Photography Tips: How dedicated to photography are you?

Photography Tips: How dedicated to photography are you?


a couple weeks ago I was sent a
question by a lovely guy calledf peter and he asked me, hi Mike does it happen with photography like music, that you could be a professional and/or great
photographer if you start at an early age? does age matter when it comes to
becoming an excellent photographer? Well the thing is, how much do you want to become an excellent photographer, is it
something you want to do or is it something you’re going to do? But what’s the difference? well I’ve been running my photography
business for a long time and many years ago I chose to turn my
hobby which was photography into my income and that’s a whole other
story but part of that was I wanted to be able to travel and to see
some of the wrold to sort of experience some of the amazing things that go on out there in the world, but it was always something
I’d like to do and time passed and the business started to grow and i was having a good time, i didn’t have to work terribly hard to cover my expenses and i could play on my motor bike and then last year something happened, my brilliant, awesome, inspiring, funny and witty incredible mum died last september, and it was very devastating despite the
fact I knew it was coming but something in me changed then. I kinda realized how old i was, i kinda realized that hey you’re in your fifties now and you’ve always wanted to go off and see some more of the world but that’s all it was, i wanted to. When my mum died it changed from i want to, to I’m going to, you may have already
seen there’s some workshops starting to appear in other countries and many of you
wonderful people have been inviting me to come in your country, but it’s because i got committed I got dedicated to doing whatever it
takes to make that happen, now whether that’s in what sort of photo’s you’re taking or wanna take, you wanna take great amazing pictures well you need to become dedicated to
doing it and that means giving yourself the time
it means dedicating time to doing it not sort of saying ok, i’ve watched all these videos on youtube that mike does or serge does or many of the othere awesome photographers put out there into the world, or going on courses, you have to become dedictated to giving yourself time to go and put
into action the things that you’ve been taught about.
last year I was teaching at a local nights school, i was just teaching an adult education to a bunch of people who were all paying a fairly reasonable fee to come on a photography course, and it was for the college it wasn’t me doing it at the college , i was employed by the college to do it for a short time. But something which really amazed me was that i would give poeple some homework to do which was assosiated with the leson which we just done and then the following week quite a large percentage of people would say I didn’t have time this week or I could see that they had sort of
come home and they maybe had half an hour before they jump in the car because they had to go and they sort of done their homewo because mike would grizzle at them. Well i don’t mind if they do their homework or not, and i don’t mind if you guys did the homework or not, i don’t mind what you do so long as you’re happy, but here’s the key if you want to take excellent photographs well or maybe become a professional photographer you’ve gotta do the homework, you’ve gotta put in the hours, you’ve gotta dedicate some time to doing stuff you have to get out there
and practice and get experience now when I say
dedicate and put time into it you know what time you can dedicate to it I mean when I dedicated time to becoming a
professional photographer I did it in a slightly unusual way as in I went on income support I told my
local a employment services office what i was
doing because i didn’t want ant trouble i wasn’t gonna sort of like try and defraud anyone and they were amazingly helpful, they gave me access to various courses and
training so I spent a year not working and everyday i was reading books i was practising, i was going out there i was taking pictures, wondering why it didn’t work and then trying something else until eventually I got to a point where
I could take pictures that people would pay me money for, and that was an amazing feeling but it’s within the dedication so whatever that may look like for you now that could be maybe an hour a week
because I know normal people they have jobs to go to every day they have to pay
their mortgage they have to pay their rent, their electricity bills and all that
kinda stuff. They’ve possibly gots kids and they’re mega expensive things to own aren’t they. So you’ve got calls on your time already but in order to get the experience that’s needed for you to take the excellent photographs or to become a
professional photographer that any of you guys not just peter you do have to dedicate some of your time in order to do the exercises to practice
stuff so that you get the experience because
photography’s experiential learning most things in life are you have to
experience it and get experience so that you know what
to do in a given situation much as I would love to be able to put
my hand up here and a clip unplug knowledge and then insert into your head for you for a
fee of course then it would be awesome but i cant do that wouldn’t that be easy I wouldn’t
have to webmaster the site, i wouldn’t have to keep thinking up new ideas for
films and shooting stuff and having lorna stand out in the cold and rain and all that kinda stuff while
we’re making films the thing is it’s a dedication thing so what
ever that may be for you I would suggest it’s a case of go on a
training course if you know you’re going on a training course, book some time into the diary the next day so that you can go and practice whatever it was because if you put it off and think oh we’re going on holiday i a couple of weeks in a couple of weeks time you would have forgotten all about it. It would have just kinda vanished into thin air like scotched mist. if you watch a video on YouTube, one of my videos make some notes maybe? go outside and then practice that and kep practising. dedicate time to it until you have your
head around that particular technique or building block as i like to call
them, there’s a whole new course on that coming fairly soon. Because that’s where you’re gonna get the knowledge you need to be fulfilled as a photographer and
become excellent and/or professional.subscribe to our
YouTube channel to be notified each time we upload one all cool
photography videos orfor more great photo tips workshops
and training come and see us at our website photographycourses.biz

Model Testing | How To Build A Fashion Portfolio With Talent Agencies | PRO EDU Photography Tutorial

Model Testing | How To Build A Fashion Portfolio With Talent Agencies | PRO EDU Photography Tutorial


(upbeat music) – A model test is an
opportunity for a photographer and a model to build
their portfolios together. If you start in model testing, it’s gonna open doors in the
fashion photography field. The end result that needs to
happen in a great model test is that that model looks
their absolute best. When photographers fail at this, it’s not because they’re
bad photographers. It’s because they just don’t know what agencies and agency
represented models really need. In this tutorial, you’re gonna learn who to shoot and how to shoot them. I think we might do a hair and
makeup change at this point. Exactly. That arm can even like, yes. One foot bent that way, and
turn this foot this way. You’re gonna learn about
working with modeling agencies to shoot quality models. I love that ’cause that
lengthens your lengths, which your agents will love,
so bring that back out. Kick that foot. Good. You’re gonna see me shoot two
different types of models. We’re gonna take one model
that’s considered editorial. Go for it. Yes. And another model that’s
considered commercial. So let’s do that hand. Wrap it around your neck and then we’re gonna lean
in and gimme a little laugh. Perfect. Love that. We’re gonna use simple lighting, some natural light, some strobe. And then you’re gonna
open up your body to me as you come in here. Let’s try it. Perfect. Yes, perfect, good. And simple camera techniques. I love when I come lower with the model and they look like above me. It just exaggerates that. To get the quality that you want in as fast as possible time. Good. I think we’ve got that. With this tutorial, you’re gonna get my
Comprehensive Posing Guide. This is a great resource
to see what types of poses agencies are going to wanna see from a successful model test. Oh gosh, I love that! I’m gonna give you an
email template to send to modeling agencies. It’s gonna have the right
tone and the right language that’s gonna increase your success rate. My favorite thing that you’re gonna get from this tutorial is my
top secret packing list. It’s gonna make your
process so much easier, and it’s gonna give agencies
exactly what they want. Whether your goals are
to build a new portfolio, monetize model testing
or take that next step in your fashion photography career, these resources are foundational so that those things are easy,
seamless and quick for you.

Photography Studio Flashes & Modifiers : Photography: Using Fernel Lenses as Modifiers

Photography Studio Flashes & Modifiers : Photography: Using Fernel Lenses as Modifiers


In this segment I’m just going to show you
what a fernel looks like. As you can see the fernel also creates a nice spot. The light
is actually really diffused, which is really nice, and has a great gradiation out to the
edges, and also you have the ability to control these to control them as either as a flood
or as a spot. So you could, so that’s actually a really nice feature on one of these. Fernels
tend to be really expensive. That’s why people tend to modify older movie lights, but you
can get dedicated units, but, you know, you could get a similar effect with a grid, but
these have a particular look that, you know, is kind of hard to duplicate and that’s why
they’re, they’re very popular for getting that glamor, forty Hollywood look and that’s
what they’re great for. They’re also really nice as back lights too. It really illuminates
smoke well if you’re trying to get smoke in the photo. Then, then you’d be, these work
great for that. As you can see the fernel creates a nice, spotty, specular look. It’s
fairly, it’s very contrasty but relatively soft. It doesn’t have the harsh look that
you would get from a straight reflector and it’s also kind of spotty. You can actually
open it up more if you want to keep it, get more, a little bit more of a flood. You can
see how it keeps it nice. It’s still soft, but it also throws a nice strong shadow on
the background. These, these are actually, these are actually great lights and fun to
play with. Fernels are great as backlights because what they do is they, they, this is
actually really, they do a great job of illuminating. If you want to kind of hide a light behind
somebody fernels are really good for that. They create a nice soft edge. It’s actually
a really common technique. You see it in movies and TV, things like that, and that’s how you
get that look.

Studio Equipment for Photography : Photography Studio Equipment: Gobos

Studio Equipment for Photography : Photography Studio Equipment: Gobos


Okay, on this clip we want to talk about gobos.
Gobos are just about any object that you can use to go between a light and something you
don’t want the light to shine on. The term gobo actually means “go between”, it’s just
a short version that somebody in Hollywood came up with years ago. So if we’re photographing
our beautiful model here and we don’t want this light hitting this lens which causes
flare and all kinds of problems, we just bring this in, this one’s really kind of handy actually
meant for studio use, and we just make sure that is doesn’t show in the viewfinder, and
then it blocks the light from this from hitting the camera. It does not interfere with the
light hitting our subject; it just goes in between the light and the camera. Alright,
with the gobos, this one is actually photographic equipment that you can buy and spend a lot
of money on, a lot of times you don’t require something of this kind of sophistication that
gives you this kind of control to where you can bend it at any angle and move it up and
down. You can actually just come up with a sheet of foam core, use your a-clamp, clamp
it to a light stand, and you still have your up and down controls just by tightening and
loosening the collar on the back side and you can move that right in between the light
and your camera. The same type of thing, a lot less expense.

Photography Tips: How To Be Happy With Your Photos

Photography Tips: How To Be Happy With Your Photos


I get a lot of messages from new
photographers telling me they’re disappointed with their photography some even go so far as to say they
despair of taking a good image now if this represents you then please don’t despair because great photos are completely achievable but first you have to give up your
attachment to shooting amazing images yes I know that sounds
completely ridiculous, so be patient for the next coupla minutes and let me
explain first of what causes us to become disappointed? any disappointment not just with
photography think about anytime you’ve been disappointed what made you
feel disappointed was it because an image
was too dark or not sharp or uninspiring maybe it
wasn’t how you remembered the place? maybe you’ve been disappointed because
the meal wasn’t great or your date didn’t show up it doesn’t matter any disappointment
these are all expectations we have about how something should or should not be should is a dreadful
word because it implies there’s something wrong for example the picture should be
brighter should be sharper should be inspiring, it should be how i remember the place. the food should have been great, my date should have been there, you get the idea but the truth is the images and events are what they are and the fact they didn’t or don’t meet our expectations leaves us feeling disappointed and we shouldn’t be disappointed right
it’s not fair I spent all his money and my pictures are crap, and my date didn’t show up. the key thing here is not the physical
aspects the image or the meal or the date, that leave us disappointed it’s the unfulfilled expectation how
they should be that is what leaves us feeling pissed off, disillusioned and fed up. so please ask yourself this: how often does anything in life match our expectations, it’s almost always better or worse, or just plain different. when our expectations are exceeded it’s a fantastic feeling is like wow I
gotta really good shot, I’m not sure how I did it but Wow you know. But when things don’t live up to our expectations we get upset
we get fed up and pissed off so how can you avoid that disappointment well how about
giving up unrealistic expectations of how your images should be so you don’t have to beat yourself up
about them or think you’re no good be honest accept
them for what they are right now this minute especially if you’re a
beginner I mean would you buy a saxophone and expect to play sexy jazz after just a week or two or an airplane, would you expect to just jump in it and fly of to brazil, I mean that’d be crazy, so why do you expect these kind of things with your photography? now some of you’ll be saying, but I’ve been into photography for years and I still don’t take good photos well have you been into photography for
years really how many hours a week do you spend on
your photography? how often do you watch a video or complete a section of one of my courses take notes, then go and practice it for an hour? just watching or going for a walk with your camera, now that doesn’t count. I mean really concentrating without
distractions on a regular basis the sexy jazz
saxophonist would have practiced over and over and over until their instrument
has become a part of themselves to be brutally honest now how much
dedicated time have you put aside to improve your
photography in the last two months and remember when you look at those
breathtaking images you’re not seeing the out takes the
number of times the photographer revisited a location the time they got it wrong you’re only
seeing the pinnacle of that photographers work in that instance
there’s something else which can disappoint photographers the glossy advertising
campaigns telling us to buy this or that camera because he can shoot all
these breathtaking images in the hands of an experience photographer it certainly can but for beginner enthusiast
photographers it can lead us to compare our images with the ones in the advert
then are brilliant brains say my images don’t like that something
wrong with me and you’re gonna feel disappointment, you bet you’re gonna feel disappointment so please just be kind to yourself cut
yourself some slack and be honest about your abilities right now and set some realistic goals give up
the expectation an attachment to stunning images just for a wall and let your photography
be what it is right now there is no shame in that
invest in yourself on learning and practicing techniques
like exposure focal length: debt the field composition
all these can be practiced anywhere in the living room the garden the car
park at work in your lunch break and the really cool thing is as you
practice these things and you learn how to control your photography those exciting images that we all crave
will start to come along on their I absolutely promise you that
now I am NOT saying in any way don’t
challenge yourself I wanna be very clear about this
challenges are great they help us grow they help us learn
more achieve more and consequently feel good about ourselves set yourself challenges that will lead
you to become more fulfilled and are aligned with the commitment to
improving your photography allocate time each week to learn the
technique maybe a lunchtime challenge like five long lens photos in my place
to work into a wide lens image challenge the next day use your
imagination and you’ll see the possibilities are
endless so in a nutshell my three steps to avoiding
disappointment all one be honest with yourself about
your abilities and skills as they are now to stop comparing your photos with the work experience
photographers who displaying the very pinnacle their achievement and three set tough
goes by all means set appropriate goals for your skill
level goals that are achievable see you feel good about yourself
subscribe to our YouTube channel to be notified each time we upload one about cool
photography videos well for more great photo tips workshops and training come in CSR website photography courses
top aides

Levitation Photography Tutorial: How to Hover with Multiple Exposures

Levitation Photography Tutorial: How to Hover with Multiple Exposures


Hi, I’m Chelsea. And for our book, Stunning Digital Photography we’re going over levitation photography.
Now there are two ways to take a levitation photograph: the first way you just set a high
shutter speed and have your subject jump and it creates the illusion that
their floating. The method were going to be using is that I’ll be propping myself up with these
books here, taking two pictures and then blending the two exposures
together in post to make it look like I’m floating. The
only hardware you really need is a camera and a tripod, but because
this is a self portrait for us we’re also using a remote shutter release
and a few other pieces of equipment I’ll get into later. The first thing you’ll want to do before you take your shot is make your story. So I had envisioned a couple sitting
together and reading by fire so I got these prop books and I got
Tony, my prop husband and found a nice nook of
the house that would look good on camera. So we set up our camera and a tripod and kind of played around with the crop
and the angle to make sure that we have our fireplace in the shot and the lamp and the chair, everything we
thought would be attractive. One interesting thing that we did was I
really wanted it to look warm I wanted it to look like the fire was
glowing and we were nestled up and comfortable in our home. so we got another light on a tripod,
another flash, put an orange gel over and put it
behind our fireplace which actually goes completely through to the
other side and had it flash through at us so that we had nice
warm lighting like the fire was glowing. To trigger the flash that we set up
behind the fireplace, we used a PocketWizard. We also used the flash on
top of our camera to kinda bounce the light off of the wall and
fill the room with light from the other directions so that the lighting wasn’t too
hard. Next, we set our camera timer to an 8
second delay and just kind of posed for a while. Once you get the pictures that you like,
move out of your frame, take a picture of your background and
then it’s time to bring your photos into post processing. Now that you finished taking your
pictures, load them onto your computer and use your editing software of choice to
start merging your photos. It doesn’t matter which editing
programming you use, I’m going to use Photoshop, but as long as they can blend two pictures, you’ll be all set. I’ve loaded my pictures into Lightroom,
so I’m going to click the levitation photo of my choice and then I’m going to choose a
background picture to blend it with. Using Ctrl click I selected both pictures at once. Once
you have your photo selected right click, then choose Edit In, then go to open as layers in Photoshop. Now that
you have both of your pictures imported into your editing program put your levitation photo on top. So you can see, the background is on the bottom. Select both
of your pictures go to Edit, and auto align your layers to make sure
that they match up. Using the Auto projection option works
just fine. Next select your top layer, your levitation
photo, and create a mask. Click on your mask, select your paintbrush tool and make sure that you’re painting in black, and you can start to erase the books out of
your picture. I like to make sure that my paint
brushe is soft and that my opacity is fairly low I have
it at 48 right now. So let me zoom in here, I’ll make my brush a little bit bigger, and you can
start blending away whatever it is you’re levitating on. So one problem we ran into when we
started editing the pictures is that I noticed that the background picture had cooler lighting than the picture with me levitating and I think
it’s because one of the flashes was bouncing off me and making a warmer
light. So what I did was I selected my
background photo and in the adjustment layers I put a photo filter on with the color orange and warmed up the background a little bit
until the color matched the foreground better. That’s pretty good. And since you’re opacity’s low, you can just
kind of blend the pictures together so that the color differences isn’t so obvious. Once
you have your color adjusted, you can continue taking those books out out. Another problem that I
ran into is that my skirt was falling behind the books at one
point so I can’t just use the layer mask and paint out the books. So what I did was I selected a section of my skirt,
making sure that I had the hemline in there, and create a new layer to paste
the piece of clothing into. Now that you have part of the skirt pasted in, you can move it. Go to Edit, Free Transform and line it up with the rest of the hem. Now that you have the skirt in there, it’s really rough,
you can use an eraser and I will just blend it in. This is kind of a
rough example so I’m gonna do a little bit more tweaking and play around with this to get it just
right and then I’ll cut to the finished product. Next I’m going to reimport it into
Lightroom by saving my photo and finish up the rest of my editing there. Now than I am in Lightroom I’ll click on
Develop to finish editing and crop it down a little
bit. Next I’m going to soften my photo up to
give it a warmer, cozier feeling. By just roducing my clarity just a little tiny bit. I usually like to
just play with my adjustments a little bit to get the get a nice feel going in the picture. So it’s
all just a matter taste. And there you have it! There is our
finished levitation photo. There are a few other pictures that I
played around with it as well If you’d like to see more videos from us,
click subscribe above and if you’d like to learn more about
photography, buy our book, Stunning Digital Photography. You can get it on
Amazon, you can get it for iBooks. All the links will
be down below and don’t forget to LIKE us too. Thank you.

Photography Tips: Composition Scene in a Scene

Photography Tips: Composition Scene in a Scene


Tom we’ve got an amazing vesture here, but it just strikes me that there’s
there’s a lot going on I wouldn’t know how to sort it out. How to approach it? Okay what a lot of people tend to do is want to include too much in the landscape with a wide angle
lens on and they get a nice wide angle shot but
it’s a lot of nothing you know? your eye doesn’t have any where to rest on. so what I’m gonna do, I’m gonna do two shots in this scene, okay first I’m gonna do Actually I’m set on a fifty length focal length, okay. So I’m gonna frame this up. You see the gate over here, I’m gonna put that down on the rule of thirds, we’re looking down the valley got some great stormy clouds going oh
yes it’s moody, I like it’s mysterious I’m gonna bring that down a little bit more. okay okay so first let’s put our filter adapter on, and I wanna put a couple of MD grad. okay we’ve got a three-stop hard grad. I’m really gonna make this dramatic so that will really darken down the sky, that’ll bring the sky down and bring those clouds make them look more stormy, and here’s a two stop on there as well okay, let’s put that on there as well. And so by using the lee holder you can just kinda stack them up, adjust the setting just exactly where you want them okay let’s
just see how that works out, let’s just bring that up there. Oh that’s great, okay. Now have a look at that idea, now that is really stormy and okay. Now we’re gonna do a completely different swamp here. Let’s take this off and change lenses, you want the long one? Gimme the telephoto but we’re gonna go even more on this. I’ve got a one point four converter telecom.okay that’s gonna extend the focal length So let’s, so you’ve got a two fifty millimetre lens A two hundred with a 1.4 tele convertor from the D450 to? this is a half frame sensor so it’s gonna roughly give me about a 500-mile lens
okay so now what I’m gonna do you see those cottages there? let’s start with the one on the left. The one in the trees, yes the one in the trees. That’s it, okay let’s frame that up nicely so we’ve got it up in the upper left, okay, take that away. there have a look at that now we’ve got
another picture out of the same scene, yeah, and we’ve got all those great little fields and paddocks going on down in the right and we’ve got the little cottage up on the left so we’re working with composition. It’s nice that we’re using a white cottage to really stand out in the landscape, yeah they do. If you had say, this slate stone cottage over here it’s not gonna look the same, it’s not gonna really pop out, I didn’t even see the slate stone cottage until you said it, it’s tucked over there, yeah. okay let’s do this other one over here, now this is nice because we’ve got a nice mix of trees and stone walls that are breaking up the lines of the composition okay. Let’s, there you go, you see what I mean? Yeah, and you put it on self timer to avoid camera shake? I put a two second self timer on this just so I can take my hands away from it without pressing the shutter and jolting the camera to avoid shake, especially with a telephoto with that sort of focal length you’re gonna need to do that. So that’s really useful, so that’s three shots in one. It’s in one position. okay subscribe to our YouTube channel to
be notified each time we upload one all cool
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da pace

Photography Tips: Don’t be afraid to get it ‘Wrong’. Fear is a creativity killer!

Photography Tips: Don’t be afraid to get it ‘Wrong’. Fear is a creativity killer!


many photographers are really scared to
get it wrong and I same wrong in inverted commas because there isn’t a ride all wrong and I’m
gonna say more about that in a minute the thing is every single one you
has the potential to fulfill your photographic dreams whatever they may be but there’s a dream killer out there and that can stop us dead in our tracks
and the crazy thing is this dream killer is not even real many others are so afraid to get it
wrong we never take the actions needed to fulfill a potential we hide this by telling ourselves we
just need to know a little bit more before we actually go and try it for
real is a DSLR a mirrorless camera best what
lens should we choose maybe we should change the 70-200 and then we’ll go off
into a tailspin as to which 7200 is the best one to buy waste hours reading forums and comparing
brands and see if we can possibly get off a twenty pounds less now if you stop starting out I promise
you the camera kit won’t make any difference your camera kit make doesn’t
take the photos what it does is faithfully record
whatever combinations have liked composition and the settings you choose
to get it every week I get asked what’s the best
focal length for portrait which shutter speed is best to
photograph a car if i used this or that lens meticulous angle when I get the shot that i want I don’t
know who because it depends on what you want to achieve the question here is why don’t you
experimenting and seeing what works for yourself why
not get out there try some stuff give it a lash it’s
because with scared of failure many of us want an
absolute 100 percent certainty guarantee it will work perfectly on the very first try and professionals who’ve been living and
breathing photography every day for years rarely just take one shot on its
perfect if you’ve done might seven building
blocks a photography course you’ll have seen how many 10 shots you
sometimes need to make especially when you’re starting out we also worry about what people say
or think about our images you know you show someone something you
like and they say no that’s all right and what we hear or mention we hear is
possibly in noted disappointment in their voice and we start to think maybe I’m not very good at this we’re
still we worry about what we will say or think about our I’m images we’re scared will take a crap
photo and then become disillusioned with our potential give up on ourselves so we procrastinate the weather is not perfect the car needs
cleaning the sofa needs to be settled we do endless more research which is
very sneaky indeed because that’s procrastination in
disguise we want everyone including ourselves to love our photos and when we don’t get
that we feel like a failure we start to believe that maybe when not
that good at this after all an OK kinda fight is the best
we can hope for and that’s not a very powerful believed
to have about your potential as a photographer but here’s the thing heat only a belief an opinion it’s just a thought or a feeling a isn’t real isn’t the truth we mistake it for
cold hard fact that written in stone I’m now I want you to
really listen to what I’m about to say I want you to consider that success is the ability to go from failure to
failure without loss of enthusiasm sir winston churchill
said that but what is failure he’s not getting
what we want all what we expect to get and
that’s just more thoughts and opinions right so what would happen if we changed our
thinking what if we started to think about images as experiments to see what would happen
maybe if we do this we’ll try that now I promise you you’ll start to feel
good about yourself if you do this because you not procrastinating you doing and
you do you’ll learn and you grow you get
better images because they’ll just be a byproduct of the growth and your photos
improve you start thinking hey I did that you feel good about yourself you
have more belief in your potential and as
your confidence in that potential grows you’ll be
inspired to take more actions actions like really looking at light
shadows and highlights trying several different angles with
your camera planning the best time a day to visit a location based on light may be brighter or darker exposures and all that good stuff I’ve been
teaching you by the way notice how none of these actions have
anything to do with your camera and everything to do with you better
results can only reinforce you believe in your potential so you take bigger more challenging
actions and get even bigger results now these grow your belief in your
potential and the whole thing starts spinning round around in a circle feeding on itself and before long you’re
flying the first step is to stop being afraid what you someone else perceives as a
failure when something doesn’t turn out how you wanted to ask yourself some
powerful questions why did that happen what would have
happened if i done this or that when can I have another go at
it some of you may need to realize is that the stakes a brilliant things because they are an
essential part of learning we needed them they are opportunities to find
out what went wrong and avoid doing it again
by changing the way you think about your potential and recognize
that fear of failure isn’t a tangible thing you automatically
get results as byproducts may you never please everyone summer
doesn’t like your image and they don’t want your image and
that’s their opinion on it a valuable lesson about this when I was
commissioned by Bournemouth Airport to do a dramatic looking upright image
for a magazine cover that had to have space for overlay text
and clearly said Concord comes here now I was scared
because airports are generally messy places with trucks in shades and other
aircraft cluttering the place up also Concord
doesn’t fit in up right shape and it was a dull
overcast day as well and that wasn’t helping and sure enough dull light makes for a
dull image so ended up photoshopping my favorite
adding a crazy news kinda girl on the steps sign it even lens flare coming over the
fuse a large looking back on it walls horribly
overdone but I hey it was a long time ago but here’s the thing the image not won
master Photographers Association Award it won a national commercial award from
fuji the prize was a week at Pho to training overseas the event which
happens each year on Cyprus the client they didn’t like it they
chose the one i almost i did’n’t show them because I thought it was dull so stop letting fear of failure stop
you stop researching a procrastinating
endlessly and get into action because effort in equals effort out watched some videos get some up my
courses but most importantly go out and put theory into practice and
when something doesn’t turn out the way you want it to it said golden opportunity to learn from
it go get em tiger subscribe to our YouTube
channel to be notified each time we upload one all cool
photography videos well for more great photo tips workshops and training come and see us at our website photographycourses.biz

Photography Tips: How to find the right camera settings – think like a photographer

Photography Tips: How to find the right camera settings – think like a photographer


hello all you lovely boys and girls out
there in photography land this week only show you a little film
where we’re gonna go through taking couple of images but I’m gonna explain what I’m thinking
as I do it now cameras a marvelous piece of
equipment but on their own they can’t do anything they need to input
Leonardo da Vinci’s brushes and pigments could not have
created the Mona Lisa without him now I have created a new seven-week
downloadable photography course which really goes in depth into this thought
process behind every single image that you gonna take
it’s called the same building blocks of photography just search for seven
building blocks a photography you find a place five hours the videos as work
sheets there’s masses of good stuff this is a big subject and I promise it will revolutionize your
photography but anyway without further do let’s go and have a look of me shooting a couple of images as i
talk you through what I’m doing and what I’m thinking in
order to achieve the image that I want which camera
settings should I use the question we hear quite a lot so I thought I’d take you through a
thought process which i use and I ask myself questions by asking
those questions the answers to its settings they kinda
arise naturally now I’m assuming you’ve watched most the
other videos in the different sections that we’ve already got on the site let’s just do it
suppose I got this little boat sitting here in
the sunshine which I hope is gonna last we got other boats going on the
background it’s all really quite nice let’s say I want to take a picture of that first question how do I want it to look do I want to include lots
background or just the boat do i want to have a
shot front to back old or just wanna have a shallow depth of field looking at
the boat by asking these questions it will tell
me which lens to use and where to stand go and watch the
lenses film particularly the ones about focal length then you’ll
understand what I’m talking about the the shot im gonna take I’m gonna have a fairly wide angle shot
with the boat strong in the foreground and what’s
going on in the background kinda and not quite so important i wanna
try and include as much of the sky as I can as possible so that’s gonna give me a wide angle
lens by getting fairly close to the boat that is going to make the boat strong
very much the subject to the picture right so I have my wide angle lens on I have already set it to its widest focal length: that 10 millimetres in
this case so the next thing is to have a look and
find the composition he’s gonna tell me where I’m gonna need
to set the zoom but I think i want it shortest I’ll move myself backs and forwards to
get the composition now ideally I’d like to be about four
feet that way but I cant so I just hope I don’t fall in and if I do you can have a laugh at my expense if
you wanna come around here Janey has them yeah 10 mill was fine and I’m just lucky
that this is probably a good spots on a move back a shuffle and just focus on the boat so what I’m gonna do is put the boat in the kind lower left third in the shot and then those boats
over there on the opposite upper opposite of the frame so I can see quite clearly that’s gonna
work beautifully okay next question what light am i In . I’m in sunshine so that’s gonna give me
my white balance setting isn’t it put onto the sunny setting the next
question is how much depth of the fields do I want well for this honor
shot landscape I’m on lot so that the field I wanted to be
very sharp indeed said that is gonna tell me which
aperture to useif i want lots of sharpness then i want a small aperture just wanna go to F-sixteen and I go to
the smallest aperture lot because the lens will perform better
if I don’t push it to its extremes that’s gonna tell me my depth the field the next question is which shutter speed
doing i need because the aperture is going to govern
that and it’s also going to have an impact on eyesight so again looking through the
viewfinder you can’t do this just kinda pointing at the ground and looking in
the back look through the viewfinder with the
shot composed and see what shutter speed on getting I’m getting an 80th of a second
F-sixteen in this light and my eye ISO on 200 which is the
lowest the best quality the best colors and everything else so I don’t need to change it if I needed
a faster shutter speed I would have to increase my ISO I can
to get that why would I need a faster shutter speed
you need to have a fast enough speed to freeze any camera shake those a
little movements come watch the camera shake film that will explain it so there we go by asking myself those
questions I know what my camera settings are are now put them onto the camera got my
aperture my shutter speed I’ve got my white balance all set
and I know that I can use my finest my ISO all I have to do now easily now over the
water focus on the boat compose my shot and take the picture there it is so there you go there’s one that’ll set
of questions for that particular shot and those
questions by asking myself a given myself the settings I need for
the camera can find a different scenario something kinda interesting me over here if you can see and we got this pontoon
with these boats tied up to it and in the middle of it there are some
flowers and I quite like there’s some sort of safety ratings
record low lifesaver rings now quite like the light on those sites
those like saber rings and and the flowers either side it’s a real sort of
boaty sort of a key sighed thing think the sun’s
going so like the light on them but doesn’t matter I’ll keep talking you through
the shot maybe the Sun will come out okay that’s the shot I’m gonna go for
what I’m seeing in my mind is something to do with those rings with
the plant either side maybe some boats in the background
something to say this the big boat you know bring it together first think think
about the composition hand we wanted to look and that’s my first question well
obviously i’ve got the soft background so i want a shallow dept of field I wanna make those boats in the distance
probably come this way a little bit so that I can line up my an orange life bouys to do that i’ve gotta think about where do i
think is really simple to line the shot up you just move yourself around and
look with your eyes now on this or moving up and down here and I think to get I reckon from about here I’m gonna get the the life boys and the
bit the plants and then some boats in the background ok where have you gone are you over there she keeps doing that she moves and im not ready
for it so i turn around to talk to you and fung you’re over there right now to achieve that shot that’s
gonna give that’s gonna tell me which lens to use im gonna need a long lens because obviously I
can’t climb over there but even if I could I want to compress
perspective I want to suck everything together a bit and I want a very narrow field review
because I want to try and mess things like that Deepwater life jackets available sign on
the pontoon and also the lifebuoy which is hanging
on that pole Just in from to the third little boat in
I don’t want them in their so I want a narrow narrow field of view
i want to look like looking down a drainpipe like this I
don’t know why it feel to be on to narrow field a few again gonna look our lenses films this
the focal length for will tell you all about that the focal length: explained I think it’s
called anyway long lens so I can get my camera with a long lens on it try not to trash everything in the
process only is my longest focal length and the
set zoom as long as possible act I have to move further away then so
be it the long long as they will keep the field of view narrow so
let’s try and set my in the Hudson click them standing up now I think
that’s about right actually getting closer so many as close
as I can because I want to make sure I can
exclude that dep water life jackets from the shot just focused up and have a
look through yeah I’m shuffle this way a tiny bit im lining the shot up nicely yes good I can
I can just about achieve the shot im after so focus on the the no sorry than getting ahead of
myself arent i on how much depth of the field do I want a very shallow depth of the field
because I want the rings to be nice and sharp but i want
either side of them to be a bit soft so that’s gonna tell me
which aperture I need because the wider the aperture the shallower the depth of the field so I’m gonna set my widest aperture
that is the lowest F number okay so now I can have a little look
through the viewfinder again with the shot all composed and see what
shutter speed I’ve got now with a very wide aperture obviously tons at light is coming in so have a
very for most shutter speed let’s have a look at my
ISO again I’m down on 200 ISO if it was dark you know why it would be
good if the Sun had gone in cuz I have been able to show you that I’ll find a
way to in a minute they’ve been dark I would have had to
make sure that my shutter speed was faster the 200 for the second
because my lens is set to 200 millimetres I’m gonna need the
200 for the second to ensure I don’t get camera-shake any wobble lost on taking the
picture but as it happens with my len says it
F-four with isn’t quite my widest aperture but
there you go I’m gonna focus on the lifebuoys I’ve gotta 1500 the second with the shot
composed so that’s pretty cool let’s just know
it’s windy squeeze of shot and there you go so that’s what I was looking at by
asking myself those questions how do I want the picture to look it’s given me the settings i need my
camera to make sure the exposure is correct and
I won’t get camera shake et cetera subscribe to our YouTube channel to be
notified each time we out like one of our cool photography videos well for more great photo tips workshops
and training come and see us at our website photographycourses.biz

Photography Tips Auto Focus Modes Part 2 – single point

Photography Tips Auto Focus Modes Part 2 – single point


So we’ve looked at the areas,that’s were around the picture you’re gonna tell you where to focus and you’ll have another layer choice and that is how far into the picture you want to
tell your camera to focus that’s the distance between you and your
subject and there are various modes to help you
down the front here on the nickel we have continuous single the manual. manual you’re
gonna do it yourself single means the camera will lock a focus
and hold it as long as you keep first pressure on the shutter button and continuous
means it’ll track things let’s look at single to begin with so if
I set the camera to single focus mode I’m gonna combine that with the single point area mode, because i’m gonna take a picture here, Rhys how you doing mate? minor ie You’re looking cold, right i’m gonna chose the single point around the frame where Rhy’s eyes are gonna be, because that’s what I want sharp, it’s portrait. I use my multi-directional lid on the can and you twiddle a little button on the top there and you chose the point in the view finder where you want that single point of focus to be, so let’s get my shot lined up, i like that, that’s really cool just look straight at me mate. that’s really good, nice one cheers rhys. And that’s really all there is to it, If you’ve got a nice static un moving subject then it’s really really simple. single point, and single area, you could use this for anything, it could be a close up of a plant or a wine glass it could be i don’t know, that building over there single point is great for non moving
objects. But this time, i have got a moving subject, and as rhys is moving towards me i’m letting the camera track his progress. I do that by using the continuous focus mode On the Nikon i just set this little thing round here and i click it on to the C for continuous continuous means that as long as i hold first pressure on the button here on the shutter button
the camera will track the focus of whatever I
have filling the viewfinder, let me show you, if i come back here a bit and point the camera you, there we go and focus it, as i move forwards i don’t know if you can see but the little barrel on the front of the camera is moving its twisting itself I’m not
doing that the camera is doing it it’s tracking that movement between me and between you, now that’s all well and good if you want your subject smack in the middle filling the frame like Rhys was just then. but i wanna take a picture of him not in
the middle I wanna put him over to one side and to
do that we’ve got to combine a couple of different modes together