Hi. This is Marty from Blue Lightning TV.
I'm going to show you how to create a digital portrait from a standard photo and how to
replace the photo without having to redo the effects. This is an update to a tutorial I
did on an earlier version of Photoshop. Open a photo you'd like to use, I downloaded this one from Shutterstock.Com.
To add effects to the photo non-destructively, convert it
into a Smart Object. To do this, click the icon at the upper, right of the Layers panel
and click "Convert to Smart Object". Go to Image and Image Size. To ensure that your results will be the same as mine, make the Resolution: 150 pixels per inch and the Height:
850 pixels.
The Width will automatically update itself to another amount because the width
and the height are linked. Then, click OK. To fit the photo back onto your canvas, press
Ctrl or Cmd + 0. For the best results, the subject should be on a white background.
If
your subject isn't on a white background, we need to make a selection around the subject
and then cut it out. For this example, I'll use the Quick Selection Tool. I'll make the
Size: 15 pixels and drag the tool over the subject. The selection doesn't have to be
perfect.
If you want to see it as a quick mask, press "Q". Press "Q" again to revert
it back into a selection. Press Ctrl or Cmd + J to cut your subject from its background and copy it to its own layer. Make a new layer below it.
To do this, Ctrl-click or Cmd-click on the New Layer icon. We'll fill the empty layer with white and since white is the background color, press Ctrl or Cmd + Delete. Merge these layers by clicking on the thumbnail of your subject to make the layer active and pressing Ctrl or Cmd + E. Make this layer into a Smart Object and go to Filter, Pixelate and Mosaic.
Make the Cell Size: 15 pixels square and click OK. Go to Filter, Noise and Median. Make the Radius 5 pixels. This modifies the square mosaics into round shapes.
Go to Filter and Filter Gallery. Open the "Stylize" folder and click "Glowing Edges". I'll make the Edge Width: 1, the Edge Brightness: 15 and the
Smoothness: 15, however, feel free to experiment with the amounts to get the combination you
like. To replace the photo with another without having to redo all the effects, double-click
on a Smart Object to open the source photo.
Open the new photo and go to Image and Image
Size. Make the Resolution: 150 pixels per inch and Height: 850 pixels. Then, click OK. Press "v" to open your Move Tool and drag it onto the tab of the .Psb file, which is
the Smart Object.
Without releasing your mouse or pen, press and hold Shift as you drag it
down onto the image. Then, release. Go back to the Smart Object tab and click the small "x" to close it. When you see this warning, click "Yes" to accept it.
Click back on the tab of your portrait to open it and your new photo will automatically update itself with
all the effects. To crop it, open your Rectangular Marquee Tool and drag a rectangle over you image. Go to Image and Crop. Then, deselect it.
This is Marty from Blue Lightning TV.
Thanks for watching!.
Sunday, September 30, 2018
Saturday, September 22, 2018
Photography Tutorial, Essential Skills, Quickly Transform Your Photos, by Karl Taylor
Light is the magical stuff that we use
to create our pictures. It's found all around us and comes from a variety of
sources both natural and man-made. It also comes in many forms and colours, each
one affecting the atmosphere of our pictures differently. To help us
understand light I've broken it down into four main categories: transmitted
light, reflected light, soft light and hard light.
Hard light comes from any
light source that is apparently small. Now the sun on a clear day is a prime
example. Now we know the sun's not actually small but it appears small
because it's so far away and it acts like an extremely bright but small light
bulb in the sky. Soft light comes from any light source that has a large
apparent surface area.
Now a great example of that is like the light we've
got right now and that's where the sun is shining through an overcast sky or a
large blanket of cloud and that large blanket of cloud has now become the
large light source and that large light source is what's giving us the soft
light. The characteristics of hard light are that it has a very high contrast
because that high contrast it gives very sharp hard-edged shadows. It also has a
certain sparkle and sharpness to the light because of the high contrast and
it also reveals texture very strongly if the light source is at the right angle,
whereas soft light is very low in contrast and hardly gives any shadows at
all. In actual fact if soft light is used
incorrectly it can look quite dull.
So what type of light is best for
photography? Well right now is what photographers call the 'Magic Hour' and
that's because it has all the magic ingredients. We've got soft light from
this large light source above us which is the sky, but we've also got hard light
from the sun which is setting over there and it's cutting through the earth's
atmosphere so it's reduced in intensity to a much more manageable level and by
combining hard light and soft light makes the photographs much more
interesting. Now to add to that we've also got transmitted light and that
means we can see the light source in the picture, plus we've got reflected light
reflecting off the surface of the water and off the wet sand and by putting all
of those things together we're going to get a fantastic image, and if I can just
get this piece of driftwood to stay still I think we're going to get the
shot that we want. That's coming together really nicely, just going to move that
over a little bit.
Some beautiful reflections off of the bit of wood, it's
a little bit too close, just going to move it back down there. I want to be
quite precise.Oh no, she moved out the way again! Oh still that's quite a good
result quite, a good result. We've got the water flowing by, got the bit of wood. As you can see sometimes you need to get
your feet wet to get the best shot.
For this shot I was using a super wide
angle lens and experimenting in manual mode with shutter speeds from one to six
seconds. I used a small aperture for maximum
depth of field. To balance the light in the sky with my dark foreground I use ND
filters, which we look at in depth in our travel and landscape DVD. To understand
light better start looking at it in different situations and try to figure
out what you are seeing - is it hard light or is it soft light or is it a
combination of the two? For the best light try to shoot at least half an hour
before and after sunset, if the weather conditions are right then this will
usually be the most attractive light of the day.
We'll try a couple more shots before we pack
home and I can change out of these wet socks and shoes. Fantastic! The 'Magic Hour' is not the only time or
light that we can shoot in. You can even take advantage of hard light at midday
by shooting indoors. I'm going to show you how you can create stunning
portraits with nothing more than a window and a reflector for lighting.
Now
a great lighting set-up that you can easily use in many different locations, even in
your own home, is simply a large window. Now here we've got Vicky modelling for us
and we're using this large window light to illuminate soft light all the way
down the side of Vicky's face. Now one of the problems when you just have side light
like this is that the other side of the body will be in shadow, now a great way
to get around that is simply to use a reflector and reflectors are great tools,
now you can get a variety of different reflectors. This one here is a
commercially available reflector that just pops open like that and you can
take out on location with you and then if you look at Vicky's face here you'll
see the difference that that reflector makes as I put that light in and out of
the shot like so, so a huge difference.
Now it's silver on one side and it's white on
the other so the silver side gives a harsher light, but if you don't want to
use a reflector like that you can even use something as simple as a piece of
white card like this, here I've got a little bit of white board, just a bit of
white foam board, and again watch the result here what we can do there. So this
side of the face is dark and in shadow, simply bring white board in and we've
got a great reflector, great fill in panel to illuminate that shadow side for
us. So very simple technique - large window, nice soft light beautiful for portraits,
fantastic for portraits, and then simply a reflector on the other side to fill in
the shadow side. So I'm going to get Vicky leaning in against this window and
then we're going to use a couple of different reflectors and we're going to
see what results we get.
Okay Vicky. That's great, come down towards me a bit more. And head over the other way, that's it. This shot uses a white reflector close
to our subject, here the reflector is further away resulting in less fill
light and more shadows.
In this shot no reflector was used at all, and in this
shot the white reflector was close to our model. That's good. Great. Okay just give me a
little hint of a smile there Vicky, that's good.
Just chuck that light there, perfect. Same
pose, that's it. The difference without the reflector and then with the
reflector, without, with. And you can see that even without the reflector can be
quite nice, in that case there's actually a little bit of light bouncing back from
the other side of the room anyway which is filling in a little bit and then on
the one with the reflector it's almost a bit too strong so I think what we do
Fab is just get you to go in with the white card this time, we'll just go from a
little bit further away.
Much softer light, which is fantastic for filling in
all those creases on Vicky's face. That's it good, okay, excellent. I'm just
going to drop that down a little bit. Okay turn your head towards the window
Vicky, that's it good keep that there.
That's lovely.
You can see from this that the surgeon is going to have to do the reconstructive work round about here and then probably shrink the nose a little bit,
expand the head, lift those out, yeah lift those out, maybe make your fingers longer,
so they they drag on the floor like an orangutan, which would probably suit you quite well but yeah. So I think it's worked out quite nicely. For the picture on the left we used a white reflector from approximately two
meters away, giving a slight fill to the shadow side of our image. For the shot on
the right the reflector was moved further away, resulting in a stronger
shadow.
Notice how in both shots I have used a
large aperture to blur the background, concentrating the attention on our
subject.
to create our pictures. It's found all around us and comes from a variety of
sources both natural and man-made. It also comes in many forms and colours, each
one affecting the atmosphere of our pictures differently. To help us
understand light I've broken it down into four main categories: transmitted
light, reflected light, soft light and hard light.
Hard light comes from any
light source that is apparently small. Now the sun on a clear day is a prime
example. Now we know the sun's not actually small but it appears small
because it's so far away and it acts like an extremely bright but small light
bulb in the sky. Soft light comes from any light source that has a large
apparent surface area.
Now a great example of that is like the light we've
got right now and that's where the sun is shining through an overcast sky or a
large blanket of cloud and that large blanket of cloud has now become the
large light source and that large light source is what's giving us the soft
light. The characteristics of hard light are that it has a very high contrast
because that high contrast it gives very sharp hard-edged shadows. It also has a
certain sparkle and sharpness to the light because of the high contrast and
it also reveals texture very strongly if the light source is at the right angle,
whereas soft light is very low in contrast and hardly gives any shadows at
all. In actual fact if soft light is used
incorrectly it can look quite dull.
So what type of light is best for
photography? Well right now is what photographers call the 'Magic Hour' and
that's because it has all the magic ingredients. We've got soft light from
this large light source above us which is the sky, but we've also got hard light
from the sun which is setting over there and it's cutting through the earth's
atmosphere so it's reduced in intensity to a much more manageable level and by
combining hard light and soft light makes the photographs much more
interesting. Now to add to that we've also got transmitted light and that
means we can see the light source in the picture, plus we've got reflected light
reflecting off the surface of the water and off the wet sand and by putting all
of those things together we're going to get a fantastic image, and if I can just
get this piece of driftwood to stay still I think we're going to get the
shot that we want. That's coming together really nicely, just going to move that
over a little bit.
Some beautiful reflections off of the bit of wood, it's
a little bit too close, just going to move it back down there. I want to be
quite precise.Oh no, she moved out the way again! Oh still that's quite a good
result quite, a good result. We've got the water flowing by, got the bit of wood. As you can see sometimes you need to get
your feet wet to get the best shot.
For this shot I was using a super wide
angle lens and experimenting in manual mode with shutter speeds from one to six
seconds. I used a small aperture for maximum
depth of field. To balance the light in the sky with my dark foreground I use ND
filters, which we look at in depth in our travel and landscape DVD. To understand
light better start looking at it in different situations and try to figure
out what you are seeing - is it hard light or is it soft light or is it a
combination of the two? For the best light try to shoot at least half an hour
before and after sunset, if the weather conditions are right then this will
usually be the most attractive light of the day.
We'll try a couple more shots before we pack
home and I can change out of these wet socks and shoes. Fantastic! The 'Magic Hour' is not the only time or
light that we can shoot in. You can even take advantage of hard light at midday
by shooting indoors. I'm going to show you how you can create stunning
portraits with nothing more than a window and a reflector for lighting.
Now
a great lighting set-up that you can easily use in many different locations, even in
your own home, is simply a large window. Now here we've got Vicky modelling for us
and we're using this large window light to illuminate soft light all the way
down the side of Vicky's face. Now one of the problems when you just have side light
like this is that the other side of the body will be in shadow, now a great way
to get around that is simply to use a reflector and reflectors are great tools,
now you can get a variety of different reflectors. This one here is a
commercially available reflector that just pops open like that and you can
take out on location with you and then if you look at Vicky's face here you'll
see the difference that that reflector makes as I put that light in and out of
the shot like so, so a huge difference.
Now it's silver on one side and it's white on
the other so the silver side gives a harsher light, but if you don't want to
use a reflector like that you can even use something as simple as a piece of
white card like this, here I've got a little bit of white board, just a bit of
white foam board, and again watch the result here what we can do there. So this
side of the face is dark and in shadow, simply bring white board in and we've
got a great reflector, great fill in panel to illuminate that shadow side for
us. So very simple technique - large window, nice soft light beautiful for portraits,
fantastic for portraits, and then simply a reflector on the other side to fill in
the shadow side. So I'm going to get Vicky leaning in against this window and
then we're going to use a couple of different reflectors and we're going to
see what results we get.
Okay Vicky. That's great, come down towards me a bit more. And head over the other way, that's it. This shot uses a white reflector close
to our subject, here the reflector is further away resulting in less fill
light and more shadows.
In this shot no reflector was used at all, and in this
shot the white reflector was close to our model. That's good. Great. Okay just give me a
little hint of a smile there Vicky, that's good.
Just chuck that light there, perfect. Same
pose, that's it. The difference without the reflector and then with the
reflector, without, with. And you can see that even without the reflector can be
quite nice, in that case there's actually a little bit of light bouncing back from
the other side of the room anyway which is filling in a little bit and then on
the one with the reflector it's almost a bit too strong so I think what we do
Fab is just get you to go in with the white card this time, we'll just go from a
little bit further away.
Much softer light, which is fantastic for filling in
all those creases on Vicky's face. That's it good, okay, excellent. I'm just
going to drop that down a little bit. Okay turn your head towards the window
Vicky, that's it good keep that there.
That's lovely.
You can see from this that the surgeon is going to have to do the reconstructive work round about here and then probably shrink the nose a little bit,
expand the head, lift those out, yeah lift those out, maybe make your fingers longer,
so they they drag on the floor like an orangutan, which would probably suit you quite well but yeah. So I think it's worked out quite nicely. For the picture on the left we used a white reflector from approximately two
meters away, giving a slight fill to the shadow side of our image. For the shot on
the right the reflector was moved further away, resulting in a stronger
shadow.
Notice how in both shots I have used a
large aperture to blur the background, concentrating the attention on our
subject.
Friday, September 14, 2018
Photography Tutorial - Basics of Composition
Speaker 1: Stop chasing me, I have a Canon
in my hands, it's a Canon I tell you, it's a cannon. Jared Polin, froknowsphoto.Com,
here with another super secret project video. This time I want to talk about composition.
I will be using a Rebel T3i, I have on here a 16 to 35/2. 8 But to keep it more realistic
to what most people starting out with, I am only going to shoot it in the range of 18
to 35, because most kit lenses are 18 to 55s and I am not going to go below F 3.
5, Just
to keep it more realistic. But when I say composition I have here Kermit de Frog as
my subject and he is an inanimate object. So we are going to play around here, I don't
even know what I am going to do, I haven't even tried to compose an image here to see
what would work best with just basically a kit lens. If Canon actually sent me kit lens this time,
I would have used it, but they sent me a better piece of glass, because I asked for it.
But
it still has to go back, I still have to send it back soon. What I plan on doing here, is
just going through different angles, taking pictures and showing you what they look like
to see how I am changing you the composition, changing up my angle, seeing what works best.
Because the best way to learn your composition is to actually go out and see it and do it.
So that's why Kermit de Frog is here for my subject and just a little cut out, my mom
made this in 1983 and it has been my doorstop ever since. She used to do a lot of ceramics and this
is one thing she brought home in 1983 when I was roughly 2 years old. So yeah, let's
get to the composition video end of this or the composition part of this and I will right
back to use this Canon T3i, hopefully you guys pick up some information from this, we
will be right back.
All right, so we are back now, T3i in hand and this is about seeing
and feeling the image. Sure there is not much going on here. I just Kermit de Frog sitting
over there and I have to find the image. If you can practice this yourself and find the
image with inanimate objects and things like that you are going to train yourself to get
much better when you are in an actual shooting situation, all this practice of trying to
find the right composition is going to lead you on the right path to getting that composition
when you're out there shooting what really, really matters.
This is a great test. I have to sit here and
work through the different, you know it's not the biggest range of lenses, it doesn't
go 18 to 55 like those kit lens, it's going to go 16 to 35, but like I said, I am only
going to shoot from 18 to 35 and at the lowest aperture of 3. 5 And that's going to have
to change as I hit 35 because most cameras, when you don't have the 2. 8 Lenses, are going
to do that.
But what I am going to do here is try to find the image. I am just going
to move around and search for it and we are going to pop the images up on screen as I
shoot them to see what we are getting. And then see if it's good composition or bad composition,
so you know really sometimes people start out and they shoot like this. So let's see,
that's a 35, full standing up, shooting the child or whoever down at the low angle and
it looks like this.
What could you do to make that better? First things first, if this is my subject,
I'm getting down on my subject's angle because this is how you want photograph a child or
subject on this low angle, boom, let's see what this looks like, there you go. Now right
now, I'm in aperture priority we are not going to worry too much about exposures right now,
because this is all about composition. So there is, oh I thought I had a bug on me,
I don't like bugs, there is the first image, not every interesting, there's a second image,
getting even better and like that angle, do you see what I did it. I threw them off to
the right-hand side, now let's put them right in the middle, so using this Canon, I hit
this button over here, the top right corner, it lights up the different focusing points.
And then I select the middle one and hit okay, so here he is right in the middle.
So now you can see the picture basically in
the middle, look at the difference between the first one, he is off to the right hand
side. And the second one, he is right in the middle, which composition is stronger, that's
up to you. But I like him throwing off to the side, because that to me is a better image.
Now what would a vertical look like, do we want them right in the middle, like this,
do we want to focus and do this? You know, you are just getting a different feel for
what's going on. Could we come here and shoot an even wider shot or do I want come over
to here and be like all right, Kermit, let's see what we have got, let's work with you.
Oh right there, Kermie, so here we go again.
I am picking my focusing point, by hitting that center button and moving all the way
over to the leftmost focusing point, I think I am still learning how to use this bad boy.
And there we go, focus right on his eye from this corner, all right, there we go. I want
to get more of his body in there, so I am going to go wider. And here we go, now, I
threw them off to the left hand side, but I got his whole body in there and that's looking
much better than the shot before. The shot before is good, but look at the tree right
in the background, it's like he has got a tree coming out of his head.
Let me focus,
lock in, you see, now you see this tree coming out of his head. That's not good, how can
we -- how can we fix the tree coming out of the top of his head. Well, we could move slightly this way and
be like, all right, I don't want the tree coming out of your head. So let's go vertical
and now the tree is off to the side focus, focus, boom.
Now we see the difference in
where the tree is much better than the tree coming out of the top of his head. So really
what this is coming down to is just seeing what's going on in the frame, what's going
on in the background, what's going on in your, just in your sidelines. It's all about seeing,
it's not just about where your subject is what your subject is doing. He is not moving,
I have to move myself, many times, when I.
Am shooting models, I don't ask them to move,
if they are in a bad place, I will move myself and the last resort is ask them to move, because
I want to -- you know I want to see the image. I am always looking, I am always looking through
the camera, going all right, let's see, what could be the right angle, because you want
to look through the camera, because that's what your image is going to be and not so
much, always just looking not through the camera, you want to use the camera, to see
what your frame is going to be, because then you are going to see what's going on. So those
are just some simple examples of what I am thinking about when I am looking through the
camera and shooting the pictures, was there a distraction in the background, would he
look better at a high angle or a lower angle, would he be better right in the middle, could
he be better to the left or the right, and these are just basic composition things that
are going through my mind, every second when I am a shooting a picture. When I am looking through the viewfinder,
am I looking right at the subject all the time, no, I am focusing on the subject, but
I am checking the outer border, is there something protruding through the outer border that doesn't
need to be there, is there a distraction.
I don't know, but that's what I am looking
for and what I am thinking about. So that's about it for the basic thing on composition
right thing. I hope these images help you out, I hope it give you a little bit of inside
into what I am thinking about, so you can try to think about that as well. So that is
another super secret project video, this time composition with Mr.
Kermit de Frog, Kermit,
thank you very much. Jared Polin, froknowsphoto.Com. See ya..
in my hands, it's a Canon I tell you, it's a cannon. Jared Polin, froknowsphoto.Com,
here with another super secret project video. This time I want to talk about composition.
I will be using a Rebel T3i, I have on here a 16 to 35/2. 8 But to keep it more realistic
to what most people starting out with, I am only going to shoot it in the range of 18
to 35, because most kit lenses are 18 to 55s and I am not going to go below F 3.
5, Just
to keep it more realistic. But when I say composition I have here Kermit de Frog as
my subject and he is an inanimate object. So we are going to play around here, I don't
even know what I am going to do, I haven't even tried to compose an image here to see
what would work best with just basically a kit lens. If Canon actually sent me kit lens this time,
I would have used it, but they sent me a better piece of glass, because I asked for it.
But
it still has to go back, I still have to send it back soon. What I plan on doing here, is
just going through different angles, taking pictures and showing you what they look like
to see how I am changing you the composition, changing up my angle, seeing what works best.
Because the best way to learn your composition is to actually go out and see it and do it.
So that's why Kermit de Frog is here for my subject and just a little cut out, my mom
made this in 1983 and it has been my doorstop ever since. She used to do a lot of ceramics and this
is one thing she brought home in 1983 when I was roughly 2 years old. So yeah, let's
get to the composition video end of this or the composition part of this and I will right
back to use this Canon T3i, hopefully you guys pick up some information from this, we
will be right back.
All right, so we are back now, T3i in hand and this is about seeing
and feeling the image. Sure there is not much going on here. I just Kermit de Frog sitting
over there and I have to find the image. If you can practice this yourself and find the
image with inanimate objects and things like that you are going to train yourself to get
much better when you are in an actual shooting situation, all this practice of trying to
find the right composition is going to lead you on the right path to getting that composition
when you're out there shooting what really, really matters.
This is a great test. I have to sit here and
work through the different, you know it's not the biggest range of lenses, it doesn't
go 18 to 55 like those kit lens, it's going to go 16 to 35, but like I said, I am only
going to shoot from 18 to 35 and at the lowest aperture of 3. 5 And that's going to have
to change as I hit 35 because most cameras, when you don't have the 2. 8 Lenses, are going
to do that.
But what I am going to do here is try to find the image. I am just going
to move around and search for it and we are going to pop the images up on screen as I
shoot them to see what we are getting. And then see if it's good composition or bad composition,
so you know really sometimes people start out and they shoot like this. So let's see,
that's a 35, full standing up, shooting the child or whoever down at the low angle and
it looks like this.
What could you do to make that better? First things first, if this is my subject,
I'm getting down on my subject's angle because this is how you want photograph a child or
subject on this low angle, boom, let's see what this looks like, there you go. Now right
now, I'm in aperture priority we are not going to worry too much about exposures right now,
because this is all about composition. So there is, oh I thought I had a bug on me,
I don't like bugs, there is the first image, not every interesting, there's a second image,
getting even better and like that angle, do you see what I did it. I threw them off to
the right-hand side, now let's put them right in the middle, so using this Canon, I hit
this button over here, the top right corner, it lights up the different focusing points.
And then I select the middle one and hit okay, so here he is right in the middle.
So now you can see the picture basically in
the middle, look at the difference between the first one, he is off to the right hand
side. And the second one, he is right in the middle, which composition is stronger, that's
up to you. But I like him throwing off to the side, because that to me is a better image.
Now what would a vertical look like, do we want them right in the middle, like this,
do we want to focus and do this? You know, you are just getting a different feel for
what's going on. Could we come here and shoot an even wider shot or do I want come over
to here and be like all right, Kermit, let's see what we have got, let's work with you.
Oh right there, Kermie, so here we go again.
I am picking my focusing point, by hitting that center button and moving all the way
over to the leftmost focusing point, I think I am still learning how to use this bad boy.
And there we go, focus right on his eye from this corner, all right, there we go. I want
to get more of his body in there, so I am going to go wider. And here we go, now, I
threw them off to the left hand side, but I got his whole body in there and that's looking
much better than the shot before. The shot before is good, but look at the tree right
in the background, it's like he has got a tree coming out of his head.
Let me focus,
lock in, you see, now you see this tree coming out of his head. That's not good, how can
we -- how can we fix the tree coming out of the top of his head. Well, we could move slightly this way and
be like, all right, I don't want the tree coming out of your head. So let's go vertical
and now the tree is off to the side focus, focus, boom.
Now we see the difference in
where the tree is much better than the tree coming out of the top of his head. So really
what this is coming down to is just seeing what's going on in the frame, what's going
on in the background, what's going on in your, just in your sidelines. It's all about seeing,
it's not just about where your subject is what your subject is doing. He is not moving,
I have to move myself, many times, when I.
Am shooting models, I don't ask them to move,
if they are in a bad place, I will move myself and the last resort is ask them to move, because
I want to -- you know I want to see the image. I am always looking, I am always looking through
the camera, going all right, let's see, what could be the right angle, because you want
to look through the camera, because that's what your image is going to be and not so
much, always just looking not through the camera, you want to use the camera, to see
what your frame is going to be, because then you are going to see what's going on. So those
are just some simple examples of what I am thinking about when I am looking through the
camera and shooting the pictures, was there a distraction in the background, would he
look better at a high angle or a lower angle, would he be better right in the middle, could
he be better to the left or the right, and these are just basic composition things that
are going through my mind, every second when I am a shooting a picture. When I am looking through the viewfinder,
am I looking right at the subject all the time, no, I am focusing on the subject, but
I am checking the outer border, is there something protruding through the outer border that doesn't
need to be there, is there a distraction.
I don't know, but that's what I am looking
for and what I am thinking about. So that's about it for the basic thing on composition
right thing. I hope these images help you out, I hope it give you a little bit of inside
into what I am thinking about, so you can try to think about that as well. So that is
another super secret project video, this time composition with Mr.
Kermit de Frog, Kermit,
thank you very much. Jared Polin, froknowsphoto.Com. See ya..
Thursday, September 6, 2018
Photography Lighting TechniquesLighting for Digital Photography
Hello, Mark Bowers from Bowers Photography,
bowersphotography.Com. I'm in Utah. We're here to talk about difference, or digital
photography and the difference between digital photography and film. The biggest difference
is more precise and many times we use a precise meter to get the light a little bit closer
than with film.
Film had a little more forgiving latitude. You're going to look for a really
decent light meter or maybe a flash meter. Film is beautiful and it's great, but we've
shifted our whole studio now to digital. The lighting is basically the same with the same
key light, fill light and hair light as with film.
You just want to be a little bit more
precise and there's one more thing that you should be concerned about with digital, is
digital is a lot more sensitive to color balance and color changes in your light. So you need
to be aware of the color temperatures. Film you can balance it just a little bit easier,
but digital is a little bit more sensitive..
bowersphotography.Com. I'm in Utah. We're here to talk about difference, or digital
photography and the difference between digital photography and film. The biggest difference
is more precise and many times we use a precise meter to get the light a little bit closer
than with film.
Film had a little more forgiving latitude. You're going to look for a really
decent light meter or maybe a flash meter. Film is beautiful and it's great, but we've
shifted our whole studio now to digital. The lighting is basically the same with the same
key light, fill light and hair light as with film.
You just want to be a little bit more
precise and there's one more thing that you should be concerned about with digital, is
digital is a lot more sensitive to color balance and color changes in your light. So you need
to be aware of the color temperatures. Film you can balance it just a little bit easier,
but digital is a little bit more sensitive..
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