actually starting late spring through early fall that is when the milky way is that what i would call at its glory around here so this particular photograph was actually shot in early September I was down in the San Juan Mountains backpacked way up into the mountains and a good tip with a milky way is to have good southern exposure if you're up in the northern hemisphere and I wanted this one to be where I had the tent the fire have a subject in there which actually turned out to be me since I was the only one on this trip and then have the mountains as kind of a backdrop with the silhouette there so this one actually turned out pretty sweet I put it in the portrait mode set up the camera on the tripod set the timer for about 10 seconds once I.

Hit that trigger I ran over to the fire and that here's a tip if you're doing this with a fire you want to make sure the fire is not blazing really bright so this was just barely burnin it was pretty pretty low and then also I threw a light a flashlight actually lit up in my tent and then my headlamp I had that set at max power and that headlamp I had that this particular time was pretty cheesy so there wasn't really a really good beam coming off of it or some of the newer headlamps you can get some just amazing beans so anyways I hit that timer five seconds ran or ten seconds ran over got in position and then I had to stand perfectly still for 30 seconds so here's the settings I used on this one 30 seconds aperture 2.8 ISO 1600 so I try to keep the ISO as low as I can get away with the try to keep from so much noise because this was actually shot with the nikon d 3200 and then i was using my 11 millimeter wide angle lens and i like the way this photograph turned out it actually turned out pretty sweet-looking of course i want to redo this photograph now with the full frame camera I bet I can even make it twice as better so good tip there for you okay both of these shots of old cabins we're taking up in a remote section of the San Juan Mountains in southwest Colorado I was actually out exploring during the daytime four-wheeling off on some of the old mining roads and I came across these old buildings and I noticed they had some really good southern exposure so I do the Milky Way would be shining nice and bright above them so what I did is that that evening I went back to town and had some shots of sunsets and then ate some dinner and then cited once it got all dark to drive back out to this location so to actually get to this spot I pulled off the highway it was probably a good 20 minute drive up a single lane dirt road which got pretty rough towards the top and this road winded really tight corners with probably 500 foot sheer drops off to one side so it's kind of one of those roads you definitely don't want to drive off of so then I finally made it to this location no moon out on this night so it's really dark pulled in once I got out of the vehicle i was driving the wind was just whipping through this location it must been blowing 15 20 to 30 miles an hour sometimes so anyways I grabbed my headlamp grab the bag light set up the camera on a tripod and the first shot I. Did pull off was on the upper right hand corner there so I set the camera for 30 seconds f 2.8 Iso 3200 now I had to do 3200 on this one because I really had to try to bring out some of the backgrounds with the light painting and I used my 11 millimeter wide angle lens on both these photographs so the wind was wiping but thankfully the wind kind of eased off just a hair where wasn't howling too much and I hit the trigger I had it on the self timer for about five seconds so I hit that trigger by seconds goes and I also click it starts it lends opens up and I'm doing my 30 seconds recording on us so what's that 30 seconds started I spent about probably good 10-15 seconds with the light and lit up the fence in the foreground and then I had a brighter light i used for the background where aimed it did light up the building and some of the trees back there after I. Pulled off that photograph I walked on over to the other building what you see below got up pretty close to the building since I had a wide angle lens and once again the winds were still whipping at this point set the camera five second timer hit it and what was really cool about this the clouds were whipping across this guy so anyways as I. Was taking this picture everything was going nice and smooth and then once the photograph was done all of a sudden the craziest thing happened right then the wind just stopped instantly and everything went perfectly still and then all of a sudden this really cold air like came over me and I got the weirdest feeling I've ever experienced in my life in fact my hair on my neck and my arm started to stand up and I was like man this isn't right pretty much scared the crap out of me so I ended that break then grabbing the camera on the tripod through it over my shoulders and running back to the SUV I rented it for this trip popped over in the back of the SUV just threw my camera in there ran over to the driver's side door right when I put my hand on the driver side door handle all of a sudden the wind came back and the cold air went away it was probably one of the freakiest things that are experienced I jumped into vehicles so screw this and spun on out of there and I was kind of bummed because there was probably three more buildings there I.

Really wanted to photograph but there was a lesson learned on this and that is don't photograph at haunted mining camps alone I had not shit beyond us so anyways if you don't believe you used to go up there to this location which is located outside of Telluride and just go do a night photograph by yourself and see if anything happens to you pretty interesting place ok i want to show you real quick on some different types of night photography and these are a lot of them that you might see in my posts that I do post all the time obviously a full moon photography that's a really good one I love doing full moon photography so this one was taken for 20 seconds and I would kept my aperture at 7.1 So here's a good tip if you can keep your aperture at 7.1 To say eight point or you know some point when I found actually is probably one of the best ones for keeping your pictures the sharpest for night photography so it's kind of the lowest i can usually get away with when it comes to doing brighter nights with full moon and yet i could still keep the buildings in the background or whatever subject i might have and it keeps it nice and crisp and clear now to lower the aperture or your f-stop you go the more softer your pictures are going to start to look so but you usually don't have a choice on that when you're just doing Milky Way shots but when you're doing full moon shots you can give away with higher apertures which creates a really nice picture and also I kept the ISO as low as I could get away with with that aperture setting I was able to get away with 400 iso on this one I used a 12 millimeter lens and what's so crazy about this location I was at thirteen thousand four hundred and eighty seven feet above sea level which is about 4111 meters above sea level there and so definitely thin air at this point very cool temperatures on this night but it was probably one of the most amazing night because right when I showed up this moon was rising over those Peaks off in the backdrop and I'd love that cast of the shadows that were cut across the ski slopes if you look kind of on that photograph you can see the shadows of the trees kind of cutting across there so i thought this picture turned out pretty cool looking so another good thing to do with night photography I. Called it the blue light photography so that get the blue light photography this is either done before sunrise or after sunset and it's usually I found the best lights probably 40 40 minutes after sunset or 40 minutes before sunrise you got this little tiny window probably like 15 20 minutes max to try to pull off some cool photographs now this works pretty slick I used a on this one I used by 11 millimeter lens on this on a really wide angle and this was taken at the Breckenridge Nordic Center Lodge this is like a beautiful new log cabin lodge just built Mills just wrapped up around this period of time and we had about an inch of snow come through and kind of blanket everything and I noticed the snow stopped the skies are starting to break so I was like just go out for some evening photography I. Came up to this location he can actually see my tire tracks down below there and then often a distance the clouds are just starting to break where a little blue sky was starting to poke through so set in my camera I found the best setting for this shot turned out to be like 15 seconds once again I had my aperture at 7.1 So i can keep the building as sharp as possible and i was able to get away with an iso 100 on this shot so these photographs if you ever photograph in buildings or homes this is a great time to do those kind of photographs is probably what i call the blue light our your pictures will pop out more than anybody else's and you want to get jobs out there for shooting you know commercial or residential and the realtor's and stuff too they just love these kind of photographs a great way to make extra money out there so just to give you some good tips now doing this type photograph does take a lot of practice and I'm probably going to need to do is do a very thorough tutorial in the future on how to pull off these types of photographs and there is a bit of post-production you could do to really make these pictures poppy than that much more so those will be future tutorials coming down the pipeline here so so another good type of night photography is just going around your city or small town and this particular photograph I actually shot with my 50 millimeter lens this was taken for eight seconds aperture at f 13 and iso 100 this photograph came in so sharp and it looks really cool now one thing to let you know when you start cranking up the aperture a little bit what you're going to notice is the lights will start having what I call like light rays coming off of them and I'll have to do in a hold another tutorial on that kind of stuff to it's a pretty interesting effect he can create without even doing you know having a special lens or anything but this particular photograph I shot through a tree because this guy obviously was really dark on this night there's no moon out so I kind of stationed it just don't nuff to kind of look through three with the fresh fallen snow and it I like the effect on how this one turned out it turned out pretty cool looking so definitely get a good one to try out there so another one I. Like to do is fireworks photography so they're into winter months up here in the ski resort to Colorado this was actually taken over at Keystone ski resort and throughout the ski season every Saturday evening they shoot fireworks off so I came over to this location known some fireworks is going to be shot and this particular picture I.

Was able to pull off with my 13 millimeter lens I shot it for 10 seconds aperture 7.1 Once again trying to keep the building and everything looked real sharp and I ISO100 what's kind of neat with this one is some of the people were blurry but yet some of the people came out perfectly clear in this shot so it kind of gives it that kind of a real cool perspective and I was able to capture the streaking of the fireworks at the same time pretty cool fireworks doing fire photography can be a little challenging but it's definitely worth pulling off and then there's a lot of people that pull off a lot amazing photographs you see on the internet out there so definitely worth trying out so another tip I want to give you is scoping out your location for doing your night shots I can't stress enough how great google earth is for doing this i love this program so they have it you can actually download it on your computer for free or they actually have a free app too I use this thing so much and I because I'm always traveling to new locations i'm always zooming in to these locations so that way i could figure out where is the Sun coming up where is it going to go down and try to get some ideas for photographs so that's another feature tutorial coming up is I'll just have to go through some details on Google Earth and show you the little tips and tricks on using this program it's definitely worth downloading so here's some future upcoming tutorials that are coming down the pipeline I'm going to actually be making one on promoting your photos on social media and the best time to be posted those and the biggest thing is the size you post because you get a remember especially like Facebook or Google+ people can download those pictures into the computer so you never ever wanted to upload a full file size picture unless you don't mind it getting stolen out there and i'm sure i've had many many photographs stolen around the world but those are small file sizes so it's going to be really difficult for them to be blowing up a really nice big photograph with them some other tutorials i'm looking at making for you guys is a different i definitely want to show you ways of backing up your photography all your digital files and stuff there's several different steps i do because back in two thousand to two thousand and two and digital cameras were really starting to come in I lost two years with photographs from a computer crash and I could blame those on a couple roommates at the time and then I also want to make a tutorial on different ways you can make money as a photographer and there's a lot of ways of making really good money out there and some are pretty obvious but there's other ones that a lot of photographers have yet to get on boards do yet and it's a huge market that's been barely even touched yet and the potential is just endless the amount of money you can make off that so there'll be a future tutorial coming down the pipeline so anyways I would definitely subscribe if you haven't subscribed they got some really good tutorials coming down the pipeline and also my other videos I'm going to try to pull these out on Friday is the day I'm going to try to release these tutorials and then every Wednesday I'm trying to release the landscape photography adventure videos and those videos basically is the story behind each photograph or what I go through a lot of times for taking these photographs and I try to make them entertaining and their work in progress so hopefully I'll get them into some TV. Quality type shows down the road you never know where those might go so anyways I hope this definitely helped you out if it if it did hit that like button down below share this tutorial with people that you think it might help them out and I have many more coming down the pipeline so you guys be sure to subscribe and we'll catch you on next one you have yourself a really good one.

Water Drop PhotographyEVERY STEP from start to print

Hello in this video I'm going to show
you the amazing world of water drop photography I'm going to show you how I
created this amazing piece of art from concept right through to this print....
Let's go!! Hi I'm Adam and welcome to first man photography now before we get
into this, 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 right so
water drop photography what is it exactly well then what I'm talking about
is capturing the moment that water hits the surface bounces back up and creates
that beautiful water drop stem. You then capture it at that moment and that
creates water drop photograph the ones I. Do use an electronic dropper system that
then create these amazing drop collisions and produce just stunning
unique shapes you put food coloring into the water using color contrast
composition all to make these truly unique and special images it's one of the
things I'm best known for and today I. Just wanted to go through a shoot with
you, show how I do it talk about a few things I have done an in-depth tutorial
before for you to watch if you want to give it a try I just wanted to make a water drop
video that I've not done for a while and take you through a typical shoot and
then show you a little bit of the post-processing and then the final
print at the end.

Okay, let's get set up and we'll get on with our shoot. Okay so I'm pretty much set up to shoot
I'll just go through the setup pretty quickly so firstly is the camera you've
pretty much got to have a macro lens I've got the Canon 100mm Macro L lens. Canon 5d Mark 4 camera.... It doesn't really matter what can we use as long as
you can get a macro lens on there and then I have a 2 flash set up and I'm
firing the flashes with a wireless trigger on top here it's important to
use flash in water drop photography because it's actually the flash that is
freezing the movement in the water drop because you put the flash on a very low
power flash and it's that that freezes the motion rather than the shutter speed
of the camera you just set camera shutter speed to the flash sync speed
which in the case of this camera is one two hundredth of a second and then it's
that fast flash that actually freezes that water drop so I've got two flash
sets up the first one in the front here which is my main flash that's gonna be
lighting up the water drop as it drops from the dropper here into the main
water bath and then I've got this second flush which is then lighting up the
background.

Aperture wise I generally I'm in the area of f/8 -  f/16. I'm at f/11 today
right in the middle with macro you get a pretty narrow depth of field even at
very high aperture numbers. So i'm at f/11 I might go up to f/16 in a bit and then
I'm balancing it out with my ISO which is about 400 ISO at the moment the water
dropper that I have here is called a splash art 2 - it uses this little control
box that plugs into the water dropper and it also fires your camera so the
timing is as accurate as you could possibly be it still takes a lot of
adjustment and a lot of practice to get things just right and get it to work and
it depends on it the liquids that you're using as well okay so the final thing I
need to do before I start shooting is get my focus and in order to do that all
you do is fire a couple of drops off and I'm going to use this simple pencil just
dropped it in the water bath but I'm gonna use this pencil and just put that
in position where the water drops hit the bath and then I'm gonna focus to get
in exactly the right spot I'm then going to lock it off into
manual focus I can forget about my focus for the rest
of the shoot. So this is absolutely not the case of
just setting up and then firing away because it just doesn't work there is a
lot of creativity involved we're talking about slight movement in the flashes
because the way you light it is absolutely key because we're working on
such a small scale slight adjustment in anything, composition, lighting, the colour
of the liquids, all makes a difference with the water dropper you can control
the size the first drop the gap in between the drops the size of the second
drop and the delay in shooting the camera and it's about fine control over
these things that are going to get those really nice water drop collisions trust
me though it's very frustrating at times it doesn't always do what you want.

It
changes depending on the thickness of the liquid as well you need patience and
you need persistence. It does take a lot of practice and a lot of shots to get where
you need to be Okay so the shoot is done I'm pretty
happy with what I've got in the camera let's get over to the computer and
post-process those images I do have the absolute carnage to clear up first though,
look at this.... Very messy Okay so here we are into the computer I've got myself
some glasses recently.... Do you like them? Let me know in the comments.

Here we have
the final images I have taken about two hundred and seventy images but I have
also already narrowed it down to a few and I've put them into a collection
they're all pretty nice I like all of them I like this one I like the shape of
it first if you look at this bubble here that really really ruins that one so I'm
not gonna be using that one this one I'm struck by this one and just by the size
of that collision I really like that and I also really like this one let's have a
look at this one that's a really nice image it's a very very unique shape what
I don't like about it is this strip here of light and that's happened because of
the way I had the flash positioned it low down basically, and if you skip on to
the next one here I've just raised the flash up a little bit and it just it
narrows this reflection of the flash down to this tiny little portion here I
think that's better although I am going to work with this one I'm going to remove
this strip in Photoshop so let's go into the develop module and you've got a lot
of control in post-processing over your water drop shots, particularly with the
color and things like that and I'm actually quite happy with the white
balance but I'll just show you what massive difference that makes to the
images and you can just make from one shoot you can get lots of different
looking images with different colours but I think we just need to raise the
exposure a little bit and then I'm gonna add in some contrast. Sometimes you don't
need a lot of contrast in there is that's not really what the image is
about back at about 30 and then going to reduce the highlights a little bit.... Up
the shadows just a touch...... Reduce the blacks a little bit so I've got a little bit of
black.....

I'm going to increase the vibrance quite a bit......Go up on the saturation as well
because the whole thing is about color and then the clarity slider is an
important one just add in some clarity I'm gonna go down to the HSL
quickly and introduce a noise reduction because you want that nice smooth
imaging you don't want any noise in there and then we will go to the HSL
panel here and I want to just reduce or change the color of the red a little bit
just so it doesn't look quite as much like blood and that is starting to
look really really good. Okay into Photoshop and I'm just going to create a
new layer and also on the background there and all I'm gonna do is use the
simple tool here which is the magic wand tool select that highlighted
area then I'm gonna grab hold of the stamp tool on the background copy layer
and just drag that to the side just a touch and that will very nicely remove
that reflected area there's then just a little bit of work to do here if i zoom
in I'm gonna go back up to layer clone stamp and just remove that tiny portion
at the top there I'll work on that a bit more before the print and then it's
just a case of going around and adjusting little bits and pieces where
there's a mistake so here we've got another one I'm just gonna try and clone
that out I'll stamp that out very quickly it's just about going around the
whole image and tidying it up just a little bit with things like that and
that I mean that's looking pretty good I might crop it down a little bit as
well into that sort of composition just to get a bit closer to the water drop
get the water drop filling the screen a little bit more save that and then we go
back in to Lightroom. So very quick post-processing there, let's get that
printed out and we'll see how the final image looks So here is the final image and just take
a look at this it is absolutely stunning if I can get it out the light there for you. I am very happy with how
this has turned out.

All my water drop photographs are for sale on the website
over at www.Firstmanphotography.Com I. Would really appreciate it if you took a
look. There are two types. There are ones like this that are either mounted or
fully framed and there's also amazing 1 meter square metal prints that are a run of 10
the prints are a run of 50 and they're truly something special once you get
them in hand like this it's coming up to Christmas it'd be a perfect gift idea if
you wanted to give one to a family member it would help me as well and
support me to keep creating these videos for free and really just appreciate it
though if you took a look check out that tutorial and if you haven't already
please do subscribe to the channel there's videos going up every Sunday I
am going to be doing a video on Wednesday this week as well so there'll
be two videos coming up in the coming week which I'm quite excited about I do
want to go back to doing two videos per week also this video is sponsored by
Squarespace start your free trial today at squarespace.Com and go to Squarespace.Com/firstman to get 10% off of your first purchase.

So I hope you've
enjoyed the video leave a comment down below and let me know you think and I'll
see you on another one very very soon I'm Adam this is first man photography
in the studio..... Out!!!!.

Learn About HDR Digital PhotographySetup & Shooting Exposures for HDR 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. All right, so now let's show you how to set your camera up for Auto Exposure
Bracketing. So you take your camera, and on this particular model, there's just a button
on the back for auto exposure bracketing, which is really handy.

So, you turn it at
the top, you just hold down that button, and you'll see right here it says off, and you
can turn this through, and it will do five exposures, or three exposures. So I'm going
to go with three; that's what I usually do. And this button will actually select the exposure
spacing, so I can do a half, a whole, one and a half, or two entire marks out from where
I'm where the base exposure's at. I know that Canon and Nikon cameras, which this is not;
it's actually back here.

It'd be in the menu settings, back here in the back, under Auto
Exposure Bracketing, but each camera is going to be a little bit different. But this one
does it on top, and I know that some of the I know Pentaxes do it on top, as well, so
that is that. All right, so I've set up my camera to take a shot here. When shooting
HDR you want to make sure you use static stuff that isn't moving, because it has to align
the composite images.

So, let's look here on the top of the camera. You can see that
I've got set up for triple exposures, at a spacing of two. So, I'm going to go ahead,
and hit this once, okay. And what we're going to do is we're just going to hold down the
button, and you'll hear it, you'll hear it click off all three shots.

There you go, and
next I'll show you what the photos, the differences in the actual photos. So, if you look here
on the screen, you'll see there is one photo, there's the other, and there's the other.
Let's keep looking at the same photo, just you can see their how the F-stop, and the
aperture speeds have changed automatically on each photo. So, that's how you shoot in
HDR..

UV Blacklight Photography Tutorial (Ultraviolet-Induced Visible Fluorescence)

Hey whats up it's Evan from PhotoExtremist.Com. Today we're going to be talking about ultraviolet induced
visible fluorescence. If we take a look at the electromagnetic spectrum we can
see that visible light is on that electromagnetic spectrum, even though it's
only a very small portion of it. Visible light contains wavelengths of
light between four hundred nanometers and seven hundred nanometers.

Visible
light is what we can see and detect with out eyes. The subcategories of visible
light are red blue, green, yellow, violet, stuff like that. The more we go towards the
violet range, the more the wavelengths of light get shorter and shorter, higher
frequency, and higher energy... So then we get into the ULTRA-violent category, which
consists of UV-A, UV-B, and UV-C, which range between one hundred nanometers and four
hundred nanometers.

Remember, visible light is four hundred nanometers
to 700 nanometers. The main type of ultraviolet light that we're talking about
in this video is UV-A, because it is the most popular and the most safe. "Fluorescence" refers to the process where when a light wave of a particular wavelength
hits a material object and the material object absorbs some of that energy. Some
of the energy is "lost" during that process.

You could have a light wave of four
hundred nanometers hit the object, but because it loses energy, the wave could
come back out at four hundred and fifty, and THEN it would
hit your eye. So, there is some material that does exist where if you were to shine  a blue light on it, it would re-emit green light. In fact, that is what a lot of divers experience when they go
underwater to photograph fish and stuff - that's most likely
"blue-induced green fluorescence". So it's pretty cool.

Fluorescence is a a broad thing. You can have "visible-induced
infrared fluorescence" if you wanted to... You could only record that with infrared
camera though since our eyes cannot see infra red. Guess what? All material
absorbs UV light at different rates! You could have a white
bottle, a white mug, a white wall, and a white table, and all of these objects
will be different colors when shining UV.

Light on it. This object might be a
little bit more purple, this object might be a little bit more green, the wall might be
black... So how would that happen? That happens because whatever gets re-emited
back out must be longer than or equal to what we
originally shined on it. If you shined a  four hundred nanometer lightwave onto an
object, four hundred nanometers can be re-emitted back out, or it could be four
hundred and twenty, four hundred and fifty, whatever.

That's why when you shine
and ultraviolet light onto maybe say white paint on the wall, you will see absolutely nothing; that's
because what is being re-emited back out would only be ultraviolet light, which is
invisible to our eyes. We can't see it. There might be experiments and certain
people that can, but I don't believe I. Can see it.

From I know and from what I can experience thus far, I can't see
ultraviolet light. You can't see ultraviolet light, you can only see the
byproduct of all the ultraviolet light, which is visible fluorescence. This is a tungsten light bulb by
General Electric. Don't get it.

It doesn't emit ANY ultraviolet, it is just a purple light bulb.
White ball basically this is a porous This fluoresecnt tube/bulb emits some UV-A but also a lot of visible violet light. So yes, certain things will glow a little bit with this, but
not that much, but if this is all you have access to or if  this is what you can afford
then you can get this and use it, however I would only use this if you're
photographing things that fluoresce very brightly to begin
with like certain neon material that glows very brightly. If you're
photographing other material that doesn't glow as bright such as leaves
plants dirt things like that you're going to want a bright true ultraviolet
light source. There's a better version of this for about 20 bucks by American
DJ, they've created a light like a long tube for $20.

It's a
bit better   UV LEDs again emit a lot of purple
visible light and it does emit some ultraviolet light but not that much. Any
glowy effect that you want to get, its gonna be washed out quite a bit by the
violet light. Now if you wanna get a very high quality ultraviolet light source,
you can get this flash for about 20 bucks off ebay called the Canon 199A flash, there will be a link in the description so you can check it out.   You're going to unscrew those two screws and
then they'll be this Fresnel lens in there this blocks UV light, we need to
take this out, so do whatever you need to do to take it out use a tool or just try it out with your
fingers somehow be kind of careful so you don't ruin the reflector
that is attached to.

The reflector will be kind of popping out of the flash so
kind of stick it back down underneath the black plastic rectangular rim. Tape
it down there so it doesn't pop out. Next, the Canon 199A flash will come with a black rectangular plastic frame with a
diffusion panel in that frame. Pop the diffusion panel out, toss it aside and
replace it with a filter.

The link to this filter set will be done below in
the description. This contains a filter that blocks infrared light and a filter
that blocks visible light, so only ultraviolet light is going to go through
this filter. Filter is peaked at 365nm just pop it in there. Tape them together.

BAM! UV-Only flash, just like that. Backlight it's a very high quality. This
does not emit any visible violet light. Very very good and if you don't use the
filter this flash emits infrared light, visible light, and ultraviolet light.
It's a full spectrum flash.

Filters cost about $200   you can pop
this on your camera and you now you have your own UV camera. Now when you take
pictures with this start at high ISO. Number because this flash is not that powerful, but it's the best one
available I could find for the price and for the size and everything. The other light
you can get as a UV LED torch, this is called the MTE-303.

This does emit visible violet light
but a lot of ultraviolet light so you can unscrew the cap and then put one
filter there to block visible light and
only let UV through. It is a high quality light source
although will hopefully start making these brighter. I would ideally love to
light paint an entire tree or an entire landscape with UV-only light, I think that
would be very cool. This isn't really capable of doing that that well.

Yeah
those are the two light sources, the MTE-303 UV. LED torch and the Canon 199A flash with
the filter set. You will also want to definitely filter the MTE 303 as well. There is another step to this though....

Because most cameras sensors can
actually see and record and detect ultraviolet light, visible light, and
infrared light... Some of the invisible ultraviolet light that is coming out of
your light source can actually be recorded by your camera and we don't
want that, we only want to record the visible light, so we need to eliminate
ultraviolet light and infrared light from entering into the camera lens. Many
cameras have a UV/IR blocking filter right in front of the camera sensor and
it does a good job. On my Nikon d8010 I.

Would say it does a good job, and I'm pretty
satisfied with the results as far as I. Can tell. However depending on your
camera, the UV IR filter that is in front of your camera's sensor may not
really be that strong so you need to put UV IR blocking filter in front of your
camera lens in order to only allow visible light to enter into the camera.
Now there are different UV IR cut filter is available those will all be down below in the
description. So those are the three steps to successfully taken ultraviolet
induced visible fluorescent photograph.

Step one would be to eliminate all visible lights in the area
so you're photographing something in a room, turn all the lights off. If you're
photographing something outside, make sure the moonlight is not over powering
your ultraviolet light; that's it. Step two is to use ultraviolet-only
light. Get a flash or torch and then filter it.

Step 3 would be to take
your camera lens and eliminate any ultraviolet light or infrared light
from entering into the camera lens. UV does harm your eyes over time
you will need to wear safety glasses whenever using an ultra-violet light
source. You get these, five to fifty dollars. Will be a link down below.

These block UVA light and I know that they
block UV light because when I shine my torch through this there are no
fluorescent effects coming out from the other side. Also, when shining a UV light on
these glasses in a dark room they appear to be black.No light is being able to get through there. Prescription glasses might be able to block some UV light however it's not
very reliable, plus the light can get through the sides, so goggles are really the best form of protection available. You can also
protect your skin if you think that you're going to be using these
ultraviolet light sources for a longer period of time.

You can get something
that protects your head and your hands if you want to. You also you should never
ever look directly into an ultraviolet light source that is very very bad. This
light emits about I believe it emits about twice as much UV radiation than the sun does, from about two feet away/ we need to be very careful when using these lights.
You can't just shining people's lives/ do not do that. If you're going to be photographing
a model for an extended period of time, you'll want to make sure that they are
adequately protected from these UV rays, so apply zinc oxide sunscreen to any
exposed skin and make sure that they have zinc oxide sunscreen on their
eyelids as well and only take pictures of them with their eyes closed or with
safety glasses on.

You can also get hair powder for your scalp and stuff for your
lips as well as far as the material of what you can photograph, everything and anything under the
Sun! Toilet seats can look pretty funky, rocks and minerals, there is a UV holi
power set available which is very very cool, it just becomes like a magical
fairy dust. Tonic water glows blue. Trees and plants glow, they may not go very
brightly but they still do glow and they change color because of the fluorescence
effects. Certain leaves may glow depending on the age of the leaf and how
much water and how much Sun the leaf is getting.


On the left you can see that that's the UVIVF photo taken with the Canon flash and on the right is just a regular visible light
photo. Here's a comparison between visible UVA UVB and UVC light on this
glass covered and then all three combined. Use the same thing plates. So I think that about wraps it up,
if you'd like to get more of my stuff head on over to my website PhotoExtremist.Com -
sign up on the email list and I'll be sending you free ebooks! Also check out
my ebook and video course called Trick Photography and Special Effects; within
that course you will learn lots of different things.

It contains nine
hours of video and 300 pages of a book content that will show you exactly. Step
by step. How to create images like this this this and this and much much more is in your book so pick that up and I
will see you in the next video! Using UV-C is a hassle. You need to
put gloves on and you need to make sure that all your skin is COMPLETELY covered
and you need to use a face shield and everything.

With UVA, I personally don't go that far out,
although you could if you wanted to and it won't hurt. If you're wondering
about you UV-B and UV-C, this is a light source it's really heavy. I did mod
this, I put a little bar right here with a hole in it so I could attach it to
light stand and it does stay on the light stand. It's a little bit sketchy though///
it still works it's just a little.

Sketchy. Power switch is turned on and
off with the fan, then UVA UVB UVC. The unique thing about you UV-C is that
mirrors and glass become an opaque gold color. You can't see through them/ that's
about the most interesting thing about UVC.

Other than that though UVC kinda
just changes the color a little bit different. I would stick with UV-A. UV-C used to kill microorganisms and it damages your DNA in your skin MUCH faster than UV-A does, just
remember that..

Tutorial INFRARED PhotographyHow to Shoot & Edit

Hello, and Welcome to my channel! In this infrared tutorial we are going to transform this to this! Infrared photography is a different way to make unique landscape photos it can be achieved by either converting your camera into a infrared camera or you can buy a inexpensive ir filter. When making a infrared photo you need to have your DSLR Camera on a tripod stand because the shutter speed is often 1 second or more. And before you mount the IR Filter it's a good idea to set the focus. It can be very hard to find foucus when the IR Filter is mounted so mount the filter on your DSLR Camera and dont forget to set the focus before you mount it! As we are going to take a picture over more than 5 seconds it's a good idea to have a remote timer to not cause any shakes to the camera when making the IR Photo one other thing thats important is to set the white balance.

I myself took a photo of some green grass with the IR Filter mounted and then select it in the settings menu. If you want you can also the white balance preset values. I would recommend to use the incandecent for this IR Photo i choose the apature F2.8 And shutter speed 10 Seconds i set the ISO to 800. So, now let's open Photoshop and start editing Drag the IR picture into Photoshop Increase the exposure, some.

Decrease the contrast to flatten out the photo, some. Also tweak the shadows a bit! Flatten out the picture a bit more by adjusting the blacks. Use the white balance tool and click the "Grass" Now we can open the IR Photo and start editing i start by adding a adjustment levels filter and just tweak the settings a bit. The next step is to go to the channel mixer and swap the colors.

We are going to swap red to blue, and blue to red. If you want you dont have to swap red to blue and so on, this is just how i prefer to make a IR Photo! I prefer when there's a little bit of orange in the picture so dont set the red here to 100%. And when you're done just click ok! Again, im going back to the levels filter, and im just going to tweak it a bit more. The IR Photo right now looks too dark.

After that, we are going to erase as much Red's as we can! And also the magentas! I prefer when there a little bit of orange left so im going to leave it this way. So, thats pretty much it! Im just going to make some final touches and then im done! I hope you like this short tutorial!, And you find use for it. If you want, Share it with your friends! Thanks for Watching!.

Learn About HDR Digital PhotographyHow to Tone-Map & Edit an 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. So let's go ahead and go over here to tone mapping. Then you'll see the
window pop up.

It looks completely different in this window, and so the first thing that
I want to do is I want to change the output, because 16-bit depth is something my computer
can't render. So, I can view it, and I can edit it, but opening it up in the editor,
the photos are massive; theyre hundreds of megabytes. So, you're going to see a couple
of options over here. Your first one is your strength, and this is going to adjust the
strength of your tone mapping.

You can see that it affects how strongly the photos are
overlaid on top of each other basically. All that you'll see your color saturation. You
can go all the way back; you can make it black and white. You can crank it all the way up;
make it look really weird, kind of surreal.

Usually, I like to keep it somewhere nearer
the middle, but on this one I might go a little high. This one's for your light smoothing,
and you can see what that does is that really adjusts your shadows a great deal. I'm going
to do it this way just to keep the sky looking kind of mellow like that. You can also adjust
your micro-contrast, which you can't really notice until you're really zoomed in really,
really close.

This is your micro smoothing. This smoothens out all your edges. You can
see this is unsmoothed; it's really rough, and kind of stranger looking. But if you crank
it all the way up, you'll see it applies a nice kind of a blur to everything.

So we'll
this is also good to bring out cloud detail, as you can see; trying to find the point at
which it makes the clouds pop, without making it look weird. I think that's about as far
as I'm going to get. You can also adjust the white clip/black clip in your images. So like
here, if we crank up the white clipping it really brightens everything up.

Turn up your
black clipping and it starts bringing all your detail back into the photo. So, I think
maybe it was something around there..

Three Tips for Using a Wide Angle Lens Exploring Photography with Mark Wallace

In this episode I'm going to show you
three things you can do to get the most out of your wide angle lens. AdoramaTV presents Exploring Photography with Mark Wallace. Hi everybody, welcome to this episode of
Exploring Photography right here on AdoramaTV, I'm Mark Wallace coming to you from a very hot and noisy Hanoi street
here in Vietnam. Well one the most challenging things for
any photographer is shooting with a wide angle lens.

Now the reason for that is we
tend to think of wide angle lenses as lenses that can get everything in the
shot and that's fantastic, but one of the problems with that is when we get everything in the shot
sometimes, and a lot of the times actually. We just don't have any subjects so we just have
everything in and really nothing draws our eye into the photo so
in this episode I'm going to give you three tips to get the most out of your wide-angle
lens and first I'm going to show you some photos I've shot with a couple wide angle lenses. And then we are gonna put it into practice I'm going to be
walking the streets and shooting with my 21mm lens right here. Well first we will take a look at a few shots
and walk through the three things that you can do to get the most out of your lens.

The first thing is to make sure you have
a dominant or predominant subject in your photo.
Now one of my favorite wide-angle lenses is the Canon 16-35mm lens
and I've shot all over the world with that. I shot this image of Machu Picchu
with that lens and notice that Machu Picchu is
obviously the subject of this photo but using a wide angle lens, I get everything in that shot. I also was
able to take that to the Amazon rainforest and I shot this image.
A couple of images of a River but notice I don't just have the
entire river I haven't anchor to those photos those are the boats that are on the shore, so I'm
anchoring that wide angle shot with a dominant subject. The boats.

Now I'm also able to use this shot in a very
busy, commercial complex in downtown
Bangkok and noticed this street we have this sort of
a three-dimensional effect the wide angle lens is one of the reasons we use
wide angle lens is it pulls our eye into that subject, but the
shopping center is definitely the dominant subject in this photo. Well that's the first thing you need to
do, the second thing we need to do is to get closer to our subject. Now if there is anything I'd like you to take
away from this video that's it when you're using a wide angle lens it's
really an up close len's after using a mirrorless
camera like my Leica here, or a Sony A7 or many of the mirrorless cameras, you can't
get too close with the wide angle lens. If you're using a DSLR though with the
lens like the 16-35 you can get inches away from your subject on these
pictures that I shot I was very very close in fact on Lake Titicaca I shot this picture of this boat.

The boat is our
dominant subject. I was about maybe 12 inches from the front
of that boat. Really, really close. But because that lens is so wide you can't
really see it.

Now I met with two amazing photographers
in Argentina this is at Mag and Martin, Mag Alvarez and Martin Epelde. They are the inspiration for me to go and
shoot Patagonia. They taught me all this stuff
about where to go and what to do. This shot of them was taken with my
21mm lens at about a foot and a half maybe two
feet away from them.

Here's Mags signing her book that she did on New York City - it  really is
an amazing shot, I was extremely close and you can see the shot of some people
I shot on the subway. I was just about a foot and a half maybe two
feet from these people are falling asleep on the subway so get close, get close, get close when you are using a wide angle lens and if nothing else hear me say get close and this third thing you can do
with a wide angle lens, because it gives you that 3D feel. It's
pulling you in leading lines, those lines that lead us into
photos can be used to our advantage, so when you're framing your shot try to frame
your shots so that lines are leading us into our image. All right now we know those three
things what we want to do is head out here in Hanoi and put
them all into practice so let's do that next.

Alright one of the advantages of using a
wide angle lens, and you'll have to pardon the music that's being blasted down the streets, we're not sure why. But evidently it's a public feature here in Hanoi, but one of the wide angle lens features is that you get extreme field of sharpness, you have everything in focus from the beginning to the end, of this very nice lady here, who has allowed me
to take pictures of her vegetable stand. I shot some images earlier and I was able to get the vegetables right in front of the lens all the way to her totally in focus and using the steps
as the leading lines to point us from the
vegetables to the owner of the shop I really like this
picture and it uses all of the three things that we
talked about earlier getting close, having a predominant feature or subject
in our frame and using leading lines.Well Hanoi has
all kinds very interesting little alleyways like this one know what I
could do and I have done is to stand back. Use my wide angle lens to get this
entire entryway and the alley, you see
everything, I got everything in the shot but it doesn't really pull us into the scene so what I can do is use two of those things I talked about earlier getting closer and using leading lines
to pull me into the subject.

So this sign right here
- If I really fill the frame with this, this is my dominant
subject or my foreground interest I can also use these lines right here to pull the viewer into the scene and point
their eyes to the back of the alley and I'll do just that. But I really want to
stop this lens down to about 5.6. The sun's going down here and it'ss really sort
of dark so to shoot it 5.6 And still have a shutter speed of
about  1/60 of a second. I've increased my ISO, to ISO 800 a lot of
people ask me why do you increase your ISO, it looks great.

On video looks
like it's nice and bright but in reality it's sorta dark right now, we have about
half an hour before the sun goes down so now you know why the ISO is pumped up. So lets take a shot of this. I'll get close, I'll compose the leading lines and I'll show you the difference, so let's
just take a look at this. Get right up there, there we go I love
that.

That looks so much better. Now we can compare the wide angle shot
to the closer shot with the leading lines and I think you'll agree that the closer
shot wins. Well I got permission to take some pictures are these roles and bamboo
shoots here. Now first I am going to do this the way
that's the wrong way, I'm going to take a wide angle shot of these rolls here and you can see that it's just a street scene
there's not much to it.

I need to get closer and show that as close as I can, so I'm going to get right in there. About like that and now you can really frame the shot up the way I want. Ah you see it now, this is the predominant
thing in our shot, you can see that getting close is the better option. Well there you have
it using a wide angle lens.

Remember have a predominant subject get close to
your subject and use leading lines and you really get much better images
and if nothing else please hear me say get close, get close, get close. A wide angle lenses is for close up
photography. Not I to remind you that Exploring Photography is brought to you by Adorama, it's the camera store that you
can get anything you can possibly imagine any gear, any audio gear, and
video gear, tripods you name it you can get it at Adorama.Com. So check that out.

The
great thing about Adorama is they don't just sell you the gear they are going to
support you with free education and you can get all that education right here on YouTube just click the
subscribe button in that way you get all of Adroama TV absolutely free,
you won't miss a single episode and in addition to that there is the
Adorama Learning Center there's tons of articles hundreds maybe thousands even,
articles about everything that is conceivable about photography,
videography, post-production check that out. We have links to the
Adorama learning centre and again it's absolutely free. Thank you so much for
joining me and I will 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 Adorama Pixs has professionals who treat
your images with the utmost care that you can count
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The silent drama of photographySebastio Salgado

Translator: Joseph Geni
Reviewer: Morton Bast I'm not sure that every person here is familiar with my pictures. I want to start to show just a few pictures to you, and after I'll speak. I must speak to you a little bit of my history, because we'll be speaking on this during my speech here. I was born in 1944 in Brazil, in the times that Brazil was not yet a market economy.

I was born on a farm, a farm that was more than 50 percent rainforest [still]. A marvelous place. I lived with incredible birds, incredible animals, I swam in our small rivers with our caimans. It was about 35 families that lived on this farm, and everything that we produced on this farm, we consumed.

Very few things went to the market. Once a year, the only thing that went to the market was the cattle that we produced, and we made trips of about 45 days to reach the slaughterhouse, bringing thousands of head of cattle, and about 20 days traveling back to reach our farm again. When I was 15 years old, it was necessary for me to leave this place and go to a town a little bit bigger -- much bigger -- where I did the second part of secondary school. There I learned different things.

Brazil was starting to urbanize, industrialize, and I knew the politics. I became a little bit radical, I was a member of leftist parties, and I became an activist. I [went to] university to become an economist. I [did] a master's degree in economics.

And the most important thing in my life also happened in this time. I met an incredible girl who became my lifelong best friend, and my associate in everything that I have done till now, my wife, Llia Wanick Salgado. Brazil radicalized very strongly. We fought very hard against the dictatorship, in a moment it was necessary to us: Either go into clandestinity with weapons in hand, or leave Brazil.

We were too young, and our organization thought it was better for us to go out, and we went to France, where I did a PhD in economics, Lila became an architect. I worked after for an investment bank. We made a lot of trips, financed development, economic projects in Africa with the World Bank. And one day photography made a total invasion in my life.

I became a photographer, abandoned everything and became a photographer, and I started to do the photography that was important for me. Many people tell me that you are a photojournalist, that you are an anthropologist photographer, that you are an activist photographer. But I did much more than that. I put photography as my life.

I lived totally inside photography doing long term projects, and I want to show you just a few pictures of -- again, you'll see inside the social projects, that I went to, I published many books on these photographs, but I'll just show you a few ones now. In the '90s, from 1994 to 2000, I photographed a story called Migrations. It became a book. It became a show.

But during the time that I was photographing this, I lived through a very hard moment in my life, mostly in Rwanda. I saw in Rwanda total brutality. I saw deaths by thousands per day. I lost my faith in our species.

I didn't believe that it was possible for us to live any longer, and I started to be attacked by my own Staphylococcus. I started to have infection everywhere. When I made love with my wife, I had no sperm that came out of me; I had blood. I went to see a friend's doctor in Paris, told him that I was completely sick.

He made a long examination, and told me, "Sebastian, you are not sick, your prostate is perfect. What happened is, you saw so many deaths that you are dying. You must stop. Stop.

You must stop because on the contrary, you will be dead." And I made the decision to stop. I was really upset with photography, with everything in the world, and I made the decision to go back to where I was born. It was a big coincidence. It was the moment that my parents became very old.

I have seven sisters. I'm one of the only men in my family, and they made together the decision to transfer this land to Lila and myself. When we received this land, this land was as dead as I was. When I was a kid, it was more than 50 percent rainforest.

When we received the land, it was less than half a percent rainforest, as in all my region. To build development, Brazilian development, we destroyed a lot of our forest. As you did here in the United States, or you did in India, everywhere in this planet. To build our development, we come to a huge contradiction that we destroy around us everything.

This farm that had thousands of head of cattle had just a few hundreds, and we didn't know how to deal with these. And Lila came up with an incredible idea, a crazy idea. She said, why don't you put back the rainforest that was here before? You say that you were born in paradise. Let's build the paradise again.

And I went to see a good friend that was engineering forests to prepare a project for us, and we started. We started to plant, and this first year we lost a lot of trees, second year less, and slowly, slowly this dead land started to be born again. We started to plant hundreds of thousands of trees, only local species, only native species, where we built an ecosystem identical to the one that was destroyed, and the life started to come back in an incredible way. It was necessary for us to transform our land into a national park.

We transformed. We gave this land back to nature. It became a national park. We created an institution called Instituto Terra, and we built a big environmental project to raise money everywhere.

Here in Los Angeles, in the Bay Area in San Francisco, it became tax deductible in the United States. We raised money in Spain, in Italy, a lot in Brazil. We worked with a lot of companies in Brazil that put money into this project, the government. And the life started to come, and I had a big wish to come back to photography, to photograph again.

And this time, my wish was not to photograph anymore just one animal that I had photographed all my life: us. I wished to photograph the other animals, to photograph the landscapes, to photograph us, but us from the beginning, the time we lived in equilibrium with nature. And I went. I started in the beginning of 2004, and I finished at the end of 2011.

We created an incredible amount of pictures, and the result -- Llia did the design of all my books, the design of all my shows. She is the creator of the shows. And what we want with these pictures is to create a discussion about what we have that is pristine on the planet and what we must hold on this planet if we want to live, to have some equilibrium in our life. And I wanted to see us when we used, yes, our instruments in stone.

We exist yet. I was last week at the Brazilian National Indian Foundation, and only in the Amazon we have about 110 groups of Indians that are not contacted yet. We must protect the forest in this sense. And with these pictures, I hope that we can create information, a system of information.

We tried to do a new presentation of the planet, and I want to show you now just a few pictures of this project, please. Well, this  (Applause)  Thank you. Thank you very much. This is what we must fight hard to hold like it is now.

But there is another part that we must together rebuild, to build our societies, our modern family of societies, we are at a point where we cannot go back. But we create an incredible contradiction. To build all this, we destroy a lot. Our forest in Brazil, that antique forest that was the size of California, is destroyed today 93 percent.

Here, on the West Coast, you've destroyed your forest. Around here, no? The redwood forests are gone. Gone very fast, disappeared. Coming the other day from Atlanta, here, two days ago, I was flying over deserts that we made, we provoked with our own hands.

India has no more trees. Spain has no more trees. And we must rebuild these forests. That is the essence of our life, these forests.

We need to breathe. The only factory capable to transform CO2 into oxygen, are the forests. The only machine capable to capture the carbon that we are producing, always, even if we reduce them, everything that we do, we produce CO2, are the trees. I put the question -- three or four weeks ago, we saw in the newspapers millions of fish that die in Norway.

A lack of oxygen in the water. I put to myself the question, if for a moment, we will not lack oxygen for all animal species, ours included -- that would be very complicated for us. For the water system, the trees are essential. I'll give you a small example that you'll understand very easily.

You happy people that have a lot of hair on your head, if you take a shower, it takes you two or three hours to dry your hair if you don't use a dryer machine. Me, one minute, it's dry. The same with the trees. The trees are the hair of our planet.

When you have rain in a place that has no trees, in just a few minutes, the water arrives in the stream, brings soil, destroying our water source, destroying the rivers, and no humidity to retain. When you have trees, the root system holds the water. All the branches of the trees, the leaves that come down create a humid area, and they take months and months under the water, go to the rivers, and maintain our source, maintain our rivers. This is the most important thing, when we imagine that we need water for every activity in life.

I want to show you now, to finish, just a few pictures that for me are very important in that direction. You remember that I told you, when I received the farm from my parents that was my paradise, that was the farm. Land completely destroyed, the erosion there, the land had dried. But you can see in this picture, we were starting to construct an educational center that became quite a large environmental center in Brazil.

But you see a lot of small spots in this picture. In each point of those spots, we had planted a tree. There are thousands of trees. Now I'll show you the pictures made exactly in the same point two months ago.

(Applause) I told you in the beginning that it was necessary for us to plant about 2.5 Million trees of about 200 different species in order to rebuild the ecosystem. And I'll show you the last picture. We are with two million trees in the ground now. We are doing the sequestration of about 100,000 tons of carbon with these trees.

My friends, it's very easy to do. We did it, no? By an accident that happened to me, we went back, we built an ecosystem. We here inside the room, I believe that we have the same concern, and the model that we created in Brazil, we can transplant it here. We can apply it everywhere around the world, no? And I believe that we can do it together.

Thank you very much. (Applause).

Learn About HDR Digital PhotographyHow to Finalize an 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. And you can also go to your gamma settings, which is your brightness settings,
and get some really, really, really interesting effects out of this. So like here, we can
turn the gamma all the way down from the white clip all the way out, and the black clip all
the way back.

Let's do it this way, and you'll see how you get this really interesting; it
almost looks, it doesn't look like a photograph anymore. It looks almost like a drawing or
a painting, or something even stranger. I'm going to go with it right here, and now what
you can do is you can save this, or you can make a default, or whatever. This is just,
there's two different methods to this, and this is the detail enhancer.

If you go to
the tone compressor, you'll get a completely different image. As you can see, we start
off weirder, so we can adjust our brightness; go all the way out, and go all the way up.
Somewhere in the middle is probably a good spot for it. We can adjust our tonal range
compression all the way back, which is nothing but blacks; all the way this way, which is
going to be nothing but whites for the most part. Our contrast adaption, or adaptation
rather, see like you go this way you're going to get a lot more of your whites, and a lot
less fine detail, but you'll get a lot of interesting color, like this photo will look
really good when it's blown up full size.

And of course, your white and black clip adjustments.
So, let's let's do it this way. But, I'm going to actually going to go back to the detail
enhancer, except that I came up with a much more interesting looking photograph, and let's
see what happens. I kind of liked the darker looking photos. There we go, and so I'm just
going to hit ok now, and it's going to generate a photo..

The History of Photography and The Camera documentary

Just press a button the moment is caught frozen forever These images unite us remind us of our victories our tragedies our dreams but at the beginning of the 19th century Taking a photograph was just that a dream pursued by three very different men now the invention of photography the Quest to capture light on Modern Marvels you The camera we take it for granted today. There is a camera in almost every American home We don't think twice about how it works. We just aim focus and push a button This marvelous box brings a wide world into our hands, but the camera really isn't a very complicated device here's how it works When you focus the camera on an image light reflected from that image enters the lens Is inverted and makes an upSide-down picture on the film at the back of the camera we drop the film off for development? It's dipped in chemicals and a negative image appears from which pictures are printed Strangely enough a basic camera was used almost a thousand years ago In the 11th century Arabian astronomers used a camera to trace a path of the stars Their camera was a darkened room with a small hole in one wall on the wall opposite the hole you would see projected upside down the very image of What was outside the window and this discovery was called the camera? ObScura the word camera means room word Obscura in Italian means dark Camera, Obscura's became popular tools for artists it might surprise museum goers to know that by the 18th century many famous Painters trace their subjects with the camera, Obscura art began to call for to demand that a way be invented a way be devised that the Actual world reality could be recorded more faithfully than it had been recorded Before but the problem with drawing aids like the camera ObScura was that if the artists tracing the image wasn't very good the drawing wasn't very good cameras made a perfect reflection of light But how great an achievement to make the image permanent? The invention of photography would demand more than an artist desire it would require a scientists Curiosity simply stated photography could never be possible without some understanding of chemical reaction to light Over 3,000 years ago early civilizations noticed that sunlight faded fabrics, but they didn't know why? Centuries would pass before a very important discovery was made about chemical sensitivity to life in the 1700s Johann Heinrich Schultz was working with silver chloride when he realized that the silver particles changed color after exposure to sunlight And he would make little experimental most games for his friends where he would take a flask and fill it full of this solution of chalk and Silver chloride and he put the stencil on the flask Hold it in the light for a while then take the paper away in presenting the silver blackened off the dyes in relation to light Though he took it no further Schultz's discovery would become a basic principle of photography the tools for creating an image were now known The early 1800s were a time of prolific invention and in the dawn of the industrial revolution There were great races to patent and protect one's ideas in Central France a modest inventor would make a giant Contribution to the development of the still camera though He was trying to invent something very different in a French village near Paris in 1816 Joseph, Nisa Forney Epps, became interested in refining the new art of lithography in order to make copies of pre-existing works of art But he needed drawings in order to do experiments and knee-ups couldn't draw for beans He decided to make his drawings with the aid of light an idea far more difficult than refining lithography in fact it had stumped many great minds before his knee EPps built a tiny camera Obscura a little over 1 inch wide on each side he knew about Schultz's experiments with light-sensitive silver So he pinned paper soaked in silver chloride into the back of his camera He was thrilled to get an image on the paper The lights and darks were reversed and he had no idea how to make a print or normal-looking picture from it Six years of tedious experimentation passed while he puzzled over better methods of creating a good image In july of 1822 Kniepp stumbled upon a solution he knew that artists use an asphalt compound in lithography Nibs coated a plate with asphalt instead of silver placed a translucent image on the plate and exposed it to the sun It was a radical idea and it worked He could Copy Works of art in the summer of 1826 an even greater Triumph would come He used a crude camera, obscure that he had and he put the plate in the back of the camera ObScura stuck it out the window of his studio and exposed it to the view out there for eight hours The result what many consider the world's first photograph was the view from the attic window of his country house? Kniepp scald his invention heliography Shortly after his discovery neves received a letter from a stranger in Paris who to kniepp Sehorne knew about his experiments The stranger wanted to know kniepp secret in creating heliographs and claimed that he too was working on making pictures from light Nee Epps was afraid his ideas might be stolen He did some nosing around and discovered that the letter writer who signed his name De Guerre was a respected parisian artist nee epps. Wrote a courteous reply, but did not reveal his technique Shortly after he received the letter nee epps was compelled to make a trip to London on His stopover in Paris he decided on impulse to meet this stranger named de Guerre Louise shot mon.

De Guerre was not only an artist But the Joint owner in a popular gallery called the diorama the Diorama was like Grauman's Chinese theatre in Hollywood a place that everybody knew about it was a Mecca for tourists it was a Cornucopia of money it was highly profitable and it made him famous Spectators watched with amazement as large pictorial views appeared to dissolve into other landscapes through the effect of lights on lightly painted canvas De Guerre used a camera, Obscura to draw correct perspectives on his huge paintings he bought his camera lenses from the same optician who sold lenses to nyet in fact it was the Optician who had told de Guerre of nee epps experiments with a camera. They finally met in January of 1827 We know to go to be very charming man in part of the theater world? He knew how to smooth palms and get his own way and so on. I think yes was quite impressed Knee appeared on to London where he found that a reversal and family fortune had almost bankrupted him He became even more determined to carry on his experiments with a camera and equally determined was Louis Daguerre Paris Showman Nipson de Guerre would shortly become partners in a race that would end in greatness for one and obscurity for the other Before cameras inexpensive portraits were made by cutting silhouettes a process sarcastically named after friends finance minister at the end the silhouette who had proposed Taxing the rich so heavily that only their outline would remain the camera will return in a moment on Modern Marvels we now return to the camera on Modern Marvels the Two men who raced toward the discovery of photography were a study in contrasts joseph nee epps was modest for light and trusting Louis Daguerre was a showman in something of a hustler Nips possessed a strong scientific background while de Guerre had little formal education Even so de Guerre was obsessed with the idea of fixing an image in a camera But he was hindered in pursuing research by his ignorant of chemistry and physics When he learned of knee-ups experiments to gare was even more motivated to pursue the same idea The Garret knee up Several charming notes after their first meeting in Paris He spoke of his continuing research into making images in the camera But to get I think had kind of fooled yep into thinking that he'd got a lot third within experiments than he actually had At the end of two years in 1829 nips made a new breakthrough and sent the results to the gare knee ePps had Succeeded in making a still life in his little camera in the accompanying note nEv spoke of his intention to Publish his work Together leave there was money to be made and he wanted a piece of the pie He urged nips to delay publication until the process could be perfected He also offered his collaboration and claimed to have a camera lens three times as fast as knee abscess That claim would turn out to be a great exaggeration, but nips was convinced by Daguerre's arguments. He agreed not to publish his findings Nieves was now 64 years old tired and impoverished he had worked alone for 13 years And he believed he could not advance the work further without a perfected lens The gare in Stark contrast was 42 in the prime of life energetic and confident that heliography could become as successful as the diorama Sims in the expert would be a good idea to hook up with this entrepreneurial Younger man Who's already quite a famous figure in Paris and who was well-connected, but perhaps of the collaboration? This would be a better way to go then experimenting on his own The gear traveled to nips home and the two men signed a 10-year partnership But over the next four years working separately neither man made breakthroughs Then in 1833 without warning me apps died of a stroke His great contribution to photography remained unpublished His deaths were so large that his son is ador was forced to sell the family estate However is a door inherited his father's interest in the partnership with Daguerre 2 years after nice death his son Isadora received an urgent letter from the gear at long last a gear had made a revolutionary Discovery it found a new method to obtain an image from the camera the Gear chemically treated a silver plate and placed the plate in the camera but instead of leaving the plate there until an image appeared he took it out immediately and heated it over Mercury Vapors an Image soon developed what we call a latent image It was an astounding finding that would change the course of photography yet.

No record remains of what led the gear to this discovery We like to think that Discoveries are by geniuses who cry Eureka after a moment of flash of inspiration? But I think the in fact the invention was a somewhat gradual one Is it Arnie epps? Rush to Paris to gare handed kniepp Son a new contract to sign it changed the name of the firm from knee apps to gear to the gear nians again Inherited all of the notebooks and research of his partner and and those notebooks were valuable And allowed to gasps who was himself an artist and not a scientist to actually go ahead and Successfully make a photograph as we know it today in his theatrical Style the gear publicly announced his discovery But his announcement was premature a major problem remained He could develop an image, but he could not make that image permanent. If it was exposed to further sunlight, the image would fade away It would have disturbed the gear tremendously if he had known that He was not the only man closing in on a solution to this great riddle in fact a 31 year old Englishman named William Henry Fox Talbot was working on the very same idea Until the Honeymoon trip to Northern Italy in 1832 he had tried to use drawing aids including the camera ObScura and another gadget called camera, Lucida Capture the Natural beauty of Lake Como Camera Lucida used a prism to reflect the artist subjects onto a piece of paper Talbott traced the reflection at his hotel and the Lake and he looked at the drawings he made and because he was a smart man and Essentially a pragmatic man. He said to himself these drawings are terrible these are terrible Was a magical moment and on that magical moment He got a brilliant an insight that wouldn't it be wouldn't it be extraordinary To be able to make permanent the drawings that he was making with the camera Lucida unaware of nee absented Gars work Talbot began to experiment with tiny cameras We have to realize that Tolbert wasn't just a kind of arbitrary tinkerer This is a man who was probably as well educated that any man in Europe was at this time His strong background in chemistry and optics guided his experiments aware of silver Sensitivity to life Talbot worked diligently until he achieved a breakthrough He soaked paper in a salt solution Then silver nitrate and exposed the paper with an object laid on it to the sun Talbott was immediately able to produce an image on paper which he called a shadow graph Immediately he said I've discovered how to fix a shadow isn't that a wonderful phrase his he created a new art But Talbot was just beginning in 1835 he made an even more important discovery in his notebook He wrote of exposing paper in his little camera for several hours to obtain a shadow graph for negative image The lights and Darks were reversed He laid that shadow graph on another chemically treated piece of paper exposed it to the sun and created a copy The lights and darks were now normal it is what we consider a positive or print? His first print was a latticework window at Lata Gabby his country home amazingly He did not understand the magnitude of his discovery Talbot set aside the notebooks that contained his great invention and turned his attention to other scholarly pursuits less than 200 miles away De Guerre continue to work obsessively in his laboratory across the channel he tried chemical after chemical on his silver plates De Guerre was determined to fix the image in the camera so that it would not fade He would not leave his lab for days on end He neglected his business and his family after two more years of struggle in 1837 to Guaran ounce that he had found the solution The Garrigan sent for ISadora when Isadora arrived in Paris to gare triumphantly revealed his discovery the method to gear discovered was oddly simple After obtaining an image on the plate to garibay the plate in a salt solution which stopped the chemical reaction on the picture? Joseph Nee Epps's work was critical to Daguerre's discovery would only be credited with the earlier chemical process The magnificent invention would be named after de Guerre alone. He called his pictures daguerreotype Me up, son, Isadora was furious He told a friend all his conduct has been nothing, but a heap of shameful and despicable Charlatan ism Is it or felt that his father had been dishonored but the gare insisted that his photochemical process was different from knee amps in The end Isadora signed the new contract agreeing to all of Daguerre's terms in the hope of receiving some compensation if any money were made De Guerre Conveyed his incredible findings to the french academy of science the academy announced a gars discovery though Not in detail to the world in January of 1839 In the previous four years the Englishman William talbot had experimented no further with his camera His mind was far from his shadow graphs when he read of Daguerre's Invention in the London times two weeks after the invention had been announced Talbot was horrified that Daguerre was receiving credit for a process talbot believed he himself had discovered He immediately resurrected his old experiments made a few new ones and two weeks later on January 25th of 1839 which is that what I call the birthday of photography Talbot made a presentation to a group of people - mostly scientists in London Where the first public exhibition of photographs was made? Talbots contributions in developing a negative positive process were critical to photography as it is used today But those contributions would bring him no financial gain little reward and a great deal of trouble The gear on the other hand would be the one to gain great fame In August 1839 Daguerre's photographic process was announced to the French academy the audience was thrilled Within the hour of men rushed to the nearest chemists shop Stu purchase materials and try to make daguerreotype the French government awarded the gare an annuity of 7,000 francs and to kniepp, Son, Isadora 5,000 to the Guerra type soon became enormous, ly popular They printed handbooks and manuals describing how to make a daguerreotype and these handbooks and manuals were translated into a dozen languages immediately shipped around the world and Very quickly the Derry-o types were being made in Practically every city that was itself also a trading port the government encouraged a gare to continue his research But he knew his greatest achievement was behind him he retired to a small city outside Paris where he puttered in his garden The Gare died of a heart attack in 1851.

He was 64 years old so de Guerre is the ancestor of One line of photography which is instant photography which is the polaroid process and all? Processes like it the world was ready to receive the gars invention the gazette. De France predicted photography would revolutionize the art of drawing but problems remained exposure times were unacceptably slow the equipment was bulky and Impractical the chemicals noxious great minds went to work to find the solutions But arum photography means to draw with life it comes from the greek post meaning life and graphene meaning to draw the camera will return in a moment on Modern Marvels We now return to the camera on Modern Marvels But in the first year of Daguerre and Talbots discoveries amateur photographers began karting their heavy equipment to the far reaches of the globe photography had arrived from athens to Egypt Exotic and Faraway places were captured and brought home Photography was not a hobby for the weak of heart Each glass plate used in a daguerreotype camera could easily weigh a pound or more depending on its size Chemicals and sealed glass bottles heavy tripods and other paraphernalia made the equipment awkward and Unwieldy In France there was great enthusiasm For Daguerre's marvellous new invention, but the public soon grew disappointed with photography's limitations in making portraits Cruel looking metal stands were designed with arms that clamp the poseurs had in place The subject was required to sit perfectly still for as long as a quarter of an hour usually indirect layering sunlight While this portrait was being taken One satirical magazine of the time made fun of the gears process you want to make a portrait of your wife You fix her head in a temporary iron collar to get the indispensable Immobility you point the lens of the camera at her face and when you take the portrait It doesn't represent your wife it is her parrot or water and powder The difficulty in taking portraits was just one drawback in early photography the plate was developed incorrectly the image faded Papers used for printing were often flawed the chemical stank and were toxic, but there was money to be made Incentive to improve the invention was very strong William Talbot returned to the research he had abandoned four years earlier. He knew his original process was slow and imperfect soon He came up with an important improvement by exposing wet instead of dry paper in the camera for a short time He could develop an image of the paper afterwards through further chemical treatment the process was faster in the image box sharper Calvin named photographs made by this process Calla types Greek for beautiful pictures his mother advised him to call them talbot types and did so herself until the day she died This faster chemical process Talbot could not make portraits His 1840 photograph of his wife constance is one of the oldest surviving Calotype portraits She sat for it only five stiff minutes Over the next two decades talbot continued to make improvements in developing and fixing photographs But he was never to enjoy financial success from his invention though. He tried to protect his ideas Talbot did the unusual Instead of sharing with the world at large his discovery as a miracle that had been given by Nature or by God He patented the process he became embroiled in a number of nasty lawsuits over others rights to use his Processes he lost most of the suits later in his life talbot would give up photography entirely in 1877 he died of Heart failure at Latoque Abbey in Several obituaries his contribution to the invention of photography was barely mentioned Of course there was always rivalry between France and britain about witches and had come up with the invention but talbot has been a widely recognized as the Founding figure for the kind of photography we use today paper-based negative by positive photography in that respect told that is definitely the founding As portraits became possible public demand for them grew quickly and a wide variety of people Though it may seem strange today requests for portraits of family members who had died were not uncommon? Death rates in the 1800s were very high especially among children Sometimes the dead were propped up in chairs or their bodies positioned in lifelike poses This practice was discontinued by the turn of the century when for health reasons Austria And other countries finally banned families from taking Dead children to portrait studios In the United States daguerreotype portraits were extremely popular in the 1850s gallery sprang up everywhere Well, it's hard for twentieth-century people to realize quite.

How amazing it was to experience in daguerreotype for the first time so in the 1840s they came in these beautiful leather packages like a jewel piece of jewelry in fact when you opened up and you Saw the image which of course is on a silver plate it flashes that you like a beautiful jewel celebrities judges Ordinary Folks and Presidents all sat for portraits in 1864 Abraham Lincoln posed for the American Portraitist Matthew Brady We all have a copy of that photograph and most of us don't know it. It's the portrait on the $5 bill Just as quickly as portrait photography became possible erotica became popular as with painting and sculpture photographers immediately began to pose nudes both for artistic and pornographic purposes From 1840 to the early 1860s the daguerreotype had a glorious run But by the mid 1860s its day had passed The plates were so fragile they had to be sealed under glass protected from damaging fingerprints or oxidation the Garret types did not duplicate well in a portrait by a reputable salon could cost as much as $1000 at today's prices, but more importantly something came along to take their place Frederick Scott archer an English Sculptor made an improvement in photography so significant that most photographers Abandoned both the daguerreotype, and the Calotype in his favor Archer called his process collodion. He coated glass plates with a compound made of dumb cotton and ether Unlimited prints could be made from the glass plates and the images were pin sharp The collodion process would dominate until the 1880s when dry plates would replace it but despite these improvements photography continued to be a cumbersome and Elusive, Hobby the early chemistry was for the most part fairly toxic people who became ill deranged and and otherwise sick from from constant exposure to different kind of photographic processes and in fumes Revolutionary Advances would have to wait for visionaries to rethink the camera itself One young man would claim that vision and be responsible for the prototype of what we think of as the camera today? Identifying criminals with photographs was popular with law enforcement and collectors in 1876 Photographers sold over 50,000 silver near prints of Jesse James Gang After they were killed in a bank robbery attempt the camera will return in a moment on Modern Marvels We now return to the camera on Modern Marvels Photography was not an invention born in perfection, but by a second decade many hobbyists had improved the process Exposure times were shorter lenses faster In the next 20 years even more astonishing changes would come and they would allow the camera to be used in surprising ways Camera bodies were designed in a wide array of shapes and configurations Some cameras were designed to use both the Gara type and calotype acts Others had an accordion bellows so that the subject could be kept in focus at various distances studio cameras varied in size from small to bigger than a man Stereoscopic cameras became very popular Paired images viewed through a stereoscope became fused into one image in the mind and gave a startling illusion of three dimensions Many inventors focused on ways to make photography more profitable Andre Diaz Dairy a parisian designed an ingenious camera in 1854 that a lot of to eight exposures or negatives to be taken on one plate He called them. Cod a visit or calling cards.

They were wildly popular and cheap to make photographs of famous people like Princess Alexandra of Wales sold like Hotcakes In the second decade of photography abroad world was captured with a range of cameras But one subject had not yet been chronicled the arena of war in 1855 the Crimean War was raging on the North Coast of the Black sea Roger Fenton an English lawyer turned photographer set sail for balaclava Harbor with 36 crates of photographic equipment weighing thousands of pounds His plates were so slow fenton could only film before or after battle he developed his pictures in intensely sweltering heat in a wine merchants carriage he had converted into a darkroom his war photograph shocked people a Few Years later Americans would get the same dose of reality From the Battlefield of Gettysburg to cold harbor Fredericksburg to Chancellorsville mathew Brady and other cameramen would yield heavy wagons of photographic equipment? Close behind the battle lines and sometimes inadvertently on the Battle Lines their photographs documented with great eloquence the dead the dying and every Phase of the American Civil war In the decade after the civil war the development of dry plates and the invention of fast mechanical shutters finally allowed Photographers to record motion accurately that would turn out to be highly profitable for Leland Stanford Stanford a former California Governor no Racehorse Enthusiast made a $20,000 bet with a friend in 1873 But all for the horses hooves left the ground at the same time during a gallop but not in the manner in which artists depicted them Stanford turned to a camera to prove his theory Stanford hired Eadweard Muybridge a british photographer living in San Francisco to Settle the question Motivated by his fascination with motion photography muybridge had invented a fast mechanical shutter in 1877 Muybridge Line 24 cameras in a row few paces apart in the track at Leland's farm in Palo Alto, California each camera Shutter mechanism was controlled by a string and as the horse Went down the track it broke the string and picked four shutter and you got an image of the horse in that particular position the photograph showed Beyond a doubt that a horse's hooves did indeed all come off the ground at the same time in his gallop and in an unlikely place under the horse's belly Stanford won his bet Muybridge is shots of Progressive action heralded a new direction in photography as with the ideas of a young man in upstate, New York A Young bank clerk in Rochester New York took up photography as a hobby in the 1870s the clerk's name was George, Eastman Eastman's Father had died when the boy was 14 and poverty forced George to go to work Eastman loved tinkering By his 20s his routine was to work in the bank during the day and in his photography lab at night He was determined to invent a dry film emulsion made of Gelatin which hobbyists thought would be more Practical than the chemicals in use at the time After some months of experimenting he came up with a workable emulsion he designed a coating machine to apply it to the plate Eastman took money from his savings and sailed for England where he applied for patents for both his emulsion and coding machine The Emulsion sold Modestly well but more importantly Eastman was building a reputation for reliability That reputation would be important when he embarked on a new pursuit designing a flexible base to replace the photographic plate in 1884 after two more years of constant experimentation Eastman began selling a paper base he called film he also designed a holder from which to roll the paper Film's weight and flexibility were wonderful but developing it was tricky because the emulsion had to be carefully peeled from the base It also sold Modestly Eastman continued to develop new ideas and to market them in 1888. He sailed to england again to patent a trademark name He'd been mulling over for quite some time He was trying to find a name that was an incredibly memorable that you couldn't forget. He couldn't confuse it with anything else that Would satisfy all patent laws in a variety of different countries and which he himself said because of the two continents kodak it sounded like the click of a camera shutter so that would always remind you of in fact what the company was associated with The first product Eastman introduced under the name Kodak would change the course of photography It was a camera half the size of a shoebox 22 ounces in weight It wasn't the first small camera by any means smaller camera bodies had been introduced by various companies in the 1880s but Eastman added something ingenious a 50-Foot Roll of Film capable of making a hundred exposures Loaded with film the camera costs too steep $25 but Eastman stroke of genius was that for $10 his company would process the film Reload the camera and return the camera and prints to the customer He marketed this whole process under the slogan you press the button We do the rest and this was his you know why he revolutionized the whole business because the most unskilled amateur could now take photographs The Kodak camera went on the market in july of 1888 in six months to Eastman's astonishment he had sold 2500 and set a course for the future of photography in the next century Kodak cameras would be offered in every shape size and color imaginable a Camera marketed for children was called the Brownie camera targeted at women included a lipstick and compact Eastman's Company would reach into every arena of amateur and professional photography Kodak became the household name and photographic supplies, and it is to this day Eastman is real genius Lay in his business sense his advertising campaigns were brilliant his Advertising constantly played on ideas of memory and desire and loss The idea that if one didn't take a photograph one would lose this memory and with it your entire child childhood if you like Eastman's pioneering achievements in photography would extend to other mediums as well his work in film was in no small measure responsible for an invention on another frontier the moving picture New lenses new cameras and a new century would bring great changes to the way people use photography but a large disappointment remained how to turn a black and white world into color An early advertisement for the kodak camera boasted it is now easy for any person of ordinary intelligence to learn to take good photographs in ten minutes Modern Marvels will return We now return to Modern Marvels As the 19th century drew to a close The evolution of the camera and of chemical processes allowed photography to expand further into science and business Police work x-Rays and news photography were just some of its uses People readily accepted photography's usefulness, but few accepted it as art in Fact most early photographers did not see themselves as artists but a few visionaries like Julia Margaret Cameron Took photography to a higher level in the 1860s Cameron set out to create portraits that were art She used dramatic lighting and borrowed ideas from the Classics She converted a chicken coop into a darkroom and composed personal dramatic portraits of her friends Among his subjects were the scientist Darwin the Poet Tennyson and the Alice who as a child had inspired Lewis Carroll's alice in Wonderland I. Think she is one of the greatest of geniuses in the 19th century and in the whole history of photography Critics mocked her soft focus.

She never made a profit and her work laying in obscurity for many years after her death Photography would not find a welcoming place in art galleries until the 20th century its acceptance was due in large part to Alfred Stieglitz a photographer Collector and critic Stieglitz opened a small gallery in New York in 1905 and for 30-something years exhibited photograph side by side with great contemporary Works of art Stiglitz believe profoundly That a photograph could be as important to work of art as any painting or any sculpture that he had had ever seen It is clear from the works of Daga Delacroix and other turn-of-the-century painters that they drew inspiration from photography The notion of photography as art came slowly By the 1880s the camera had become a powerful political and social tool in the hands of some documentarians the homeless and recent immigrants were the subjects of both Jacob wiese a New York photographer in the 1890s and of Lewis hine a decade later Hynes photographs of children and sweatshops helped Initiate the passage of child labor laws in the dust bowls of the midwest and the migrant camps of the far West dorothea lange Walker Evans And other government photographers recorded rural lives displaced by drought and poverty during the great depression In its first 50 years the camera had been very limited by lighting conditions the invention of Flash Powder changed all that in 1887 But it was not without danger It also called people's hair on fire put acrid smoke in the air and occasionally Exploded the flashbulb would not come into common use until the 1930s to tidy things up a bit with all the ingenious improvements in photography why was the invention of colours such a Diabolically difficult task the concept that colours could be made from three primary colors had been demonstrated by James Clerk Maxwell in 1861 the problem was of course how to find a way to capture these three primary or secondary colors on a piece of film two Parisian Brothers Claude and Louis lumire would make an ingenious breakthrough in color in 1904 They died separate batches of tiny granules of potato starch in one of the three primary colors They combined the different color granules on film the granules of potato starch acted like Miniature filters their film Autochrome rendered exquisite colors, but was expensive and had limited sensitivity to light Only a handful of professional photographers used it Eastman's research Department had explored color film for two decades without much success but the invention of 35 millimeter film still photography and motion pictures would light a fire under the company there was money to be made I. Think it was a major kind of engineering. Task to figure out how to do it and certainly the incentive of 35-Millimeter I think is what? What forced the companies Forced Kodak to? Find a way to make color practical kodak marketed A 35-millimeter color slide film in 1932 but Eastman did not live to see it in 1931 Eastman turned 78 He was wealthy Beyond his dreams a friend of the powerful and famous a man of eclectic tastes He loved big-game hunting and Elegant dinners camping and classical music After his 78th birthday a party was given for Eastman at his home Shortly after the guests left his secretary heard a gunshot and rushed upstairs Eastman had ended his life with a bullet to his brain the father of the modern Photographic process left a note that said only my work is done wai-wait within two decades a young man is keen in his business on cheese's George, Eastman as Visionary as Henry Ford would bring photography full circle to its beginning Edwin land a Harvard freshman in the 1920s was walking down Broadway in New York City on a college trip The marquee Lights dazzled him so did the headlights of the cars wishing by at that moment He got an idea that would set the course of his entire career What if a filter could be designed that would cut the glare of the Car's headlights? Land immediately took a leave of absence from Harvard he worked intensely for three years in a makeshift lab in New York City Finally he achieved his goal He was able to make an artificial material that allowed only light rays moving in One direction through it a term called Polarizing the results. No more glare the kodak company immediately saw the materials potential as a camera filter in 1934 Kodak signed a contract with land.

He was in business Land clearly wasn't thinking about the camera when he made this discovery even so he had just laid the groundwork for a stunning breakthrough in Photography a breakthrough that land himself would make a decade later Lands greatest invention would come to him in the same flash of insight his original idea had taken land was on a family trip to Santa fe New Mexico in 1944 when his three-year-old daughter asked why she had to wait to see a photograph he had taken of her in that moment. He Visualized the elements that be needed in a camera that could make a photograph almost instantaneously He immediately realized that his life's work in plastics and polarizers had laid the basis for the invention of an instantly Developing photograph, but it would take three years of research to develop the idea into a workable prototype lands film consisted of a positive and negative sheet with chemical seal in between When the photographer pulled the exposed film through the rollers at the back of the camera the chemicals spread across both sheets processing and developing the film within minutes in 1948 the first land camera was sold for 8950 at Jordan Marsh in Boston over five million were purchased in the first year today Polaroid cameras are popular around the world oddly enough Polaroid pictures which are direct positives are the modern equivalent of the daguerreotype the story of the camera had come full circle? The first pictures took 8 hours to make Today a picture takes a fraction of a second we use photography to push nearly every scientific frontier It's hard to imagine at this point in time a world without Photography, I think it's changed the entire kind of human consciousness of the way that we look at and perceive and and deal with the Real World The vision of so many centuries ago to capture the reflected image of light Is this magical today as it was then and it is possible through a simple, but ingenious? Invention but kamilly.