Intro to Adventure Sports Photography

 

Intro to Adventure Sports Photography

 

Lesson Info

Camera Controls: ISO

Sessions six we're going to talk about camera controls now saw the gear you've seen kind of the photographs how do we use eso aperture and shutter speed to our advantage right going to go through a bunch of different scenarios here when you start with isil now everybody freaks out about I saw and then the cameras right no ice noise noise, noise, noise if you ever shot film thie most basic digital camera is a billion times better than the quality we could get out of film so really panicking about isil and things like that really kind of drives me crazy in a lot of the classes that I teach but uh I'm going to go through you know, here's one hundred percent kind of enlargement on a shot and the reason that shows the shot is there's a lot of different detail things that we can kind of look at as we go through the eye so numbers so started at four hundred this was shot with a pre production one d x and the reason I started at four hundred and not fifty which is the the bottom out I so is be...

cause between fifty and four hundred it's really doesn't look different there's not there's a very little noise with this camera sensor and here's the other thing that I kind of want to point out to people freak out about noise and they're testing companies that take these things and they use computer algorithm albu risen's too you've got, uh to kind of calculate out how the noise scenario works with, you know other cameras, et cetera they have kind of a base model and then they compare all these cameras around and honestly in the publishing world it doesn't really matter the production of a magazine yes, we want the sharpest best shot that illustrates kind of an idea but you're really not going to notice a difference between thirty two hundred in sixteen hundred when you're publishing even in two page spread in a magazine I typically try and stay sixteen hundred or below because that's where people kind of like things to be but honestly if sask watch like we talked about yesterday crosses the street in front of me and I've got the one d x and his pitch black out we're going to two hundred fifty, two hundred thousand or whatever it is to get the shot right? So I think of it that way you know if I need more, I'm goingto go more if I can stay lower I'm going to stay lower now the key here to processing out noise is we'll talk about it in the last session today when we're looking at these photos in light room so I don't use any plug ins obviously I kind of touched upon the fact that I have to kind of create everything in light room so I can export a camera raw that people can see the adjustments for so I don't I don't have the opportunity to use a plug and I used to use nick's define that for noise but I found also with the newer versions of light room it takes out the noise and the kind of the combination new cameras, new software everything just kind of works with that platform for me. Okay, so I so four hundred notice kind of the clarity of the license plate here ok? The other thing to kind of pay attention to is see there's some kind of logo jimmy x on the seat of the car okay, so as we go to eight hundred you really don't notice much of a change, right? The exposure changed a little bit so it got a little darker but uh notice still see, you can still read the jimmy very little green in the photograph now the way I play the way I did these photographs imported him into light room turned off thie defaults for the noise reduction capability of the software so these air untouched there j pegs of rovs that were untouched by the noise uh control in the developed module. Okay, notice the january two thousand one the grill etcetera okay, so go back here's four hundred there's eight hundred you really don't notice a change, do you? Sixteen hundred a little bit of a change here it may be harder to see on the tv in the studio but right here look at the jimmy jimmy x starting to get a little fuzzies yeah that's giving fuzzy okay so sixteen hundred we're starting to get a little image degradation we go down the thirty two hundred if europe here the monitor you can easily see jimmy's kind of becoming a little pixelated ok so that's kind of background you're getting more kind of bits and pieces in the bumper right here okay so definite change between four hundred thirty two hundred is this an acceptable image I mean sitting there in the studio looking at this on the screen it probably looks completely fine okay sixty four hundred notice how we're losing detail right in here yeah that's really becoming kind of grainy noticed the jimmy so kind of a big jump from there to there everybody see that yeah now look it down here notice watch the january two thousand one okay so this is how noise starts entering photograph that's in sixty four hundred so sixty four hundred is pre pretty acceptable processes south pretty nicely in in light room no problem I went to one thousand eight hundred this looks like film now I'm like oh here's I so fifty vell mia you got about twelve thousand eight hundred now forget fifty s o notice the jimmy okay so go back there to there see how it starts it starts getting really soft right starting to fall away notice all the kind of stippling in the er bumper let's go back notice how smooth the two thousand one is here in sixty four notice how it really starts falling apart their two thousand eight hundred still unacceptable photograph kind of yeah right ok we don't need to panic about isil really right yeah do we want to keep it is as low as possible yes but if we need more do we turn it up yes ok there's another trick I use and that's what the history graham but we'll talk about that uh ok so twelve thousand eight hundred there we go twenty five thousand six hundred jimmy let's look at jimmy almost a kind of starting to become a legend ll right ok we've lost the date numbers on the license plate interesting right okay but wait there's more fifty one thousand two hundred kind of something cool look at what happens here the number comes back interesting okay from there to there we can read the number again uh notice jimmy to gone they're back again no noise processing here's something else to kind of pay attention to see the darks see how you see maur kind of a magenta cast to those darks right that's we're starting to get rgb noise in there pretty heavily so probably right there is twelve thousand eight hundred that's pretty straightforward with noise twenty five thousand. We're starting to see more of that cast going on here, right? It's changing colors fifty one thousand two hundred that's a ce faras. I went, but it is kind of interesting to me to kind of study the difference between fifty one thousand and previous, right? Twenty five thousand. Um, I'm sure there's a scientific answer for that. Okay, here's fifty one thousand two hundred processed with noise processed out. Go back, teo grainy. Everything is color kind of casting god, do you think that's a usable image? I think it is. I mean, you're not going to make a forty by sixty print of that unless you kind of like that fading out graininess thatyou. But that to me looks almost as good as a film image from back in the day. Okay, now, here's, something interesting? I was going to show first, but I want to show it. Next. I went back and unprocessed out the noise and I sew four hundred. And all I did was I mastered this image in in light room. I got it looking this way. This is the way I chose to make it look. And then all I did was highlight the ice of four hundred image. And copy all of the settings that I did to this one with the exception of the noise change because I did there's not really a ton of noise and four hundred so I don't need to pull noise out so I put the noise setting back to normal. Okay. Left all of the developed presets the same. And look at the way the color changes. Fifty one thousand two hundred four hundred, both processed out. So things to pay attention to here. Look at how much more detail there is back here in the shadows with the four hundred zone. Look at how smooth the bumper is. We read the date, but we read the date and all that stuff in the fifty one thousand image. You know, jimmy x is completely legible there, not really legible there. So same exact develop settings processed out exactly the same. Look at the color changes. This one's much warmer, much vibrant. Ok, kind of interesting, huh? So goal for I. So for me to keep it as low as possible. Okay, yeah. Do fifty one thousand gonna make it make that photograph? Because it's there and it's happening, I'm going to do it. I'll let whoever is going to try and purchase that photo make that decision if it's too green or not for their publication

Class Description

Open the door to the thrill of outdoor adventure sports photography! Intro to Adventure Sports Photography with Jay Goodrich is your guide to the gear, the visioning, the schlepping, the post-production, and the fast-paced lifestyle of professional outdoor sports photography.

If you’ve been dreaming about making your living as an outdoor photographer, Jay is the guy to show you how to do it. During this introductory class, Jay will talk about what it takes to get the shots, land the clients, and process the images that tell a story. You’ll learn about:

  • The gear you actually need
  • A whole new way to see images
  • Jay’s post-production process
  • Easy ways to make your images better

Jay will teach you how to create a story for any location or project. He’ll cover the techniques he uses to design a photograph, instead of just taking a snapshot, and he’ll detail the steps he took to build a successful business.

If you’ve been looking for your opening into adventure sports photography, this class with Jay Goodrich is the perfect beginner’s guide for you.