How to Capture Great Bokeh


Bokeh 101


Lesson Info

How to Capture Great Bokeh

The last factor that we haven't tested out focal length okay so kind of argue thank you didn't introduce yourself you need a mike and introduction and please introduce yourself and brandy absolutely thank you, brandon for anyway from alberta I'm sorry from what you guys say oh yeah you know you guys know where new friends hence why that jerk was made ok, the only thing I'm gonna switch here is my focal length to you're going to stay same and I'm going to mention and call think you know what? Let me grab a second camera just come in a second lens when you start off with twenty four I'm judging by this piece of tape on the floor perfect okay, perfect and we're gonna started twenty four perfect. We're going to go up to thirty five she's modeled before this is why I called her for this perfect seventy I'm not gonna move eighty five look at the happy face of yours for that one of god ok last one last one two hundred perfection outlets it perfect let me see the variation between all of those...

you look so happy so if I look at the what changed go back let me see the settings the book is actually changing it's just insignificant amount ok, go back one okay, go back go back one now it's changing its just the bold they're so small you can't really tell the difference right? Watch this somebody's going to be mad at me say that how are you stay there perfect seventy one hundred two hundred perfect you look gorgeous look at that smug mug thing looking the way that the light is starting to wrap around look at the book in the background like the background blur what's the difference the size flights right those were so insignificant and small you can't tell the difference the smaller the lights, the smaller little bulbs eh? Little beads that you're gonna have it it's going to make a difference for youto have extreme cases of ok or to see the depth of field in the background you need to be a pussy forms of light coming from somewhere like the tree example for for instance, it's not a full tree it's still had branches missing it still had things that would let light seeped through that's not gonna do anything at the end of the day right doesn't make a big difference but the second I moved to a larger form of light lighting makes a difference. Okay also if I were to move him closer can borrow you for a second just two seconds if you don't mind sitting a standing close today I'm going we're standing here come close to me right there perfect two hundred wow that was way too close back to eighty five perfect people say they're two hundred awesome thank you. Let me see those last year what a change in that example I changed two things right? Change my distance from the subject to the background also changing changing myself vocally what's the difference between those two photos dude, I don't need a photo shop your face like you have perfect skin that's annoying annoyingly awesome we changed two parameters and we've been able to make that much of a difference right? So if I was trying to increase that depth of field on our show an increase our booking we talked about before the reason that I'm getting nice circular shapes per se because the way that the light is hitting the lens the lens that amusing I don't have much chromatic aberration I don't have much issues if I wanted to make that even blurrier I'm gonna bar you one last time I mean should really wide open length headed his face yes and your questions can you pull her off of the background a little bit and do the thirty five, two hundred searchers were going to do that here? I'm gonna actually pull you off if you want to sit down from it and I'm gonna bring you this way thank you. Same same thing somebody changed my distance to him okay, maybe even closer his face is the only face around here in this room that can look good with the thirty five disclose. Perfect. Now I got you before you blamed. I got you before you blanks. Awesome. I'm gonna jump down to always a one point four. What a gorgeous man. Thank you. Yeah. So most of the things that people know is changing your aperture. What I did there between one and the other is literally just changed my appetite, there's several ways that I was able to manipulate my depth of field. I have many ways that I can manipulate my depth of field in order. Take that same photograph. All of that plays a key role into the quality of the background that I'm saying it's, not just lights we discussed before I use. Can I see my presentation again? Thank you. Sorry for jumping back for a way to go forward. A tiny bit trees, it's lights, its form it's, different backgrounds. If I wanted to get the subject that playing in the background more in focus, I use a shallow depth of field sorry and deeper depth. The field, right? Because I would be able to see the background and focus that is, like three thousand years old. Please don't judge me by that, but it was in my archives, so I had to use it same thing here. I want to get a good background if I wanted to get the background completely and focus, I would be able to move away from the pack ground right and use it deeper debt, the field they want to get that background, all of those manipulate how that book is that the image on the right if you notice is what I'm quantifying is ok, right? You can tell that there's little circular patterns that are in there it's not just these little tiny lights it's not just those lights it's when you're going into a location, you're looking for some form of background that you want to blur some element that you want tio either show perception ofthe or show in focus or out of focus, it doesn't matter you'll see a lot of ads photographed uh different clothing magazines where they're not completely blurring out the background. I think a lot of beginning photographers they like to this blur out the background, I wanna pretty photo right? But somebody who's shooting an ad wants to show that person's in milan that persons in the uk that person's in new york so they want the background to be slightly out of focus because it's dirty it's grungy but they still want you know that it's there like those of the elements that you should be thinking about this class book isn't just these little things I think a lot of photographers you jumped to that because that's like the easiest thing to show in the world, but it really is a grander scale to bigger picture is looking at other ways that you can incorporate this into your work, you know, subtly bottom right hand side, you can start seeing the quality of the book in the back in the background, the left hand side is out of focus. I'm literally using a thirty five the same way I was the distance from him. I'm using this outside so there's two elements the background on his left hand side is literally this close behind his head, the distance, the background, the other distances completely far away. So the distance on the background on the right hand side is slightly and focus because of the distance between the background like you had asked before if I had moved that subject away from the background will look more so, like the right hand side, same principle there goes that same image where if I had put and you can tell the quantifiable book and a bunch of different images it's the quality of the background blur you don't see little donut shapes because of the lenses that I'm using a lot of that plays into factor of purchasing the right lens. Making sure that your lenses adjusted for chromatic aberration or spherical aberration and making sure that you have the right diaphragm whatever you're looking for if I would he use this land stop down, for example and I had five diaphragm blades I would start seeing a pentagon shape you know, those are things that when you go by lens you have to consider what size or what shape of boca orb ok that you like so how do you use this? Like in your own work? I got a couple questions to certainly doesn't look better black and white and have a color affected how to use it in your own work that's the question there's a very fair questions some of the video let me for those of you guys can get let me outline suit. I showed a lot of black and white photography out of taste. I if you guys heard me for I wasn't what we mention this because it has relevancy to the this sort I never wanted to be a photographer as a kid I used to draw a lot as a kid but I never saw a sustainable income that of becoming a like artist a photographer I grew up in a very blue collar family you get a job, you work for a union, you work twenty, twenty five years, you get a pension whatever this and that's, the way that I was raised. Right? But I still had this love for black and white photos. So you think at some point within the last year and a half, I just had this affinity to I want to create the things that I used to like is a kid that I used to sit there and draw black and white charcoal points. My point is this I shoot black and white photos only because it's what I like there's no difference between this in color differences that I tone my photos differently than most people would, you know, and I do that level of difference. But there's no difference in the quality of the book itself. It's just the contrast. Ah, versus the black went to now leave my photographs. I said all that so I guess you know a little bit more about me. Because if not, I'm just a random person standing here on an expression wants how one of the benefits for adding okay, I live in new york city. It's a mess. And if you have been there, it's pretty dingy in some places dirty so shallow depth of field help but it's going to get certain things inside that photograph itself. It really depends on what you're photographing, you know, if I want to show for example there's a photo that I had at the beginning of this presentation with a guy he's on my motorcycle he has a helmet, you know, if I needed to sell the product, which is the helmet let's say with a leather jacket, whatever it is, I don't necessarily want the whole background in focus I want certain elements and you know that it's urban, whatever it is but I don't necessarily want youto feel like I can see every little detail in that background, so background quality that point is very important to make a very important to making sure the final part of the product looks as well as possible so you can like use it to focus attention that's it right? So did you give karl attacks but focusing attention? Absolutely let's call remember what I mentioned about the way that the banana works, so if I know that the left hand side in theory is the roundness of that aberration that the change right, I know that around this that's there should the right be the same angle it should in theory and that's how I can tell that it's incorrect and it's wrong and it's post production like I don't generally do that a lot unless I really have to and I did that for this specific class so we can see that it's not just getting wide open there's so many other parameters, and even looking at those things in analyzing those things again. One of my favorite things in the world to do is analyze photos and figure out how they were created. I think that's fun like for me, it's. So it was like looking at a painting and finding out, okay, what brushstrokes were like. What was that person thinking? You know, and they look at it an artistic standpoint, more so than anything else.

Class Description

Bokeh lends depth, beauty, and interest to photographs – learn the art of capturing it from fashion and portrait photographer, Jeff Rojas.

In this class Jeff will guide you through the process of creating different bokeh shapes using both available and artificial light. You’ll learn about the lenses that are most effective at capturing bokeh and you’ll learn some creative solutions for creating bokeh on a budget.