Using the Equipment Part 2
Ok seventy two hundred zoom there it is it's seventy okay remember image stabilization so we can hand hold that puppy uh pretty slow shutter speed so four stops of you know if we're going to be at seventy millimeters we need a shutter speed that's kind of comparable ok let's say one sixtieth of the second take four stops away we're thirty fifteen eight of the second with seventy nine millimeter lens it's pretty good that's with good form making sure your tight camera hold holding tight, etcetera seventy millimeters this is you know I'm shooting out of the plane member the whole fannie the fanned out kind of cascade of the tree tree uh coastline in alaska uh so I'm shooting out the window he's controlling the aircraft there's more shots to be had just than what's outside the window to you know, I'm looking right like I tell all of my workshop students look three hundred sixty degrees then look up then looked down, you'll find the shot I guarantee it this is not going to end well, but th...
e cool thing is he doesn't get hurt, you know, just just kind of lands and skins on his knees, but again it's that moment he's like I'm going you know I'm going to get air and I'm gonna spend the bike underneath me so he's trying to get the bike to spend I don't know the name of the movie at this point in my life but so he's trying to get the bike to spin underneath them and then put it back in lands but he didn't have enough speed or air to make it happen so it ended in crash yes, I kept shooting for that here's the successful arab right he's coming off of here he has to go over the stump and he has to land over here this was the first time ever shot with one d x and this is where I figured out how to use the out of focus on that and I was sold seventy millimeters still probably in the seventy millimeter zone with seventeen, two hundred polarized didn't need a graduated filter up on that high sky up there was there was enough smoke in the valley at that point that it kind of worked looking for color combinations my bike, the chairlift at steven's pass okay don't need f thirty two from here to there and it probably wouldn't have as much impact if I didn't do that so I've chosen to photograph the chair itself and this kind of the ship off the bikes need more speed right? Okay for trying to keep our prices low what can we do? We can shoot with enough two point eight aperture my focus becomes him notice how shallow all this is but I use that to my advantage to kind of frame him I don't know if you pick up his form and black and white here so he's like figuring out to something wrong with the front brake of his bike I kind of see it happening but I like just the texture the mud the grit of the by cleaning up and this is the other guy's bike remember that shot where they're coming right over me that was shot with a fish eye that's this this same day this scenario and I did a blood post about my shoes so I took some shots of them just in my garage through on the ground tried to figure out a position that they work that kind of showed the age of them the abuse to them but the fact that they're still working and I still like to use them because they really fit my feet well but so there's little metal spikes here that are kind of horn down the nothing you know these are the days where plastic was the sole of the shoe so if I'm walking in muddy conditions my and I'm wearing the shoes they slide all over the place I've got those five tens on with the stealth rubber I can walk through anything with those things you know so very different ways of approaching a sport now twenty years down the road we hid the face to protect the innocent, right? He's he's pretty much going to hit me. Okay? Even at seventy two, two hundred, he can't react his weight. The skis have come out from under him and he's just going toe come plowing into me even at that that close of a range, right? This okay, we just duck japan with mountain biking and japan with skiing very gray day. These guys were getting air. How do we make it more interesting? Just stopping that action. Just showing the actual air right train creates something different, make it about the motion, make it about are making about the color he had great colors onto the kind of work together summer up. But mount baker, you know, this is all part of the ski area essentially in the winter, but there's there's snow last they're from good part of summer. I was up there with the kids and these guys kind of came down and, you know, it's really warm out, so there was that shots kind of like stop these. These guys were, like, hanging out drinking beer. And then I got that's pretty cool, you know, they're still scanned cool. So it's just a moment there, what do you think, internal or external viewpoint extra I was shooting him all morning these guys were just at the local built by park here in bellingham he knew I was taking photos so he was looking to see what I was up to but none of the other guys gave a damn so it was just cool you know there's that moment where he looks back at me and I'm like bam there's a shot here focusing you know focus on this scenario ended up focusing on the pole as opposed to the face but the face is so covered I think it's kind of cool toe have different focal points in certain aspects you know and here is about the poll in the hand getting ready to make the next turn all that snow just kind of billowing up like crazy have a nice day after he took the shot I wiped the mirror cleans that nobody else could do it so I want to say this is probably two hundred yeah okay so tell photos jane you're in the elements all the time mud, wind, snow how often are you cleaning your camera and are you cleaning up professionally that's a good question I know I don't clean it professionally a lot I do clean it professionally every once in a while and the reason I don't is for me to clean it professionally I need send it out to cannon and even though I get return shipping overnight and shipping overnight to them it's still a three day process, right? So that's three days without a camera so I clean it uh actually clean it typically after every day of shooting I have a little what they called the arctic butterfly brush. I will use that brush if I'm kind of in an everyday scenario if that's not getting the dirt off I use this it's a jell kind of sensor cleaner thing that's from germany and, uh, most of the camera facilities use this thing it's like tacky it's like a little cuba gelatin kind of on the end of a sensor on the end of ah handle and you stick it on your sensor in kind of progression and its pulls up oil and dust and then they clean that thing off there's a stickier tape that comes with it that you then stick this thing on and and clear it off. Actually, I think I wanted my bag after the break before you talk about, uh light room stuff, I'll show you guys it so you know what it is, but I use that when things get messier and messier but typically it's an arctic butterfly uh it's just that it's made in canada actually in a static charge that spins and gets a static charge to it you just wipe it across your censored pulls all the dust so if I do that and I don't get all this dust off, I do this sticky gel thing if, uh, the city gel thing isn't doing it, then it goes back to cannon. No, I have scratched censors before, and I've actually done it in my my one d x, and I I was in a place I was actually in alaska, and I didn't have a device to clean my sensor, and it got really, really dirty from just the delts that was in the year that time of year, and I used somebody else's that wasn't one of those two tools, and I put a huge scratch directly across the entire sensor with their device. And so that made me really apprehensive about it because it was a two thousand dollars fix. Um, because the sensor actually is the most expensive part of the camera for the most part. Uh, so you have to be careful if you're going to do it yourself, you don't feel comfortable, take it in to a facility. I always send mine directly back to cannon because I just feel that they offer the service program. They know their gear more so than any other camera shop would anywhere locally kind of things, so I take it to them that hope, okay, so tell a photos we put a two x on a seventy two, two hundred and we have a four hundred so I think in the zone of four hundred two, twelve hundred how do we get to one hundred two x on a six hundred millimeter? Why we could actually I don't think you could really do to a two x on an eight hundred but we have eight hundred available to us we could do one point four, six hundred millimeters right there I'm out of air show in wisconsin about the coolness factor of that really crazy clean airplane the people intentionally in front out of focus looking up in the air right kind of gives you a little bit of context four hundred millimeters we saw this in the proportion part of the talk yesterday, so I have mind seventy two, two hundred with the two x he's that far away from me that fully zoomed in four hundred he's pretty tiny in the frame, right? But I'm pulling him in enough to get these kind of, you know, the features of the way the light is cascading down off the ridge lines. I don't even know who this is I was up on uh ridge and I saw the guy ski down and I'm like oh he's going to come right out of that shadow line in in the open meadow the group his other group of friends was over here and he was just, you know, ripping skier I just put the two x on the seventy two hundred and got it right as he crossed that threshold between darkness and light questions kind of inspires me to ask a question if you any interest in getting into drone photography way had touched on that yeah, I'm into it yeah you were uh yeah, I think it's really awesome, you know, there's like every day it seems like I'm hearing about somebody getting fined about flying one where they shouldn't and you know, faa rules and you you can be a business with one yet because you kind of need to have a commercial license to do it based on the faa and they need to get it out but so there's all this kind of stuff going on there but really cool way to get an aerial perspective without, you know, forking over a ton of books, tommy cash if you need a helicopter helicopters or thousand bucks an hour um aerial photographs from an airplane lots cheaper one hundred bucks an hour. You know, if you're going if you know a pilot, you're gonna pay for gas or whatever, which is typically what I do uh just kind of go to the general aviation airport, find somebody who's a licensed commercial pilot and has a plane and you know you can pay them to take you anywhere on hour of flight time gives you a lot of shots but there's so the drone thing you know that's great put that thing in a case take it anywhere in the world anywhere in the world and get that high perspective so yeah, I think it's really cool and I can't wait to have one pull that thing out of my pocket. Thank you. So now you know, in my in my world it's being up higher looking down lower right don't have the drone. Well, if I had the drone, we could do this shot, we could be right there with the group and track him, but in this scenario, I don't, but I'm up on the mountain, so always looking around me participants in iceland, right horizontal line kind of this progression layer of overcast clouds, but they have light on them. I like this. They're all photographing what's going on the peaks in the background member the circular shot I showed you of the hillside that's what they're looking at from there, he actually tour his knee when he landed from doing that, so uh but it was the second time he did it, he did it once and he's like I didn't like my form went up to do it again came off the breezing he hurt himself was he landed in the hole that the bomb hole that he created the first time he did it, he tried to be off to the left of it, but he miscalculated. And when he landed, you handed in the same hole so that snow that was already compressed. It's like landing on concrete at that point, you know, but it was in power magazine to issues ago, so pretty cool and to get that what's my aperture yeah, really low, right? It's probably, I think it's at a four because I'm pretty sure at one point four on, but I got really low, I was on a hillside adjacent to it, so I got really low to put the grasses that were in my foreground blurry and then focused on him. So by time he got to and he's going to be fully extended, like, right down there. So I kind of set the shot up, so I got the whole thing pick the shot that really I like the best, which was that one, twelve hundred millimeters utilizing my daughter looking through, uh, binoculars for first time and she's looking at a red tailed hawk nest in colorado, you know, so we're pretty far in the distance I'm shooting the thing with the twelve hundred millimeter she's, like twenty feet for me and she's like, oh, my god, I can see the birds. Like, just doesn't understand that concept. So she had this crazy cable going turn. I'm shooting something different but here's, the scenario unfolding right, all tasted the spin of the lens to get her.