Capture Usable Stock Anywhere You Go
photographing this wall. I wanted to make sure that we're in the shade because there's a lot of sunlight sort of hitting this wall but with the settings. One thing you want to keep in mind if you're photographing something flat like a wall and you're straight on it doesn't really matter what your aperture is because the depth of field is flat. So if it was really dark I could photograph in on 2.8 but you know it's it's actually quite bright out here so I can change my aperture up to whatever I want. So I'm gonna set this on F 6.3. Um and I'm gonna change my shutter speed down and I wouldn't want to go below about one 25th of a second because I might shake the camera. Um So I can even go up higher if I need to. My I. S. O. Is currently on its lowest setting On 64 so I'm just making adjustments until my exposure is correct. Now one of the things that you can take note of is if you're using auto iso which I tend to shoot on a lot and it's hitting that base number which on this camera is 6...
0 for it means that it's over exposing and it's not able to go any further down. Another thing that you can use to adjust the light is your exposure compensation, photographing foliage is a little bit different to photographing a flat wall. What you want is this party in focus right through to the back so that when you add it to a composite it doesn't look out of place. Depth of field is really important aspect when you're compositing things together, you want them all to be the same. And the easiest way to do that is to make sure that your whole shot is in focus. So I'm going to photograph this foliage and I am going to use a narrower aperture So I'm going to set my camera on F- 11. Now, the reason I don't go all the way up to F22, which this lens will do is because the quality actually degrades the narrower you go. So the lens works the Bastard about F 11. And I am going to photograph and focus on the midpoint. So not the front or the back but the mid point so that everything is in focus and I'll get some close ups and some Pullbacks and a variety of different shots while we were out on location. I also photographed some grass and you can see that I'm photographing this grass from a number of different angles. Again, looking at getting the grass from above, Looking down, you can create a great grass pattern from that bit. If you're wanting to place grass into a composite and make it look like the angle is correct and the perspective is correct. You also want to get shots of the grass from different heights. So that's an important thing to keep in mind with anything that you're photographing, including the concrete. So there's some amazing cracks and concrete that can be used in a composite. You can use cracks and add them to things. Or you could use that ground as a real great base for your composite. But again wanting to photograph that from different angles. One of the other things that I wanted to touch on here was about capturing elements that you can later turn into brushes. You can use these brushes to mask or even to add as elements. So photographing a tree or a branch against a almost white sky, you can very easily extract that out and create a brush from that. Now I'll show you how to create the brush later in the class, but you can see that I'm photographing this branch in front of the white sky. Now it was ridiculously windy when we were filming this and I only had a short moment to capture that branch before it just started going crazy and I was being blown away, but I will still be able to use that. I did photograph it on a fast enough shutter speed to capture it and I'll show you how to create a brush from a photo like that one