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
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Photography Tips: Meet my PA Melissa Fox

Photography Tips: Meet my PA Melissa Fox


hi guys I’m down in Asia again I’ve just
been running the Cambodia workshop with my partner Simon Taplin most here we did
a bit of wrecking along the vietnam Chinese border in some of astonishing
locations which people just don’t get to see and we’re hoping to have bring that
online next year so watch this space but whilst in Asia I wanted to come down to
the Philippines and meet up with my awesome P A Melissa Fox and introduce
her to you guys her photography is awesome and she’s got a
pretty interesting stories have she learned her photography so hello Melissa
hi Mike and he’s the first time we met in reality you working three years or
more and it’s all been via Skype in the internet and this is roles is grown in
grown why dont you tell the guys how we met in the first place yeah absolutely I was doing photography
and studying photography and I was watching Mike’s video most of the time it
all the time actually so I just came to point that you know I want to give
thanks to him and sent him a message on facebook telling him you know what thank you for all of your tutorial and
that’s how it started thank you and it kind of grew on from
there really because we kind of converse about photography she sent
me some pictures and etc and then one day I remember you send me a message
saying I don’t want to interfere but I noticed a lot of the questions that are
asked about your tutorials on the Facebook page he said I know the answer
do you mind if I step in and I thought that was really quite sweet yes
absolutely but it was again because of you all the knowledge all the things and
thing that you put into your videos that’s what I always apply to those
questions so I think that’s how it started now
that I’m working but you because there’s a lot of people have asked questions and
most of the time you are not there so why not answer it for you very kindly and said that’s how
Melissa started to become involved with our Facebook page the person who used to help me at that
time then left and we had a unanimous decision who should we ask we both said
Melissa and you post some awesome posts on there you put some really beautiful
warm human stories you really have shared of your own experience what leads
you to do that I i guess its because every photographer and yeah I just
wanted to basically share what I’ve had before and you know who knows maybe some
people can relate to it I think a lot of people relate to it because when you
posted things on the Facebook page where
somebody said I really lacking confidence that was one i remember you
wrote his brilliant post about how your work had been completely slammed on line
someone said mr. Fox’s pictures are dreadful she doesn’t know what she’s
doing and it’s about how you rise above that it was I thought that was an
awesome post and you continue to do it absolutely I just believe that you know
you can’t be stopped by anyone telling you what to do you know you have a
passion you have a love for photography just go for it and you know you don’t
have to really think about what we what people what other people think about
your photography as long as you love it go for it absolutely and this is why we work
together I think that was pretty obvious this is a common ethos that runs through
both of us it’s about the person behind the camera is not about the camera it’s
you guys who take the pictures now besides looking after the Facebook page Melissa started helping me keep up with
all the wonderful comments that you guys post on YouTube there are so many of you
now and I’m totally blown away by that but also what you don’t see is behind
the scenes Melissa does masses of work to keep the website running smoothly
making sure that it’s always easy to find on Google etc making sure all the
links work it’s a lot of stuff them in this does behind the scenes she’s also looks after my emails and
says brown answer that, keeping him in line yeah you do have to do that from time to
time I really have to do what’s your kind of photography what is it that
you’re into shooting into portrait photography wedding photography and my
own weird stuff which is the surreal portraits I
think those are amazing it’s something i’ve never which I’ve never sort of
done it’s a completely unique looks to be seems to be to you there’s lots of power in
action and moody drama going on there.My attack would be the emotions for me think more of an
emotional images versus for emotional and artistic images at the same time so that
I created this you know surreal portraits that again doing the past about but
also when it comes to business part I do the wedding photography because you
get money from it’s a lovely lovely lovely area of photography is great fun
isn’t it was stressful fun challenging all of it is all of those things
is also a privilege to be part of a milestone event in somebody’s life of the pictures
in it its high-pressure shooting two weddings think it’s easy and cheesy and it isnt
and absolutely so where do you think we did you evolve from with your
photography what was your beginning point what was your first thought that
said I wanna do photography since i was a kid was doing photography but you know I don’t know
what I’m doing but my mother passed away and that she left me camera and it
didn’t know what to do with that have no idea what a controlled and stuff I watched youtube I watch your channel I’ve seen most of your video and stuff and
that’s how we started you know basically you help me dissect the biology or and you know technicology or
whatever the terms is you were the one who’ve inspired me to go back to that I love
photography seeing some of the Melissa’s early work to the stuff you’re producing
now like the surreal portrait this is why I do what I do because it’s
such a privilege to know that I’m helping people like Melissa and others
and now it’s really great that Melissa and I working together and also Melissa and I
working together that is the team and now it looks like there’s a huge team
there but please believe me the whole thing is run by Melissa myself and
occasionally we have guests camera people come on to help out sometimes I
have to do it on my own whatever but we are the team and certainly thank you to all you guys
that we’re able to do what we’re doing and I had the opportunity to come and
run workshops in Asia and have a brilliant PA like Melissa she does RULE me yes
well I think we both inspire each other in some point yeah we take but Melissa
does brown answer this going to that check this out I’m without her I would
probably miss a lot of things but really I just wanted to introduce you guys to
Melissa want to see some of her photography Melissa knows her way around
my training products probably better than I do in many ways because there are
so many YouTube videos but Melissa watched and studied all of them so she really can
help look after you guys when I’m not available and I apologize that I’m not
available all the time because I would love to be able to interact with every
last one of you on a one-on-one basis to also i want to tell everyone that I’m so honored every
time that you will ask me questions or asked him question and please do let me
answer those questions because sometimes he is not really around and and yeah I would like
to help it’s an honor for me to be a part of this entire business that you’re
running it’s great having you on board because
you do so much with so many people don’t see say you guys if you want to check out
some more of Melissa’s photography find out more about melissa is in the text
below this video go check out her blog check our website you can really see one
awesome photographer she is also a very warm and brilliant human being she
really does care thank you thanks Melissa thank you Mike
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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
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photography videos well for more great photo tips workshops and training come in CSR website photography courses
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Create Background Sparkle from a Sequin Dress: Take and Make Great Photography with Gavin Hoey

Create Background Sparkle from a Sequin Dress: Take and Make Great Photography with Gavin Hoey


In this video I’ll show you how a simple sequined dress can become a super sparkly background. Hello I’m Gavin Hoey and you’re watching AdoramaTV brought to you by Adorama, the camera store that’s got everything for us photographers. So recently I was having a bit of a clear-out in the studio and I came across this rather nice piece of sequined fabric and then I remembered why I wanted to get rid of it because the last time I tried to use it, it was a real problem to light. The sequins just bounced like absolutely everywhere. There was hot spots and sparkles all over the place but then I thought don’t ignore the problem, embrace the problem. Embrace the sparkly effect by turning this into a dress somehow. I can bounce light off the sequins and create an amazing sparkly background but the first thing I need to do is to work out what sort of light will create the look I’m going for, so let’s get a model in, let’s get some light set, let’s get shooting. So it’s great to have Beth back in the studio Beth going to be the model for this shoot and as you can see she’s fully decked out in very sparkly attire. Now before we set up the main lights and take some pictures of Beth, what sort of light do I need and really basic do I need a big light source or a small light source? Well remember we’re going to embrace the sparkle. I want lots of sparkle to be seen not necessarily by the cameras but reflected onto the background. Now I could use small or big light sources and before we set them up I’ve got some easy ones to test with, so I’ve got my small torch and it’s slightly bigger Rota light LED. Let’s start with the small torch first. If I shine the small torch onto Beth hopefully you can see that on the background we have some lovely sparkles bouncing off the little tiny mirrors that are the sequins and giving us that fantastic sparkly background. That works really well, so that’s a small light source so surely a big light source will be even better? Well let’s find out, let’s get the Neo2 from Rotorlight, turn that on and we’ll pop it in the same place and it doesn’t really do the same job. Now it’s got nothing to do with the light manufacturer, it’s got everything to do with the spread of the light source so small light lots of sparkles, bigger lights, less sparkles and we’re going to use both of these as we embrace the sparkly aspect of this shoot, so let’s get some bigger lights set up. Let’s get shooting. So I’m going to try several different light setups to get a variety of effects. The first one I’m going to do is just your standard key light at 45 degrees, elevated in the air with a nice sized softbox. Now this should put some great light on Beth but I’ve got a grid on the softbox and that should help to direct the light this way and keep it off the background. Now to see the sparkles I need a dark background which is why we have this mid gray here, so with just this simple light set up I should get a nice dark background but no sparkles that’s the theory. Let’s try it and find out. Okay Beth here we go, and as you can see that looks great, light on Beth but it looks really dark in the background so theory works, so how am I going to get any sparkles on the background? Well for this to work you have to think about the direction of light so if I light Beth from the front with a small light source all the sparkles are going to go out the front. They just bounce off in the opposite direction to the light so if I want sparkles on my background I have to light Beth from behind so I’ve got a second eVolv 200 and I’ve got it in a snoot. Now the snoot should give us that small point of light which I can pop in behind Beth pointing at her back. Now the back of her dress is covered in the same sparkles as the front of the dress. That should work really well but what power do I need that on? Well there’s no good metering it because you’ve got a trial-and-error this to see what works, so I’ve started somewhere in the middle 1/16 power let’s take a picture like this see how it looks, okay Beth here we go. So looking at the pictures, they look basically the same so either one of two things happened. Either my theory doesn’t work or there’s just not enough light out of that backlight to see anything. That’s what I’m hoping because we’re only on 1/16 power let’s add two more stops to the light let’s go up to 1/8, then 1/4 that’s two more stops of light, let’s see if we see anything now? Here we go, and again, and last one, and yes we do. There is the hint of something happening back there, which means the brighter I make this background light, the brighter the sparkles are going to be, pretty simple when you think about it. So let’s pop it on to full power. Let’s go all about 1/1 full power and have a look at this. That looks incredible. Those sparkles really are there. They look fantastic and as Beth moves every shot is slightly different. That’s one of the joys of this technique. So that looks really good and it works but do you need a big soft box? Well I said the size of the light will have an impact on the shot so let’s see what happens if we change this softbox for something a little smaller? So I changed the softbox for a small reflector and inside of that is a honeycomb grid but not just any honeycomb grid, it’s a really tight 10 degree grid that should mean that the light that comes out is going to be very small and should just hit Beth in the face which means the rest of her dress whilst it won’t be black it will be darker. Let’s see how this looks? I’ve already metered this out it’s f/2.8 still nothing’s changed from the last time but the light is dramatically different with that lovely tight beam of light. So that looks really good and works really well and it’s a simple two light setup but what if you had a third light with another snoot? Well let’s set that up and see how that looks? So what I’ve got is a third light with a second snoot and I only have really a couple of snoots so it’s not a matching snoot. This is a magmod snoot but the effect is going to be exactly the same. It doesn’t matter on the light modifier the light modifiers work whatever brand you have, so the idea is I’m going to shine these at the same angle more or less onto the back of Beth but avoiding getting any spill onto the paper background because we’ll lose the effect, remember right at the beginning when we had the LED lights, if we got spill onto the background, we lost the glittery effect. So that’s the idea they are both on their maximum power, the light above Beth is on its minimum power. Let’s take a shot like this and see how it looks? Now when we do that we can see it works really well with the sparkles that looks fantastic but when Beth has her hands down she has a hand in the light and because those lights are on maximum power it kind of looks a little bit weird, so we have to be a little bit more careful with the posing and say to Beth, Beth you can pop your hands behind your back, you can have them up in the air but not by your sides. Okay, so that’s the idea and let’s take a few pictures like this and see how it looks So that looks absolutely fantastic but of course the pictures always need a bit of post-processing so let’s get one of these pictures into Photoshop, I’m going to do that right now. The few enhancements I need to make to the images are down to two things. It was the styling that I used and a light that was in the shot so let’s have a look at one of the pictures and see what I do. So this is the image I want to edit and if you have a really close look at Beth’s headdress here, you can see how it was made, it is bamboo skewers hot glued onto a child’s headband and the result well maybe I went a little bit over the top with the hot glue because there’s a few areas where it’s gone a little bit too much and I ran out of silver paint, I really did so there are some areas here which shouldn’t really be there and so on now I could spend longer fine-tuning that but there’s another area I want to do here which is Beth’s, well what you call a bracelet and necklace, well they’re held together by some double-sided tape. They were literally just things we had lying around the studio. They need to be removed because they look wrong so I’ll get the healing brush tool and I’ll sample by holding the Alt key or the option key on a Mac an undamaged area and then we’ll just paint that over the bit where we can see the tape. There we are and just doing it roughly for speed but the end result is pretty good. Now it comes down to speed and result, the more time you put into cloning anything, the better the results will be. That looks fine but there’s another problem, I need to deal with which is down to the lighting, so the lighting of this image caused an interesting side effect, when you have a very strong backlight you will see a lot more stray hairs than you would see normally and that’s perfectly normal. I was expecting it, I was ready for it but yes there are lots of really bright backlit stray hairs which all need to be cloned out if we want this clean look that I’m going for. Time again isn’t what we have here because you really don’t want to sit here and watch me clone and there’s another area to deal with which is down here. Now here you can see this weird pattern of dust and this is exactly what it is, it is speckles of dust in the atmosphere. Again because of the extreme strength of the backlight any kind of dust particles that are in the the same focal plane as Beth I got a really glow and show in the shot. Now I don’t mind a few of them I’m going to take away some of the brighter ones in fact if you want to get creative I’ve got a whole video on how you can use dust in the atmosphere to create some really dynamic portraits on the Adorama Learning Centre, so that’s fine but there’s another thing I wanted to do and that was the color in the picture. I need to enhance that and to do that I’m going to go into Camera Raw or Lightroom, so from here I’m going to go to filter and choose Camera Raw filter. Now if you started with RAW files or Lightroom you could do this first. There’s no set order to doing any of this but what I wanted to do is have a nice bluish feel to the image, so I’ll take the temperature and move it towards the blue end of the shot, like so and to really enhance the colors let’s come down to the vibrance and increase the vibrance as well. Now that gives me that sort of blue Coldfield that I was after but it’s had a bit of a nasty effect on Beth’s arms which have gone a little bit more well it’s called a magenta I guess. Now we could try and just work on the arms or I can take the tint which has magenta and green and move it away from magenta. As I move it into the green that helps to balance up the colors of the skin. They’re not correct but they just feel better and I prefer that cyan color in the background. Speaking of the background the very last thing I need to do here is just to get the local adjustment brush, make sure my clarity is all the way up to +100 and paint on the background because the entire purpose of this shoot was to see the sparkles on the background. So I’ll enhance those to their maximum by increasing the clarity which just adds a bit more contrast to the scene and with a bit more tidying up, there it is my final sparkly sequined shot is completed. So it turns out it wasn’t the fabric that was the problem, it was me! Having an idea of what I can actually do with this stuff. Now if you’ve enjoyed this video, don’t forget to leave me a comment below and if you want to see more videos from myself and the other amazing presenters right here on AdoramaTV, you know what you’ve got to do, you got to click on the subscribe button. I’m Gavin Hoey, thanks for watching.

Trick Photography | Best Trick Photography Tutorials & Creative Photography Ideas Revealed

Trick Photography | Best Trick Photography Tutorials & Creative Photography Ideas Revealed


trick photography – the best creative
photography and trick photography secrets hi, I just wanna let you know that
if you have a DSLR or any kind of camera that you can start taking
pictures just like the ones that you’re seeing on this page right now, you do not need an expensive
camera to take pictures like this you just need
a basic DSLR and here’s why a lot of people think
that if they have the best gear that they can make the best photographs… now that is completely untrue especially
if you don’t have the right knowledge and creativity for proper trick photography if you have creative photography ideas and you know about things like composition and light you can make way better pictures with
your camera then the photographer who doesn’t know about those things but has
the most expensive twenty thousand dollar camera, which is
not important at all see in trick photography and special effects you want to focus more on the artistic and creative photography ideas and
less about your gear, the gear is just complementary for a good photographer you need all the know how to use the basic
fundamental principles of photography to take a good image with any camera at all, even basic DSLR’s they all have a manual mode and that is
what I’m gonna be showing you how to use in this trick photography course to create artistic images so if you have
a DSLR in your house right now I don’t care what it is or what it’s
called I’m gonna show you how to use it to create really artistic images these pictures
that you’re seeing right here all these pictures were made with the
Nikon d50 camera which if you don’t know what have a camera
that is it’s the first basic entry-level DSLR the Nikon released back
in 2005 now because it’ll make this camera
anymore can actually get this one used for 230 bucks on TV that’s what I found recently or you get
a and your camera and it would still have it be the most
basic entry level model and still be able to take cool pictures
just like we’re seeing right here track let me show you a little trick
that you can use with any camera Rafah bad see the little thing this is
shutter speed if you raise that number to make it
longer whenever you take a picture now your camera will be on for several
seconds taking a picture for that amount of time now
this is really cool because what you can do is take a light and move it around the frame and you can
actually record like trails with that and people if you’ve heard this
technique before it’s called light painting but most people think that oh I just I’m a judge’s we have a
flashlight around and then it’s done well actually it’s a whole art form in
and of itself because there are dozens a bit different types
have lights that you can use in my painting and all of them have a specific use you
have to know how to move the lights in certain ways in order to create certain
shapes and things like that nap is the tough
stuff that I’m going to be showing you inside the course now if you also have Photoshop you can’t
get really creative in addition to just using a camera you
can do both won’t be using Photoshop for about a
third about everything talk inside so if you don’t have
Photoshop don’t feel left out you can still too many many tricks inside the course for example when this
picture our love giving this as an example cuz it its
gets a lot of people’s attention and just it’s just funny and this picture I have a my camera on a
tripod and I’ll just photograph in this room here and what I
did is I went down to my bank and I withdrew about eight hundred
dollars 871 to be exact and then after that I went around
placing the money in different areas of the frame and then taking a picture and then I moved the money into a
different place at the frame took another picture and I kept repeating that process over
and over again until finally it looks like a half a million dollars
insider this room which is really cool I like showing how to do this one is one
the simpler tricks and anyone could do if they have Photoshop
such as one trick I like to show our show in much more detail on side the
full course but you don’t need the latest and greatest
version of Photoshop you can use Photoshop cs2 cs3 cs4 are the latest switches cs5 and if
you’re using Photoshop Elements you can use Photoshop Elements 10 and
you can still get away with doing that many things including this trick and South the course alright so just to
wrap everything all up inside the course you’re going to be giving up three
hundred page ebook the gives step-by-step instructional
content on how to create artistic images I’m not going to be
showing you how to take born pictures love flowers and trees here actually
gonna show you all my hard core secrets how to take
really interesting photos that grabbed people’s attention and have them wonder how you took this
shot because I get that question so many times you
never show my pictures to anyone all ask the same thing how the heck did
you take that picture after done with the course your gonna
know how to get people to ask you that same question and how you can
actually get a heads up on getting more views on your pictures
winning photo contests and things like that possum top a 300-page ebook gonna give
you I’m also going to be sending you 9 hours a constructional video-content
you can visually see each and every individual but and I’m
gonna be pushing on my camera each click that I make inside a
Photoshop see you can replicate my results exactly
step-by-step without any confusion gonna be seen
everything I do behind the scenes will be like literally spending the weekend
with me having me show you all the cool things I
know about photography in weekend that’s what this is plus on top for that
if there’s anything you don’t like about this course for any reason her even know reason just email me and I
will refund your money completely because I don’t want your money if
you’re not satisfied with my product have been much happier if you’re happier so if you find you
want to learn how to use creative photographic techniques to create exciting fun creative images that get people to glue their eyes on
the screen looking at your picture not wanting to look away this course is
definitely for you because I’m going to be showing you some
in the coolest trick photography techniques you’ve probably ever come across!!! Creative photography ideas and the best trickphotography tutorials is all you ever need to make the best photos of your life….

Personalise your pre designed backdrop

Personalise your pre designed backdrop


Hi – it’s Emma the designer at Bespoke
Backdrops. I’m not sitting in front of my usual backdrop! My offer today is
all about the Pre-Designed Backdrops I have a special service that I’ve
added to my pre-designed backdrops that I actually have never advertised before.
But I have done quite a few times for my clients, when I’ve talked with them one
on one so these backdrops are
designed by me, they’re ready to go, they don’t have the custom price tag – they’re
$350 + GST and they are beautifully designed by me.
They come with the frame to hang it off so you can be in your lounge and it
doesn’t even matter! Now the thing that’s different about the pre-designed
backdrops that I now offer, is that if you want to personalize your
pre-designed backdrop you can. So you can either have your logo put up here
or you might want the background colour ever so slightly changed. Or, for
example, if it’s a scene like a wall and there’s a bunch of flowers, you might
say “I don’t like those flowers but I really like peonies or I really like you
gerberas can you please change that?” For $50 per tweak I can tweak
something on your pre-designed backdrop. It’s not completely pre-designed and
it’s not completely custom. It’s kind of halfway house. So if you want to get a
pre-designed backdrop do get in contact with me NOW because the next print run
and the LAST print run for 2017 is this Monday the 27th. If you want to have
it personalised, if you want to make it ever so slightly different, you can have
a logo at it or we can change a colour for $50 per tweak. So let’s say you
wanted to just add a logo to this backdrop for example which is Design
# 13 you want to have a logo added that’ll be $350 plus $50 for the tweak.
That’s $400 + GST which kind of makes it semi custom. It’s personalised for nearly 1/3 of the price like fully
custom backdrop. So that might be an idea for you! You have to contact me today, or
this week at the very latest, so I can send you the order email. I can send you
the video on How To Set Up Your Backdrop and I can send your
invoice – which has to be paid BEFORE we go to print on Monday. So if you’d like a
pre-designed backdrop hop on to Bespokebackdrops.com I’ll have the link
somewhere for you to be able to look at the 17 designs that I have now. Choose
which one you like and if you do want a customization just let me know what
you’d like to change about it and I can make that happen for you. And then you
can have your backdrop for when 2018 kicks off – start the year on message, on brand with great-looking videos and pictures …
okay bye!

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
photography videos well for more great photo tips workshops and training come in CSR website photography courses
da pace

One Overhead Light Portrait: Take and Make Great Photography with Gavin Hoey

One Overhead Light Portrait: Take and Make Great Photography with Gavin Hoey


In this video, I’ll show you how to use a single overhead light to create dramatic portraits in your small home studio! Hello I’m Gavin Hoey, and you’re watching AdoramaTV brought to you by Adorama the camera store that’s got everything for us photographers. And in this video I’m going to do a portrait shoot with an overhead light source. Well technically it’s going to be a softbox, that’s in front of my model, above my model, and behind my model, to create three different looks. Now having an overhead light source is a very different look and feel to having your softbox off to the side, something I looked at in a previous video, and in a small home studio. It creates a few problems, the main one for me being ceiling height, or lack of it, because this is as high as I can get my softbox. Now that means, I really need my model to be lower down, so they’re gonna be sat down, and probably sat on the floor, so I think the first thing I need to do, is make my floor a bit more interesting, then we’ll set the light. Let’s get a model in, and let’s get shooting. So to help me out today, I’ve got the amazing Sophie. Sophie’s gonna to be the model for this shoot, and as you can see’s she sat down on the floor. Now the floor for this is actually the old decking from my garden, and it should look really nice in this set up. Above Sophie I’ve got an explorer 400 in a fairly large 38 inch softbox, now it’s pointing straight down, and I could adjust this by angling the light around. That would change the shot quite a bit, but for consistency throughout this video, I’m going to leave it always facing straight down, the other thing you’ll notice is that Sophie will be the same distance from the background throughout. So only the light will change position. Now the first position I’ve got it in is a sort of classic position, light in front of Sophie, her head is roughly in line with the back edge of the softbox. I want to work out the the light that’s reaching Sophie, so let’s get my flash meter, and discover what that’s going to be, so when I’m metering the light, I’m always going to point the little dome, towards the light source, which is straight above Sophie like that. I’m getting f/4, that’s perfect, that’s what I want to shoot at, so let’s take a few shots like this, and see how this lighting setup looks. You can start by looking straight ahead of me, and as you can see this works really nicely. Sophie is correctly lit, there’s lovely light on the foreground, but that background is really dark, and that kind of makes sense, because it is the furthest thing from the light source in this shot. So for the second setup, I’m going to move the softbox so before it was in front of Sophie, well now it’s going to move just a little tiny bit, so she is right underneath the center of it. Now that might not look like a big amount of adjustment, but it’ll have a big impact on the shot. Now what’s going to happen? Well now the softbox is a bit closer to the background, so I’m expecting this to get a little bit brighter, but conversely there’s less soft box in front to light Sophie’s face, so maybe a little bit less light there. I’m gonna check the amount of light that’s coming and reaching the top of Sophie’s head by getting my flash meter. I’m not expecting a big change if any, because although we move the light we haven’t necessarily got it any closer, so let’s just come and have a little look here, and sure enough it still reads f/4 so let’s see how this looks. Okay… so looking at the camera… first of all… so looking at these pictures, there’s a lot more contrast on Sophia’s face, and when she’s looking directly at the camera her eyes are in shadow, but the moment she looks up at the light, this works really well, and gives a lovely balance between illumination on the background, and illumination on Sophie. So the final position for the softbox, is going to be even closer to the background, and I’m going to try and line up the front edge of the softbox with the front of Sophia’s face. Now if I go too far and go even closer to the background, no light will get on Sophie’s face, and we’ll have a silhouette which could be a look you’re after, but not what I’m going for today. So I reckon probably around about there is pretty good, so in this position there should be much more light on the background. Very little light, but some on Sophie’s face, it should give her a lot more contrast to the image. It might affect the exposure… it might, let’s get a little meter reading. Now if I meet her from the front here, it’s definitely going to affect the exposure, so I need to be roughly in line with Sophie’s face. Let’s get a meter reading in here, and it still says f/4, so note same exposure, great let’s take some shots like this, and as expected that background is now much brighter, and if Sophie’s looking at the camera, where we can’t really see much detail in her eyes at all, but the minute she looks up at the light, we can see into her eyes, but we have that really high contrast look, with deep shadow and highlights on Sophia’s face. So as you can see, I can get three very different looks simply by moving this softbox closer or further from the background. So let’s try that, we’ll experiment, we’ll do a little bit of a shoot, and see what we come up with. So Sophie are you ready, okay let’s do it, so I think we’ll begin with the lights swung out to the front. Now I’m going to move the softbox, so it’s directly over your head, you can look at the camera. You can look at the light and I think I like this, this is a nice versatile lighting position, and finally light towards the back, this time to get light in your eyes. You have to look at the softbox not the camera overhead. Lighting in a small home studio is a bit more tricky to set up than side lighting but if you can overcome the obstacles, it’s a really great way to light your portraits. Now if you’ve enjoyed this video, don’t forget to leave me a comment below, and if you want to see more videos from myself and the other amazing presenters right here on AdoramaTV click on that subscribe button, and click the bell icon for regular notifications of our new videos. I’m Gavin Hoey. Thanks for watching.

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