Auto Exposure Bracketing : Exploring Photography with Mark Wallace : Adorama Photography TV

Auto Exposure Bracketing : Exploring Photography with Mark Wallace : Adorama Photography TV


in this episode we learn about auto exposure bracketing – Adorama TV
presents exploring photography with Mark Wallace where you learn
innovative techniques on shooting a wide range of photography
here’s your host hi everybody welcome to another episode of Exploring Photography right here on Adorama TV brought to you by Adorama it is the camera store that has
everything for photographers you can check them out at Adorama.com well a few weeks ago I talking
to some of my photographer friends about auto exposure bracketing and where my
friend said he was having issues when shooting in shutter priority mode
specifically said sometimes exposure bracketing just
didn’t work well before getting to that I just wanna remind you that Adorama has some terrific contests and if
you enter you can win some great prizes Well first lets talk about what exposure
bracketing is bracketing is simply taking a series of
photos at the same scene usually 3 photos one that’s exposed
correctly one that is underexposed and one that is overexposed normally you under and overexposed by
the same amount so if you had an under Exposed shot there was uderexposed by
one-stop your overexposed shot would be overexposed
by one-stop as well well almost all cameras have an auto
exposure bracketing feature now this is normally referred to as AEB as stands for auto exposure
bracketing and it normally has a symbol that looks
something like this: so if you see that on your camera’s menu that is the I auto exposure bracketing
symbol. Before getting to how auto exposure bracketing works let’s talk
about why you might want to use it traditionally AEB is use in one of 2 scenarios the first is when you’re not
quite certain of your exposure what you wanna make absolutely certain you get the shot this
is something that landscape photographers have been using for years AEB is also
used to create HDR images HDR stands for high dynamic range and its when you take three or more photos and you combine
them to create an image that has a photo realistic effect in
fact I created in HDR image and used auto exposure bracketing in all
the last episode exploring photography to create this image the Basilica of the
National Val almost all cameras with auto exposure
bracketing have the same basic settings – now for the specific have your
camera make sure you check your camera user manual but generally all cameras work something
like this the first thing you need to do is turn on auto exposure bracketing next some cameras allow you to set how many
shots you’d like to take in your auto exposure bracketing series
the third thing you need to do is tell your camera how much to over and
underexpose each image this usually ranges from
one-third to 3 stops finally set your drive mode to
continuous or self-timer mode once this is all set
up you just press the shutter release once
to take all the shots in the series now some cameras you can
set the drive mode to single to allow you to take each in the shot
individually using a separate shutter Press for each up the shots it’s important to
understand that auto exposure bracketing works
differently in different modes and this is why my friend was having
issues when on exposure bracketing using shutter priority mode and understand this lets first take a
look at how auto exposure bracketing works in aperture priority mode – in aperture
priority mode you set the camera aperture now let’s
say we’ve set our aperture to F 8 now the camera will use its built-in light meter to set the shutter for a
proper exposure now for argument sake let’s say our shutter speed is one two
hundred and fiftieth a second for a proper exposure if we’ve
set our auto exposure bracketing to under and
overexposed by one stop here’s what will happen the
first correctly exposed photo will be made at
F 8 and 1/250 of a second the second
underexposed shot will be made at F 8 and 1/500 a second and the third overexposed shot will be made it F 8 and 1/125 of a second Our aperture is staying the
same but our shutter is changing to create
those under and overexposed images because our shutter can slow all
the way down to thirty seconds and speed up to 4,000th of a second and even on some cameras go all the way up to 8000th of a second we
have a lot of latitude when we’re exposure bracketing using aperture priority mode now in
shutter priority mode the exact opposite is happening our shutter is
staying the same but our aperture is opening and closing to
create the over and underexposed images and this is where we can run into
a lot of issues let’s say that we have and image where we
had a proper exposure up 160 of a second at f2.8 and we want to bracket by
one-stop that’s one image overexposed by one stop
and one image underexposed by one stop let’s also assume our lens
has a maximum aperture opening a F2.8 our first properly
exposed image will be made at 160th of a second at
f2.8 our second underexposed image will be
made at 160th of a second at F4 but will run into issues on our third overexposed image to over exposed by a full stop our
aperture would need to open to F2 but our lens isn’t able to do this so we just end up with an additional
properly exposed image shot f2.8 fix the issue you need to
increase your ISO by one stop so your aperture would have some room to breathe or you can adjust your shutter my
one-stop as well doesn’t matter which way you choose the
important thing to remember is that when you’re in shutter priority mode using
auto exposure bracketing you run into issues when the aperture is
fully open for the properly exposed image now what
about manual mode well in manuel mode there is no auto exposure
bracketing you do it everything manually you can either adjust the aperture to
over an underexposed or and change the shutter to do the trick
so in manual mode you just have to do it yourself now two additional notes about auto
exposure bracketing the first is when I’m using auto exposure
bracketing I most always use aperture priority mode
because in shutter priority mode when the aperture changes your dept of
field changes away as well and so that’s something I try to avoid
the second thing is bracketing isn’t just for exposure you can also bracket you’re white
balance you can bracket your ISO and you can even bracket your focus that these are topics
that will cover in future episodes exploring photography right here on
Adorama TV so don’t forget to subscribe to Adorama TV so you don’t miss a single
episode with all kinds of stuff that I’m doing but there’s all kinds of contributors as
well and you can check out the Adorama
Learning Center for all kinds of articles about the stuff that we’re
talking about today and you can see all in the past episodes
as well thanks again for joining me and I will
see you again in the next episode few great-looking print low-cost be sure
to visit our easy to use online printing service at
around the pics has professionals to treat your images with the utmost care that you can count
on for quick turnaround on photos cards or albums use Adorama dot com

Google Pixel’s Night Sight is revolutionizing low-light photography

Google Pixel’s Night Sight is revolutionizing low-light photography


– So the Google Pixel 3, you already know that
it has the best camera that you can get on a smartphone today. But, when it shipped, it didn’t have one of the key features that
Google was talking about. It’s called Night Sight and it lets you take photos that normally
would look like this, and it turns them into
photos that look like this. You get photos that would
be otherwise impossible. Now, that sample photos was taken with an early leaked beta version
of the Night Sight software. But, the official version is out now in an upgrade for Pixel phone owners and I want to go out and
take some more photos. But before I do, I know that
my friend and colleague, Vlad Savov has been testing it, and I want him to give me a few pointers. So, let’s talk to Vlad. Hey Vlad. – Hello. – So, can you just tell me how this thing actually works? – Now, how it works is you
have the HDR Plus system which makes the Google
Pixel camera what it is. Night Sight takes that and expands it over this period of a few seconds to get you more light in situations where you basically have almost none. So that means up to 15 frames, or up to six seconds. But, this is really complicated because Google combines a
whole bunch of information. So, first of all, when you’re
metering the light around you, you usually have a static photo. What Google does is motion metering. So it actually takes into account the movement of the phone in your hand if there’s any hand shake. It takes into account the
movement of the scene around it. And then it does the
usual standard calculation of how much light it is in the sensor. Right, so the whole idea is you can take something like a long exposure,
like a six second exposure, but Google segments it across frames and then recombines them. – Alright, so it’s getting dark. I’m gonna head outside. But before I do, any tips, any tricks, things I should avoid
when I try this thing out? – Yeah, the main tip is to actually find genuinely dark areas. So this mode is really designed
for night and dark scenes. It will improve the quality of the photo when it has lighting, sure. But, for you to be
really blown away by it, for you to get the most out of it, find night, actual night. – Alright, well, we’ll
see what we can find. I mean, we’re in the city here, but there’s a lot of haze,
so I guess we’ll see. (upbeat techno music) So the funny thing is, the Pixel camera’s so good that even this light I’m in right now is almost too much to show off Night Sight. But, if I take a photo here. And then I can go to enable Night Sight, and then take another photo. The whole bottom of the
photo is basically black, but if I look at the results, you can see that the
Night Sight did pick up a bunch of the green that
wasn’t available there before. But really, what we need to
do is go someplace way darker, because we gotta show this thing off. (upbeat techno music) So there’s a ferry pulling in, so we’ll take a shot
with the regular camera. We’ll go to Night Sight and it is moving but we’ll try it anyway. So I’ll hold still. And we can see, in the Night Sight mode, you get the foreground actually coming in. You get the boat all nice and lit. And then on the non-Night Sight, all that foreground is
lost, the boat looks fine. And it’s more than what my eye sees, so this is a little bit unnatural. But it is kind of interesting, that it’s able to pull that off. And I actually prefer
this shot quite a bit. That boat is moving, but it managed to maintain some detail on it nonetheless. Alright, it’s the next day,
we’re back in the studio. I just wanna show you a few
more of the photos that we took. Because, look at these,
they’re just filthy. Filthy good, I mean, they’re really good. They’re the kind of stuff you wouldn’t ever be able to get otherwise. Also, Vlad took a bunch of photos, so let’s take a look at what he got. – [Vlad] This scene illustrates the best use of Google’s Night Sight. You have very little light,
it’s nowhere in the frame. And as far you and I can tell, all you really have are the outline of the bin and the bench. With Night Sight turned on,
you get so much more detail. You get actual color of the leaves on the ground and on the trees. And you actually have a usable photo. So here’s an example of a shot where Google’s Night Sight is not
actually particularly good for. It’s a nice shot, but
it’s really well lit, and there’s a moving object in the frame. No matter how sophisticated
Google’s system is, even with all the multiple exposures and chopping things up into frames, moving objects will get
blurred in these situations. The only benefit in this shot,
if you look really closely, is the reduction of noise in
the dark sections of the sky. – When I first reviewed the Pixel 3, I was really worried
that all of the features that Google was adding would turn out to just be gimmicks that I wouldn’t use. But that didn’t really
turn out to be the case. I use them a lot now and
I think the same thing is gonna be the case with Night Sight. And I actually asked Vlad
about that yesterday. – Well, as far as I’m
concerned, it’s not a mode. It’s almost having an
entirely new camera in there. I mean, we’ve seen things like DXO, the guys who do all the camera benchmarks. They did an attachment for the iPhone, which costs hundreds of dollars, and it did basically the same thing. Night photography,
improved night photography. Google’s Night Sight does
that exact same thing, but just does it through software. – I think that’s exactly
right this night mode thing, it really is like having a weird extra single purpose camera in
your pocket at all times. You’re not gonna use it every day, but when you need it,
it’s going to be there, and it’s going to work way
better than you expect, and I think it’s kind of amazing. And what’s most amazing to me is this is year three of the Pixel, and if they’re pulling this off right now, I cannot wait to see what they’re gonna do with the main camera software next year. Hey everybody, thank you
so much for watching and I wanna know, if you had
this mode on your phone what kind of pictures would
you try and take with it what kind of stuff haven’t
you been able to get before? Let me know in the comments. And then head over to Verge
Science because they have a dope video about supersonic air travel, it might be coming back. (imitates jet plane flying)

Blowing Hair In The Studio: Take and Make Great Photography with Gavin Hoey

Blowing Hair In The Studio: Take and Make Great Photography with Gavin Hoey


In this video I tested out four different ways of making a breeze in the studio. Hello, I’m Gavin Hoey and your watching Adoramatv brought to you by Adorama the camera store that’s got everything for us photographers. If like me you work in a small home studio you know that if you want movement – it can be quite tricky because you’re limited with space however you’ve got a model with floaty hair or wearing floaty outfits then you can create movement by creating a breeze, and that’s what we’re gonna do four different ways of creating a breeze. I’ll be using a classic studio wind machine, I’ve got a reasonably sized home cooling fan, I’ve got a big board that we can flap up and down and finally I’ve got a hairdryer… oh well! we’ll see if any of these work. I will get a model and we’ll get some lights and let’s get shooting… so today I’ve been joined in the studio by Alice who’s gonna be the model for the shoot. And as you can see she looks amazing with lovely floaty hair that’s going to look fantastic in these pictures. But we’re not just going to test hair we’re going to test fabric as well, we got some floaty fabric to add into the shots. Now let’s talk about lighting, I’ve got the Flashpoint Streetlight 360 in a small soft box, and I’ll use the same lighting setup for all of these shots so we can test… well not the lighting, but the effect of the various breeze making devices – it’s worth mentioning a bit health and safety things are going to float around in here particularly when we get to the bigger fans. If you got anything that’s going to blow away or blow over… move it away from your set and well you can’t really move the light… we need that so I’ve got a sandbag at the bottom to make sure that, that doesn’t blow over. We don’t want it landing on Alice, that really would make a bad shoot, so the first thing we’re gonna use is a real low-tech approach and it just involves well anything that you can use to create a breeze by flapping around in this case I’m using a large 5 in1 reflector but it could literally be just a piece of cardboard these are great because the chances are you’re going to have something like this lying around in the studio and they really do create a really good breeze, there’s a little tip I’m going to give you if you’re going to use this reflected type of board remember that sometimes they have a shiny side and if you’re doing it on the side that’s opposite your light you might accidentally bounce some light in that you don’t want, so do think about using the black side as your your kind of main side rather than the shiny silver. So there is one obvious problem with doing this on your own well you can’t you can’t really flap this and take pictures at the same time so I need an assistant. I’m gonna get Sam in to help you out with this, there we go, I’ll give you that, she’s gonna do the flapping I’m gonna take the pictures. Ok, are you ready Alice? Ok, here we go, And you know what?… that’s really effective as long as you can get the rhythm of the flapping and your photography and the modelling in sync, right let’s also try that with some material as well and see whether the, the board can actually make some movement to this this is quite floaty so I’m thinking this might work quite well Ok Alice if I give you that.. pop it around yourself Next we’re gonna try something that you probably already have around the house, it’s a good old hair dryer, now it makes sense to try one of these things, hair dryers are designed to dry hair move the hair around a little bit and we’ve got to quite a powerful little hair drier right here, it’s certainly noisy and it’s definitely warm which has to be a plus point but is it any use in the studio to move hair. I’m not too confident about this but we’ll see, we’ll give it a whirl Ok let’s take some pictures, ok full power Well, yeah okay, it worked, sort of yeah, let’s see if it works with the material as well why not? let’s give it a whirl.. yeah! no, that didn’t work! So next up we’ve got something that I can’t use on my own we have a electric fan and this is terrific because it has a few benefits the obvious one being I can do this on my own second one is it’s got a bit more direction and the third one, it’s constant as well, so Alice gets to model without having to wait for the, the moment when the breeze is just right, but how much of a breeze are we going to get when I don’t know, there’s three settings on this I’m guessing maximum setting, let’s start there. So I’ll turn this on, and we’ll take a few pictures. Alice are you ready… ok.. here we go Lets switch that off, it’s a bit chilly that side of the fan, it’s not too bad my side, but do bear that in mind, you don’t freeze your models, it’s not much fun, but we gotta try something else, we’re gonna get the fabric and go again! Yeah that was pretty successful, but we’ve got one more thing to try. Have we saved the best for last Ok let’s find out, let’s get the wind machine out. The final thing we’re going to use is the classic studio wind machine and these really are quite exciting things to use and quite breezy and I’m gonna be a little bit of health and safety because you’re gonna need an operator whether that’s you or somebody else to set this up, these things will blow out a lot of air but they also pull through a lot of air, so if you’ve got long hair or loose clothing they may get sucked into the back of the machine which is never going to end happily so in this case we got Sam with her hair up just for the health and safety point of view. Ok it has a variable power control so I think we should fire this up on its’ lowest power and then work through to the more powerful wind and see how it works, Alice are you ready.. it’s too late we’re going… ok… here we go well, it’s not the quietest thing in the world but it’s very effective yes things do get blown around that’s fine ok let’s try that with a bit of fabric as well ok that’s really great fun I reckon this is the thing I want to use so let’s have a go with this we’re trying to cover different setups and see what amazing pictures we can get you up for this right.. lets do it. yeah that’s it, that’s fabulous. So if you can lean that into the breeze that’s it… perfect… Just tilt the end forwards, that’s it So having tested all four things, here are my final thoughts. It’s really hard to beat the price of the flappy board and it works really well if you can get the rhythm right. However the hairdryer is very disappointing not much power, and had to get it way too close. The home fan is really good if you need just a light little breeze but for a serious breeze well the wind machine wins hands down and don’t forget of course if you want to see more videos from myself and the other amazing presenters right here on Adoramatv you need to be clicking on the subscribe button! Hang on I got an idea, I got an idea yes – here we go, you need to be clicking on the subscribe button I’m Gavin Hoey thanks for watching whoo hoo

3 Tips for Shooting Natural Light: Exploring Photography with Mark Wallace

3 Tips for Shooting Natural Light: Exploring Photography with Mark Wallace


In this episode I’ll give you three tips
for shooting in natural light. AdoramaTV presents Exploring Photography with Mark Wallace. Hi everybody welcome to this episode of Exploring Photography right here on AdoramaTV. I’m Mark Wallace. Well I’m here in Paris,
France and as you can see behind me that is the Eiffel Tower. I was here a couple years
ago and I shot this image of the Eiffel Tower. I sorta like it. It’s
the traditional vertical shot of the Eiffel Tower at night and I
shot this actually with my Fuji X-PRO1. Well this time when I got to Paris I
wanted to do something a little bit different. I want to have the River in front of the Eiffel Tower and I also want to take a cheesy sht I could turn into an old-timey postcard to send back as a
gag to my friends and family to say hey, I’m in Paris. So what I did was I set out to take
pictures of Eiffel Tower. You’d think it would be pretty easy, but it’s been sorta overcast and
rainy and the weather hasn’t been so good and nothing I did worked. The reason for
that well is the light just wasn’t right. It reminded
me that there are three things every photographer should do when
shooting in natural light. The first thing is don’t fight the light.
We can’t change natural light it is what it is. You can’t reposition a
light or do anything with it. If it’s an overcast day, it’s an overcast day, you
can’t just sweep the clouds away. So you need to work with what you have. What I did was I was trying to shoot the Eiffel Tower from the wrong place. The Sun was coming on the wrong side the Eiffel
Tower, so it was washing it all out. I was trying to shoot when it was an overcast day. It was looking sort of glum and I was flight the light that I had and I shouldn’t have
done that. I should have not fought the light. I should have done number two, which is do your homework. You know check the
weather and see what the weather’s going to be like. Is it going to be sunny? Is
going to be overcast or partly cloudy? Use the Photographer’s Ephemeris. Now
this is a great homework tool because you can see
exactly where the Sun is going to be at any time of the day, at any certain place and so using the
Photographer’s Ephemeris I was able to place a point on the Eiffel Tower and
scroll through the day and see exactly where I needed to be when. Then I was able to implement tip
number three. That is be patient. As somebody
famously said ;the Sun will come out tomorrow’ and certainly the Sun did come out the next day and
because I done my homework I knew exactly where I needed to be and I was able to get this photo of
the river and the Eiffel Tower and it looks great. As I was shooting I
found it ironic that the sun all a sudden got hit with
clouds and you can actually see in this very short sequence of shots the clouds
actually.. or the shade climbing the Eiffel
Tower. You can see it get darker and darker and darker and more modeled and so in that
situation you just have to be patient or shoot at a different time or just
wait it out. So don’t fight the light, do your homework
and be patient and that’s going to pay off for you big-time. I have a bonus tip for you
and that is check out this little guy. This is a
small tripod is made by Cullmann. A lot of the places that I was shooting
I wanted a tripod but I couldn’t bring my full size tripod because they’re too
many people and too many restrictions. So I was able to use this little guy
it’s about 20 bucks but I was able to place that on the guardrails and position my camera and that’s what I did when I got this
shot. Now and talk about the pictures I shot those with my Leica M type II camera with my 35mm lens, shot in aperture priority mode at f/8. I think it averaged out to be around
250th, 500th of a second something like that. I put in the video exactly what it was. I focused with hyper focal like we
talked about in the last episode and that’s all there is to it. Aperture
priority mode, f/8, hyper focal let the camera worry about the exposure
and shoot away. Well thanks so much for joining me for this episode. Don’t forget
those three tips, don’t fight the light, do your homework and be patient and you’ll get great results when you’re
shooting in natural light and don’t forget to subscribe AdoramaTV, it’s absolutely free and that way you won’t miss any episodes. There’s ton’s of them out there and don’t forget about the Adorama Learning Center as well there are
tons of articles, specifically I just wrote one about
natural light and properties of light and all that kind of stuff. it’s at the Adorama Learning Center as part of the AdoramaU series. So check that out, it goes into
much greater detail about positioning and quality of light. I think I find that very
useful. Well thanks again for joining me and
I’ll see you again next time Do you want great-looking prints at low-cost? Be sure to visit our easy to use online printing service.
Adorama Pix’s has professionals who treat your
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Teens React To Try To Keep Singing Along Challenge

Teens React To Try To Keep Singing Along Challenge


– (singing along)
♪ He’s just a poor boy ♪ ♪ From a poor family ♪ – Dude, I don’t even know the words. – (laughing) I already messed up. ♪ (punk rock intro) ♪ – (FBE) So as you may know,
one of our most popular shows here is our “try
not to sing along” challenges. – It’s a good one. – (FBE) But today,
we’re going to flip that concept on its head.
– All right. Is it try not stop singing? – (FBE) Today, we’re doing
a “try to keep singing” challenge. – Lord, this is one test I can pass. Everyone yells at me to shut up
and stop singing. – (FBE) Here are the rules:
you have to sing along to the videos.
If you stop or you mess up, you’re going to be out
for that song, but you’ll be brought back in
for the next one. – I’m so sorry to the viewers at home,
who will have to listen to sing. – (FBE) You can’t stop singing at all,
even in-between the videos. So whenever I ask you…
– Oh, my god. – (FBE) …a question
or just a little thing– all of your commentary
and answers needs to be done in song form.
– Bro, I literally have the worst singing voice ever. Now I’m just gonna literally
make a fool of myself. – You guys are the worst.
(laughing) Are you serious? – Oh, gosh. Okay. All right, I got you!
No, this is easy. Fake it til you make it! – (singing along)
♪ I stayed up too late ♪ Okay. – (singing along)
♪ Got nothing in my brain ♪ – (singing along)
♪ That’s what people say ♪ ♪ Mmm-mmm ♪ – (singing along)
♪ That’s what people say ♪ ♪ Mmm-mmm ♪ – (singing along)
♪ But I keep cruising ♪ – (singing along)
♪ Can’t stop, won’t stop moving ♪ – (singing along)
♪ It’s like I got this music ♪ ♪ In my mind ♪ ♪ Okay, this is not
as bad as I thought ♪ – (FBE) That’s not the words!
(buzzer) – (singing along)
♪ ‘Cause the players gonna play♪ ♪ Play, play, play, play ♪ – (singing along)
♪ And the haters gonna hate ♪ ♪ Hate, hate, hate, hate ♪ – ♪ Taylor Swift is
like my middle school ♪ ♪ Life, life, life ♪
(buzzer) – (singing along)
♪ I’m just gonna shake ♪ ♪ Shake, shake, shake, shake ♪ – (singing along)
♪ Shake it off, shake it off ♪ (hooting) – ♪ …heartbreakers gonna break ♪ Oh, my god. Should I sing
the chorus or the main? That’s the thing. Okay. – (FBE) So… remember,
you gotta keep singing. – Oh, yeah! ♪ Should I sing the chorus
or should I sing the main part ♪ (buzzer) – I don’t like Taylor Swift
but that was– Wait, I have to sing that!
Oh, no! (buzzer) – (laughter) – ♪ Yo, I’ll tell you what I want,
what I really, really want ♪ – (joining in late)
♪ Tell me what you want ♪ ♪ What you really, really want ♪ (buzzer) – (singing along) ♪ Tell you what I want,
what I really, really want ♪ ♪ So tell me what you want,
what you really, really, want ♪ – (struggling to sing)
♪ …what I want ♪ ♪ What I really, really want ♪ ♪ I wanna… ♪ Dude, I don’t even know the words.
(buzzer) – (singing along)
♪ I wanna, I wanna, I wanna, I wanna ♪ – (singing along)
♪ I wanna really, really, really ♪ ♪ Wanna zig-a-zig ah ♪ – (singing along)
♪ If you want to be my lover ♪ ♪ You gotta get with my friends ♪ – (singing along)
♪ Make it last forever ♪ ♪ Friendship never ends ♪ – (singing along)
♪ If you want to be my lover ♪ (stammering)
♪ You have got to give ♪ (giggling)
(buzzer) – (crooning loudly)
♪ Friendship never ends ♪ ♪ If you wanna be my lover ♪ – (stammering)
♪ You have got to give ♪ ♪ Taking is too easy ♪ ♪ That’s the way it is ♪ – (FBE) You messed
that one up a lot. – So what? (laughing)
(buzzer) – (singing along)
♪ Taking is too easy ♪ ♪ But that’s the way it is ♪ ♪ Hey, yeah ♪ ♪ That’s the way it is ♪ – ♪ What do you think about that ♪ ♪ Now you know how I feel ♪ ♪ I think I can win ♪ – ♪ I’ma just wing it ♪ ♪ Even if I don’t sound all nice ♪ ♪ Hit it, DJ! ♪ – ♪ Well, imagine ♪ ♪ As I’m pacing… ♪ (laughing) I already messed up!
(buzzer) – (singing along)
♪ Well, imagine ♪ ♪ (stammering) ♪ (buzzer) – ♪ As I’m pacing the pews ♪ ♪ In a church corridor ♪ – (laughing)
I don’t know this song! (buzzer) – (singing along)
♪ …church corridor ♪ ♪ And I can’t stop but to hear ♪ (goes silent) I don’t know this song.
I can’t sing along. Gosh darn it!
(buzzer) – (singing along)
♪ What a beautiful wedding ♪ ♪ What a beautiful wedding ♪ – (singing along)
♪ …says the bridesmaid ♪ ♪ To the– ♪ ♪ Oh, yes, but what a shame ♪ – (singing along)
♪ What a shame ♪ ♪ The poor groom’s bride is a whore ♪ – (singing along)
♪ I chimed in with a ♪ ♪ Haven’t you people
ever heard of ♪ – (singing boisterously)
♪ Closing the goddamn door ♪ – (singing along)
♪ No, it’s much better to face ♪ ♪ These kinds of things ♪ – (singing along)
♪ With a sense of poise ♪ ♪ And rationality ♪ ♪ I chimed in… ♪ – (singing along)
♪ …haven’t you people ever heard of ♪ ♪ Closing the goddamn door ♪ – (singing along)
♪ It’s much better to face ♪ ♪ These kinds of things ♪ ♪ With a sense… ♪
(laughing) (buzzer) – (singing along)
♪ …rationality ♪ ♪ I can’t ♪
(laughing) ♪ Eh! ♪ – (FBE) Is it hard to keep singing?
– It is. Especially because it’s this one. ♪ I chime in with a ♪ ♪ Haven’t you people ever heard of… ♪ – (FBE) I think you might have
stopped there for a sec. – Yeah, I did.
(buzzer) – ♪ Panic is one of my favorite
bands, so it’s much better ♪ ♪ To watch these
kinds of videos ♪ ♪ When I’m actually allowed
to sing along ♪ ♪ I chime in ♪ ♪ When’s the next video gonna play? ♪ – ♪ Is this the… ♪ – (singing along)
♪ …real life ♪ ♪ Is this just fantasy ♪ – (singing along)
♪ Caught in a landslide ♪ – (singing along)
♪ No escape from reality ♪ ♪ (piano interlude) ♪ – (starting late)
♪ …see a little silhouette of a man ♪ – ♪ Scaramouche, Scarmouche… ♪ – Yeah, I’m done, dude.
I don’t know the words, bro. (buzzer) – ♪ (mumbling lyrics) ♪ Eh… (laughing)
(buzzer) – (singing along)
♪ …silhouette of a man ♪ ♪ Scarmouche, Scaramouche… ♪ – Wait, what?
What does that even say? What?!
(buzzer) – (singing along)
♪ Can you do the fandango? ♪ ♪ Thunderbolts of lightening ♪ – (belting lyrics)
♪ Very, very frightening me ♪ (shrilly) ♪ Galileo ♪
– ♪ Galileo ♪ – (shrilly) ♪ Galileo ♪
– ♪ Galileo ♪ – (shrilly)
♪ Galileo Figaro ♪ (faltering) ♪ That was not on key ♪ ♪ Oh, my god ♪ ♪ I’m just a– love me ♪ ♪ I totally lost ♪
(buzzer) – (singing along)
♪ He’s just a poor boy ♪ ♪ From a poor family ♪ – (singing along)
♪ Spare him his life ♪ ♪ From this montrosity ♪ (sighing) I love Queen. – (FBE) But you also stopped singing.
– Yeah… (buzzer) – I know the song. I just never paid attention
to the lyrics. – ♪ This one was super easy ♪ ♪ Because it’s Bohemian Rhapsody ♪ ♪ Who doesn’t know this song? ♪ – ♪ Hello… ♪ – (singing along) ♪ It’s me ♪ (giggling) ♪ I was wondering… ♪ – (singing along)
♪ If after all these years ♪ ♪ You’d like to meet ♪ – (singing along)
♪ To go over ♪ – (singing off-key)
♪ Everything ♪ (laughing) ♪ They say that time is… ♪ – (singing along) ♪ Supposed
to (mumbling) ♪ ♪ But I ain’t done much healing ♪ – (belting out)
♪ Hello from the other… ♪ – (screaming) ♪ …SIDE ♪ – (singing shrilly)
♪ I must have called a thousands times ♪ ♪ It’s really high too ♪ ♪ You… ♪
(buzzer) – (singing along)
♪ I must have cried a thousand… ♪ – (belting lyrics)
♪ …TIMES ♪ ♪ To tell you ♪ – (singing flatly)
♪ I’m sorry ♪ ♪ For everything that I’ve done ♪ – (singing along)
♪ When I call you never ♪ – (singing along)
♪ Seem to be home ♪ ♪ (humming) Okay ♪ ♪ Dude, I can’t even try ♪ ♪ To hit these notes ♪ That [bleep]’s kinda hard. Oh!
♪ Hard, hard, hard ♪ ♪ This is kinda hard ♪
(buzzer) – ♪ This one’s for the boys… ♪ – (singing along)
♪ …with the booming system ♪ ♪ Top down… ♪ – (singing along)
♪ AC with the cooler system ♪ ♪ When he come up in the club ♪ ♪ He be blazin’ up ♪ – (singing along)
♪ Got stacks on deck ♪ ♪ Like he savin’ up ♪ ♪ And he ill, he real… ♪ – (singing along)
♪ He might gotta deal ♪ ♪ He pop bottles and he got… ♪ (laughing)
(buzzer) – (singing along) ♪ …excuse me,
you’re a hell of a guy ♪ – (singing along)
♪ I mean, my, my, my ♪ ♪ My you’re like pelican fly ♪ – (struggling to keep up)
♪ …tie ♪ – (singing along)
♪ You’re slicker than the guy ♪ ♪ With the thing on his eye ♪ – (singing along) ♪ Oh ♪ ♪ Yes, I did, yes, I did ♪ – (singing along) ♪ Somebody please
tell him who the eff I is ♪ – (singing along)
♪ I am Nicki Minaj ♪ ♪ I mack them dudes up ♪ ♪ Back coupes up
and chuck the deuce up ♪ – (singing along)
♪ …heartbeat runnin’ away ♪ – (singing along)
♪ Beating like a drum ♪ ♪ And it’s coming your way ♪ – (singing along)
♪ Can’t you hear that ♪ ♪ Boom, boom, badoom, badoom… ♪ – (singing along)
♪ He’s got that super bass ♪ ♪ Yeah, boom, badoom, boom, boom,
badoom, boom bass ♪ – (singing along)
♪ He got that super bass ♪ ♪ Boom, boom, boom, boom ♪ – (FBE) You sung really well! – Eh…
♪ Boom, boom ♪ ♪ A little bit, yeah ♪ – ♪ Yeah, that’s Nicki Minaj ♪ ♪ Boom, badoom, badoom,
badoom, boom ♪ ♪ She’s the queen in my heart ♪ – (FBE) So we have one last song
and many people consider this to be one of THE hardest songs
to keep up with, so good luck. – ♪ Please don’t be Rap God ♪ ♪ I HATE YOU ♪ – ♪ … like a rap god ♪
– What the hell?! (buzzer) – Okay, I’m not even gonna try.
(buzzer) – (rapping along)
♪ …feel like a rap god ♪ ♪ Rap god ♪ ♪ All my people
from the front to the… ♪ – (rapping along)
♪ …back nod, back nod ♪ (faltering and laughing)
I lost! (buzzer) – (rapping along)
♪ They said I rap like a robot ♪ ♪ So call me a rapper, rapper ♪ Oh, NO! (laughing)
(buzzer) – (rapping along)
♪ Lyrics coming at you ♪ ♪ At supersonic speed (JJ Fad) ♪ – (rapping along)
♪ Uh, sama, lamaa, duma lamaa ♪ ♪ You assuming I’m a human ♪ ♪ (mumbling) ♪ OH, DUDE. Bars!
(buzzer) – (rapping along)
♪ …coming at you ♪ ♪ At supersonic speed (JJ Fad) ♪ ♪ (mumbling) ♪ ♪ I was not saying words ♪
(buzzer) – ♪ (mumbling) ♪ ♪ (trilling tongue) ♪
(buzzer) – (rapping along)
♪ …I’m superhuman ♪ ♪ (mumbling) ♪
(buzzer) – (rapping along)
♪ ‘Cause I found a hella way ♪ ♪ To fuse it ♪ ♪ With rock, shock rap with Doc ♪ ♪ Throw on Lose Yourself
and make ’em lose it ♪ (sighing in relief) (panting) I’m gonna pass out!
(buzzer) – That was impossible! I knew you were
going to do that to me. ♪ Why? ♪ ♪ What did I do to you? ♪ – (mumbling gibberish) He sounds like SpongeBob. Has anyone noticed that? You know, like the (mumbling)? – (FBE) You’re officially done
with this challenge, but you did really well.
– Yes! – ♪ It was much more difficult
than I thought ♪ – It was really stressful. I’m kind of crying right now. Like, I’m not sure if you could see,
but I’m tearing up because I was like, oh, god,
I have to keep singing. – This is a very tough challenge. – This is hard! Especially singing in front
of millions of people and you can’t sing.
That’s hard, fam! That’s hard. – When you have the beat,
you can kind of tell the general flow
of the lyrics, but it’s definitely way harder
for the fast songs. – (FBE) In the past, we have done
“try not to sing” challenges, where we constantly talk about
how hard it is to not sing. So now that you have done
THIS challenge, which challenge do you think’s harder? – This one, yeah. Try to keep singing.
Way harder. The try not to sing,
eh, dude… that’s so easy. I’m not even gonna lie. Easy peasy.
This is hard, dude, because you just gotta keep going, bro! I don’t know the words. How am I supposed to keep singing? – They’re both hard. Nothing you ever give us is easy! I liked this one more
because I could have fun with it, you know what I mean? – You really gotta have
that mind to be able to keep in song when the song ends. You gotta bring up rhythm within you
to keep it going. It’s difficult. – ♪ Thank you for watching
this episode ♪ – ♪ Make sure you sub,
sub, sub, sub, sub, sub ♪ ♪ Sub, subscribe ♪ – ♪ Byeeeeee ♪ – ♪ Lauren, producer here at FBE ♪ ♪ Thank you for watching
this episode of Teens React ♪ ♪ If you want to check out
more episodes ♪ ♪ Across all the generations
links are gonna be ♪ ♪ Down in the description ♪ ♪ Bye ♪

Understanding ISO : Exploring Photography with Mark Wallace : AdoramaTV

Understanding ISO : Exploring Photography with Mark Wallace : AdoramaTV


In this episode we’re gonna be talking
about ISO values and how to use them. Adorama TV presents Exploring Photography with Mark Wallace. Where you’ll learn
innovative techniques on shooting a wide range of photography.
Here’s your host. Hi everybody, welcome to another episode of Exploring Photography, right here on Adorama TV brought to you by Adorama. It’s the camera store that has
everything for photographers like you and me. Well if you’ve been shooting for a while
you know that there’s the exposure triangle that’s made up of the shutter, the aperture and ISO, and we know that we can
use the shutter to control motion and the aperture to control depth of field, but in all of our discussions somehow ISO seems to be left out. So in this episode we’re gonna talk
about ISO, what it is, how you use it, which settings to use and why sometimes having a really high ISO
value isn’t such a bad thing. But before we get into all that I want
to remind you that Adorama has some terrific contests. If you enter the contest you could win some great prizes. So click on the link and check them out. ISO determines how
sensitive your camera is to light. The higher the ISO value the less light
you’ll need to take a photo let’s take a look at this animation and
see exactly how this works. Let’s say we have a room that’s lit with
128 lightbulbs. Let’s also pretend that we
have a proper exposure at ISO 100 shooting f2.8 and a shutter speed of
sixty. Remember I’m just making up these values
to illustrate a point. At ISO 200 we can get the same result
with only 64 lightbulbs. At ISO 400 we’d only need 32 light bulbs. At ISO 800 that number would fall to 16 lights. Each time we double our ISO value we only need half as much light. So ISO
1600 would only need 8 lights. If we double
our ISO again we can half the amount of light
that we need. ISO 3,200 four lights. ISO 6,400 two lights, and at ISO 12,800 we’d only
need one light bulb, and we can still shoot f2.8 and 1/60 of a
second. That is a huge difference from 128
lights at ISO 100 to just one little light at ISO 12800. Alright so the question is why wouldn’t
you always have your ISO set to a high ISO value? Well the answer is noise. Noise is sort of hard to explain but its easy to
see so let’s take a look. Here’s an image shot at ISO 100 now
notice everything looks clean now here’s the same image shot at ISO
12800 you can see the grain in this image, and that grain is called noise. Noise is
the trade-off. Higher ISO values have more noise. Well
in the past photographers have always been told to keep their ISO values as low
as possible to get noise-free images. We still want to do that today but
the good news is that there have been huge technological
advances with digital cameras. Now there are all kinds of camera’s
that can shoot at ISO 3200 an even higher. In fact I think that the groundbreaking
camera was the Nikon D3X and then along came there 5D Mark III
from Canon and then the floodgates were opened. Now there are all kinds of cameras that
can shoot at high ISO’s with almost zero noise and the question
is what can your camera do? Well it’s easy to figure out let me show you
how to do it. Get in a room in low-light and shoot a series images increasing your ISO with each
shot. Then take a look at the photos at full resolution on your computer and you know what ISO value is the max
for your camera. If ISO 6400 has too much noise for your taste but ISO 3200 look’s good. Then ISO 3200 is your cameras maximum acceptable ISO
value. The rule of thumb still holds true you
want to keep your ISO values as low as possible because you don’t wanna introduce noise in your images,
if you don’t have to. But because our cameras are advance now
in low-light increasing your ISO can really help you out. So in low light don’t be afraid to crank up
the ISO. Because that can keep your shutter speeds
fast and that can really improve your low light photography. Let’s take a look. Let’s say we’re in a
room with low light and we don’t have a flash and we’re
taking photos of some kids at a birthday party. We set our camera to aperture priority
mode and we’re shooting at ISO 100 at f2.8. Our camera is telling us our shutter
speed is 1/15th of a second. That’s no good at all our photos are
gonna come out totally blurry. Now even if we had a tripod those kids
are gonna move around and our photos will stink. We don’t want that let’s increase our
ISO and see what happens. At ISO 200 our shutter speed will be at 1/30th of a
second. At ISO 400 are shutter speed will be 1/60th of a second and ISO 800 we’ll be shooting at 1/125th of a second. Now that’s fast enough to freeze those
kids. We could even boost our ISO to1600 to shoot at 1/250th of a second just to be sure. One of my favorite
features is called Auto ISO that’s when you wanna work really fast and your not quite certain what ISO value you should use. So let’s
take the example of shooting a birthday party with kids and really low light. I might wanna shoot in aperture value let’s
say F8 and a shutter speed around 250 to freeze all the motion, but what ISO value should I use. Well I
don’t have to know that. All I have to do is put my camera into Auto ISO mode my
cameras gonna figure that out for me. So I’d put my camera in manual mode set it to F8 set it to 250th of a second and start
taking pictures. My ISO is going to change for a correct
exposure every time. It’s really awesome. Now sometimes the ISO might go higher than you might want. You’ll get noisy images but my opinion
I’d rather have noisy images that I can use. Rather than a blurry image that I have to throw away. Well I hope you learned a little bit about ISO today.Thank you so much for
joining me. Don’t forget that you can zip over to the Adorama Learning Center
there are hundreds of photography tutorials, you can learn all
about shooting in manual mode and learn about the exposure triangle and
some of the things that we talked about today. So check that out. Also don’t forget
that you can subscribe to Adorama TV totally free so click the link and subscribe today.
Thanks again for joining me and I’ll see you again next time. Do you want great-looking prints at low-cost? be sure
to visit our easy to use online printing service.
Adorama pics has professionals to treat your
images with the utmost care that you can count on. For a quick turnaround on photos, cards or
albums use adoramapix.com

How to Photograph Reception Details with Off Camera Flash: Breathe Your Passion with Vanessa Joy

How to Photograph Reception Details with Off Camera Flash: Breathe Your Passion with Vanessa Joy


Hi this is Vanessa Joy with AdoramaTV, and today I’m going to show you behind the scenes of how I shoot reception details. Shooting reception details is extremely important not only for the bride because after all she’s worked really hard on choosing, selecting, crafting. Sometimes even building all of the details throughout the wedding day, but especially at the reception, but in addition to that getting published in prominent magazines and blogs really relies heavily on the detail pictures because most magazines and publications, are looking to have weddings feature that have a ton of unique details, which will help them attract more brides to their magazine, or their website. First lens choice, I like to use either a 50mm
or 85 mm f/1.2 lens. I like this because of the compression, and it helps me in addition to the typical depth of field that I use, which is usually around 2.2 to 3.5. Focus in on an area of detail and enhance the bokeh and softness of everything in the background. The 50mm especially lets me get a little bit closer to the object that I’m photographing, but the 85mm I just love using it, especially for cake shots and full shots of the centerpieces in the table. When I’m shooting I’m always looking for a lot of depth and background in the images. When it comes to my settings I’m always exposing for the ambient first. If it’s a dark hall then my ISO is probably going to go up to about 1600, 2000, 2500. I try not to go any further than that. I’m definitely not a fan of a lot of noise in my image. Then I’ll set my aperture to roughly about f/2.2 to f/3.5, depending on what I’m photographing, and how much of it I would like to be in focus. And I set my shutter speed to what it needs to be to get a proper exposure. Sometimes one or two stops darker. After that I’m adding in my off-camera flash. Typically I’m using a Profoto A1 or B1, and I first set it to TTL. This helps me get around about exposure for the correct amount of power that’s coming out of my light, and then I flip over to manual. Depending on the room I’m either using, one light at about a 45 degree angle, or two lights, One on either side of the detail that I’m photographing. I’m also often using a grid light shaper to focus the beam of light and eliminate most of the spill off, that would potentially fall onto the tablecloth, which very often is white so it tends to overexpose pretty quickly. After everything is set up, I’m taking pictures of the entire table, as well as zoning in on different little details throughout it. Because my exposure is set up and my lights are off camera I usually don’t have to change much, and can photograph the entire table both close up, and far away fairly quickly. I’ve even had to do whole reception rooms in five minutes or less with this method, and it works great. Make sure that you hit the subscribe button below, so you don’t miss a thing here with Breathe Your Passion on AdoramaTV and I will see you next time!

Classic New Haven Apizza: Apizza or a Pizza? || Really Dough?

Classic New Haven Apizza: Apizza or a Pizza? || Really Dough?


– So let me get this straight, you guys chuck the clams
right after the party? – We sure do, yes.
– Shuck the clams. – Shuck, not chuck, I say chuck. – Well, we chuck ’em after we shuck ’em. – Chuck and shuck.
– Chuck and shuck. – Shuck and chuck. – Shuck and chuck. But you got to know how to
shuck them to chuck ’em. – (beep) ’em. – I’m Scott and I eat all kinds of pizza. – I’m Mark and I’m a pizza purist. – So we’re hitting the road to taste the craziest concoctions
claiming to be pizza. – But are they Really Dough? – It’s nice to check off another state from the list, right? – Yep. – Rhode Island, the smallest state conquered, and now we’re going
to go down to its neighbor. We’re going to go to
Connecticut, very, very famous for pizza. – I’m going to take you to a place you probably never heard of before. – Ooh, I love it! – Pepe’s. (laughing) Have you ever been? – Are you joking, Frank Pepe’s, of course. There’s like over a dozen
locations, it’s been voted, like, number one pizza in the country by, like, 20 different websites. Seriously, the place you were
going to take me to is Pepe’s? – Yep. – I mean, look, don’t get me wrong, it is awesome, I love Pepe’s, I love it, but don’t you want to go to a place that’s a little more off the radar? – No ice cream pizza. – No ice cream pizza, promise. We’re gonna go– – No gravlax Pizza? – No gravlax Pizza, but you love that, just for the record, west. – Where do you want to take me? – I want to take you
to a place that opened in the ’30s called Zuppardi’s. It’s usually a dense, crunchy crust. Kind of great snap and crunch
on the base, minimal topping. – Do they have clam pizza at Zuppardi’s? – Yeah, yeah they do. – That’s what I had in, uh, Pepe’s. – Oh, you’ve had clam pizza before? – I made one with him – Did you like it? – Surprisingly, it was really good. You know when were making
it, there’s not much to it. – Yeah, it’s just, uh– – And when I, you know, when I ate it, it had so much flavor, it was fantastic. – Let’s go to Zuppardi’s,
get Clam Pizza Apizza. – How did they come up
with the name Apizza? – They didn’t really come up with it, it’s just sort of dialect the pizza. – Why don’t they just call it pizza? – They just don’t, it’s not their dialect. You got Brooklyn dialect. What’s a good word in Brooklynese? – Marinara? – Oh, oh, suddenly it’s marinara. – Hey, check out my madana. – It’s marinara,
– No, it’s madana. Marinara ‘s marinara, madana’s madana. (over-talk)Two totally different things. – How do you spell madana? – It’s M-A-D-A-N-A. – Madanada? – No madana. – Madana. – No, no, no, not mardana. – Maldana. – M-A-D-A-N-A. – Ma ma ma ma. Here it is, welcome to Zupp’s. – Zupp’s, I like that. – You can’t call it Zupp’s yet. You haven’t even had it yet,
you gotta say its full name. – They’ll get mad at
me if I call it Zupp’s? – They’re not gonna get mad you but they’ll be like, we don’t know you. You’re going to meet Laurie
and Cheryl, they’re awesome. (sniffing) You smell that? – It does, it punches you in the face – Hi. – I knew it was going to. – Hey.
– Hi ladies. – Can we help you? – Remember me?
– I met you. – Yeah, I’m Scott. – You were on the pizza truck last year. – Yeah. – He harassed you? (laughing)
– No way. – I didn’t kick him off the truck that day and it was crazy. – It’s a long story. – This is my sister Laurie. – Hello.
– The famous Laurie. Good to meet you. – Scott, nice to meet you. – My friend Mark is a pizza maker. – Nice to meet you
– Mark? A pizza maker?
– Yes. – Okay, we’re going to
teach you how to make pizza. – All right. – I wanna feed him the thing you’re really known for, and
what New Haven is known for. – Fresh Clam Pizza. – Fresh clam pizza. – But we do fresh little necks. That’s the difference,
we don’t chop our clams, we open little necks and put
them right onto the pizza. – Full clams. – Then after you eat it, you do this. – If it’s good, if it’s
bad do you go like this? – No. – Do people ever add other toppings? – The one thing that I don’t get is some people put pineapple on it and I don’t understand it. – Good luck trying to
get him to have that. – It’s different from what
my father would have done but by popular demand we kind of had to. – See that’s why I took Mark here is because you’re totally classic, you don’t change anything,
unless you have to. And Mark likes kind of
strict rules on pizza. And this is like classic pizzas here. You don’t do anything crazy. – No, we do what my father taught us. My father was a baker in the Navy and I’ve been baking pizza with my dad since I was 10 years old. – But you’ve been open since the ’30s? – We haven’t changed a thing. – By the time we gotten out of bed it was 10 o’clock, 11
o’clock in the morning. – And we come and eat hot bread. – Never seen you so excited. – I’m really psyched for this pizza. – You’re like, bugging out. You’re leg is twitching
underneath the table. (sighs) – When I walk into a pizzeria, I want that smell to punch me in the face. A city’s got flavor, you
should be able to taste that in their pizza. – You know I was 10 years old and I would stand here,
my dad would stand there, and we’d make pizza and he’d
correct me and teach me. Taught me how to do the ovens,
everything, it’s all my dad. – Pizza dough, flour,
water, yeast, nothing else. – We are patting the dough
out for the Fresh Clam. It’s a yeast, risen dough,
a lot of people toss, we don’t toss, he never
liked it up in the air. – Pizza needs to have the finest and freshest ingredients. – These are fresh little neck clams. You cut the mussel so that
it’s skimming the top shell of the clam, you can pull
all this nice stuff down. – Pizza should look as good as it tastes. – We do try to make it so
you get one in every bite. – Right onto the dough, they just came out of the shells. We’re putting fresh garlic onto the dough. I’m adding red crush pepper,
parsley, oregano, olive oil. Then we’re gonna take a
little bit of the briny juice. And we’re going right into the oven. – Temperature needed for pizza. – 500 degrees. – Is 500 degrees. – It’s a thing of the past, my father always called it apizza. As little kids with Italian background, this is what we’ve been taught, apizza. This is our Italian heritage. This is apizza right here, apizza! – I can feel your leg twitching. – Here we go, apizza. – Oh, here it is, thank you! – You’re welcome.
– My God! – Look at this, it smells ridiculous. – Smells amazing. – Which slice you gonna do? – I’m going for this one. It’s got the clam right in the front. – You’re not gonna lemon it? – No, not just yet. – You’re gonna do first bite no lemon? – It’s probably not gonna need it. – Whoa, I’ve never seen you dive into pizza this fast before. – This is phenomenal, the
clams are outstanding. – They are right, that’s fresh clams. – The combination of
the clams and the crust, they just work so well together. – What’s so good about this crust? – The crunch, the flavor. – A lot of pizzerias,
the crust is just there to hold up the ingredients
and the toppings and all that. But here it’s absolutely part of it. – Look at that.
– Yeah, great bake, right? – Amazing. – It’s no necessarily airy, like, there’s such a trend right now. An airy, open crumb structure
and big bubbles and all that. This doesn’t have that. – Nope! – I love that little extra bit of clam juice she put on top. – You’re still on your first slice. – Yeah I’m still on my first slice. – ‘Cause I’m not going to stop. – Dude, we each get three slices,
you get three, I get three. – Doesn’t work that way. – What are you talking about? – You wanna hang with the
big boys, you gotta eat fast. – Are clams a topping or
they a part of this pizza? – It’s a part of the pizza. And I really didn’t think this
part was gonna be that good. – Why not? – ‘Cause it’s just clams,
oil, garlic, and parsley. – This pizza’s almost naked. – I’m getting a lot of the
hot pepper and the garlic. And she put a lot of garlic on the pie but it’s not overpowering. – No, it’s the kind of garlic that clam likes to hang out with. So would you consider adding
anything else to this? – There’s no need, I mean
the lemon’s a nice touch. I’ve had it.
– I know it is – One more. – Oh yeah, keep on going,
this is so lemony. (laughs) Oh, you’re eating my slice! – No I’m not – That’s my slice! – You still got a slice in your hand. – Yeah, but this is only number
two, you’re on number four. – I can’t even think straight
right now, this is so good. – You can usually not think straight. So, there’s no cheese on this, Mark, and there’s no sauce on
it, there’s just dough. Out of those three, there’s
just dough, pizza or not. – Not pizza. – How is this not a? You’re gonna go tell Laurie and Cheryl that this is not pizza? – Yeah. – This is pizza. – No it’s not, in Connecticut, they call it apizza. – So you’re saying– – So, you need to respect Connecticut. – I see, you twisted
the whole thing around. So now you’re gonna call it Zupp’s, now you’re gonna call it apizza. Which is the exact same
thing as pizza by the way. – Whatever. – All right. – Just order another pie then. – You want a whole other pie? – Yep! – Clam?
– Yep! – We’re gonna make
another Fresh Clam Pizza. – Pizza, I think it comes
with little lemon bits. – Probably not because
it’s not really like a bay clam. (gasps) – I know what slice I’m taking. – Thanks Laurie.
– Enjoy. – I can’t believe I’m eating
with two hands (laugh). I need another mouth for this. – You’re in the family. (laughs) – So I can say Zupp now? – You’re a Zupp. – I’m a Zupp?
– A Zupp, apizza. – Apizza at Zupp, wait, thank you. I can’t wait to come back. – Anytime, bring your family. – They were wonderful. – I’m so happy you enjoyed,
so nice meeting you. – I want a double hug! – They don’t want a hug. – Thank you guys.
– Thank you. Thank for coming.
– Bye, thanks so much. – Thank you. – Watch your step – Thank you, Scott. (laughs) – We need to lock the door. (exhales) – You okay? – No, I ate too much pizza. – You did eat a lot of pizza, apizza! – I need a break. – Dude, I so glad you like this, I like, I’ve felt so terrible the last few days. I know I didn’t get you
back in time to Lucali. I know that you’re disappointed, I know your customers are mad, I know your whole staff is mad. I know it’s all my fault, I know you haven’t loved
everything I’ve eaten. – Scott. – I know you haven’t thought–
– Scott. – Everything was pizza. – Scott Scott Scott. – It’s not that big a deal. – What do you mean it’s not a big deal. It was a big deal. – Its not a big deal! They said everything’s
fine at the restaurant. – Like just now? – No the other day. – Oh my god. – No worries, it was an easy night. You know how to make pizza
sauce, cheese and dough. – What, you knew when
we were in Maine that the restaurant was okay? – Yep, I just wanted to
see you sweat a little. – You, you make friends when
you’re a friendly person. – Yeah, would a friendly
person kidnap someone? – You know what? – How many people have you
kidnapped in your life? – We just talked about that we’re not gonna use the K word. Maybe you can take me to a doughnut place on our little road trip. – Why would I do that, you kidnapped me – Ah. – He’s gotta get his beauty sleep so he can go back to
work and stand around, pretending like he makes pizza. Anybody can stand around
in a white T-shirt and pretend to make pizza! – Yeah, you’re right man,
that’s why I got a black one on. – You wanted to see me sweat? – Let’s go. – No, no, you don’t do that to a friend. – Come on, open the door. – You are unreal. (knocking) – Scott, open the door. – You need to learn how
to be a good friend! – Wiener, come back. – I guess cut. – We lost Wiener. – I guess you’ll have to do the call of action by yourself, you ready? – Thanks for watching
this week’s episode of Really Dough, some good
news, Scott’s gone AWOL. We get to eat pizza in peace finally. Don’t forget to like, comment, and share. If you’re still hungry for more, go back and watch last week’s episode
where I ate a pizza donut.

Item review – Nonwoven Photography Backdrop (1.8m x 2.7m / Green & White)

Item review – Nonwoven Photography Backdrop (1.8m x 2.7m / Green & White)


Hi everyone! Thank you for joining me
To a new video by “Original Video Reviews” I’m the OVR guy
And as you can see We have here a new package As always
We’re going to find out TOGETHER What’s inside
And how to use this thing So let’s not waste any time
Let me grab the Swiss knife Here is the Swiss knife And we’re going to
un-package it! Well boys & girls
What we have here Is a Nonwoven Photography Backdrop It is used as a background for
video & photography You can use it as is
Or for Chroma key for example Like I did in several videos
I recently published And the outcome is not bad at all… You can get it in several colors
Such as these green & white And you also can find it
In black, blue and etc. Each of these specific backdrops measurements
Are 1.8m wide x 2.7m long And they weight approx. 500 grams That makes them relatively light
To hang them on a crossbar Like I mentioned
It’s made from a nonwoven fabric Which reminds a tablecloth
With a paper texture But unlike a normal tablecloth
This one allows you to hang it on a crossbar And it’s very practical
If you have a backdrop kit Like I recently reviewed
And you use it in different locations So it’s always good to have
These two together Thanks to the type of material
And its density When light hits the background
It absorbs the light and eliminates any reflection back I noticed there’s a bit differentiation
in the density of the material In different areas of the backdrop But the overall quality seems OK
And if you make sure it doesn’t get torn or ruined You will be able to use it multiple times Well boys and girls This was my video review about
This Nonwoven Photography Backdrop For further information about this item
Please check the description to the video And If you still have
Any questions about it Please comment on this video
And I will do my best to come up with an answer If this video review was helpful
And you enjoyed watching it I invite you to “Like” this video You can also subscribe to my YouTube channels: “OVR Fashion” “OVR Kids” And of course this channel
“Original Video Reviews”! And there’s also the Facebook page
And the Google Plus page And the Twitter account
And the Instagram account So there are plenty ways for you to follow
“Original Video Reviews” I would like to thank you for watching
Another great video by “Original Video Reviews” Until next time
Bye bye…

Natural Light Studio Portraits: The Breakdown with Miguel Quiles

Natural Light Studio Portraits: The Breakdown with Miguel Quiles


In this episode of ‘The Breakdown’ I’m
going to show you how I use this door behind me to take some really, really
awesome portraits here in the studio. AdoramaTV presents ‘The Breakdown’ with Miguel Quiles. Welcome back to ‘The Breakdown’. My name is Miguel Quiles and today I’m joined here in the studio by Mr. Moshe Zusman. Yeah so we’re here in Washington DC, we are here in his studio. It is an absolutely ridiculously amazing space. There’s plenty of amazing corners and
and places and interesting things to shoot at in this location. But one
particular location that I think probably will be a little easier, because
you’ve got an awesome studio, I don’t know that this is something that’s
available to everybody, but I think finding a door like this… I’ve never shot against the door. You’ve never shot against this door? So that was the first thing. I came into this location. I said I want to try something a little bit different and I
saw this door and it’s just an amazing large, light source. It’s an… I don’t know,
what, eight nine foot door, all glass. It’s a door, you know, but
amazing beautiful light that’s coming in through this door and so you’ve seen in
some of my episodes… in an early episode of the Breakdown, I believe it was the beauty portraits
episode. I had a large softbox that was behind me and what that was trying to
emulate is this type of a setup where you have all of this beautiful natural
light streaming in from behind you. It’s going to put flat lighting on your
subject and you’ll be able to photograph them and just make them look amazing. It’s going to look a little different than that first image so
rather than talk about it let’s actually break this down and I’ll tell you how it all works. Alright, so let me go ahead and
break down the set up here really quickly for you. As you will often see on
my videos I’m using my trusty dusty portrait set up which is the a7r II from
Sony with the Zeiss 85mm 1.8 Batis lens and also have a grip which
is going to come in handy today because I’m going to be shooting these in a
portrait orientation so I’m going to be able to just one hand hold these
particular shots. I want to try to shoot these shots wide
open at an f/1.8 so when you do that my best recommendation for you is to set
your aperture at f/1.8, put your ISO at ISO 400 and then you’re going to adjust
your shutter speed up or down in order to expose your image correctly. Now, he’s
not going to be moving so technically I can go down to 1/60th of a second
if I needed to to expose the image properly. Now we have a tri reflector from Phottix and we’re using
the silver side which is basically, if you look at the camera real quick, so
they can see what’s happening, look straight to the camera, and so you can
see that just by having the reflector, it just kind of adds a little bit of a
catch light to his eyes and adds a little bit of light into the shadows under his
chin. So you’re going to be holding that. We
have a collapsible backdrop as well as you’ve seen in many of my episodes. I
love using these because you could take them with you anywhere, you can use them outdoors and create a studio. Here we are at the doorway of a proper studio and
we still have this whole portrait set up here. This particular one is made by Savage. It’s
a fantastic backdrop and so here’s what we’re going to do, I want to have you
about maybe a foot to two feet away from the backdrop. So about right there is perfect and
actually what I’m going to do is I’m going to have you come a little closer
to me. Perfect, excellent. And then, yeah, that looks good. Alright so now I’m
going to go ahead and stand with my back to the door and we’re going to go ahead
and take this particular portrait and see how it comes out. And actually let’s talk about the
settings, so I’m going to go ahead and give a try. I’m going to shoot f/1.8, ISO 400, shutter
speed of 1/250th of a second. We’re going to test this thing out and see how
it looks. So I want you to look straight on to
the camera, just like that. That’s perfect, nice and intense Very nice. Alright, so looking at this
first shot, this is at 1/250th of a second and
looking at the histogram, nothing is clipping. The exposure actually looks
really, really good. Zooming into the eyes, as well, one of the
key things when you’re shooting wide open at f/1.8 is to look at the eyes
and make sure that the eyes are in focus. If they’re soft, if they’re
not sharp and in focus, you want to keep shooting and get some
more shots so our first shot actually came out perfect so we’re going to go
ahead, and since we have our settings dialled in, we’re just going to keep shooting, get
some different expressions and see what we come up with. Alright so here we go. Settings look
awesome. Turn the chin towards me, tilt the head
straight up and bring the chin out just like that. Perfect. And then a nice smile because you have an awesome studio, there we go. There we go, perfect. I’m going to get this shot and it’s going to be pretty awesome. Excellent. Very good. Good smile, there we go. Give it a real smile. There it is. Alright, so there you have it. A really
simple way for you to use a doorway in order to take some really interesting,
really awesome portraits. I hope you guys learned something new
today. Be sure to check out the Adorama Learning Center where they have amazing
videos an amazing content where you can learn more and more about whatever type
of photography it is that you’re into also be sure to check out this guy’s
social media channel, since he was such a gracious model and allowed me to come
into this studio. Moshe how can these guys check out your work? Instagram, Facebook, but mainly Instagram and my website. Excellent, we’ll make sure we put that in
the links section below, and thank you so much for watching and we will see you in
the next episode of ‘The Breakdown’. Bye, everybody.