Shooting Demo with iPhone11 Pro and Olioclip Lenses
So now we're gonna do a shooting demo, and I'm gonna go run through a couple of different ways that we can use both the new IPhone 11 pro and our new lensing options. Most of what we're going to do is going to be through the IPhone. And I think I'm also going to show you a little bit of Ah, an option you might have in case you want to shoot through light room because of that DMG feature especially. But I'm gonna get started here with some of these things. Weigh moved our table over just slightly so that we could get a little bit closer to the light and have an orientation that might work a little bit better for food photography. Eso Right now I'm gonna go with first. I have these things Rouco, the regular cookies and they're really small. And part of the reason why I want to work with small things here is because I want to show how this phone will work in the set of tight, smaller environments, which really it does very well. So if I start off in the standard mode, you could see how fa...
r away I AM. And this is one of those opportunities where I don't want to shoot, um, overhead. I want to get down, and I want to get close to my subject. So right now, that's the standard mode, which is pretty cool. But here's the thing would that puts me right in there and right on top of it. And that is a really nice look. We have sort of a cross lit, backlit exposure. So we have a little light creeping in from our upper left corner so you could tell where light sources. I'm going to show you this right now with one shot, But I'm I'm gonna do something else, which is for those of you have seen me shoot before. You know, I like to bring in a little bit more drama, so I'm gonna pull in a black card. This is also something really small and light and portable. It's got a clamp on there so that it will stand up by itself. If you were thinking about a mobile like package to carry around with you. Ah, white card and a black card and a couple of clamps doesn't take up a whole lot of bus room in your in your bag, and I think that you have that nice option. So if you could tell that I created a little bit of shadowing on my right side of my frame with that black card, and I'm able to kind of get a nice shot there. So now I'm just gonna swap over the light room because I want to show you that you can also use the on board light room features and and why it's a little bit different than the apple on board functionality. So if you see on the left side right here, there's a little tab that's his D N G. What that means is now I'm shooting a raw file, which gives me a lot more flexibility in post. It's the equivalent of shooting raw on a Let's say, my cannon camera, which the file would be called the CR two. It's a little different than shooting a J peg, so it gives you much more flexibility in post and you get a lot more control on light and temperature and exposure. Compensation, all of that. You have some of those controls here on the right. You have an exposure compensation button there that will let you go from minus three to plus three. They also have the opportunity to change your shutter speed here from 1 1/1000 of a second all the way down to a full second. So it's kind of it will change that. It doesn't really look good when you're doing it until you make the correction. You also can change the lensing that you're on from the wide telephoto to the ultra wide. So you get that same functionality you have in the apple. So I'm just going to take a shot here just to show you. But then I'm gonna flip back for the rest of this demo. We're gonna flip back to, ah, the apple so that you understand that you can use light room as you're shooting function. But I'm going to go back because I think it's a little bit easier to understand in just one piece of software for the time being. So I'm gonna go back to the apple camera. Here we are. Okay, we got that shot. And that was ah, cross lit shot where we were coming in from left to right, using the dead and black card to sort of give me a little bit more shadowing, and we're gonna move on from that, and I'm gonna show you something from a little bit more of a top perspective. I'll decide whether or not I want to add more drama to that as we go and I'm gonna start right there. I'm gonna show you again. We're in that sort of, um, standard lensing, and then this gives me a little bit of a tighter look. But again, I can go tighter still, even with this So this is pretty cool in terms of being able to really get close with this. So I'm not gonna go straight over head. I'm gonna drop down a little bit. I'm sort of in this cripe cross lighting again, cross to side lighting. I'm gonna pick up a little bit more backlighting on its over angle myself to wear. That gives me a little bit of a different look. Lighting wise, you could see my lighting coming in sort of a cross 3/4. And I'm in this sort of 3/4 angle mode s so I can take this shot and then if I want to get a little closer. Still, I could still angle in a little bit. Zoom in a little bit, Philip, my frame right there and take that shot. So you got a lot of flexibility with this. But the other thing I really wanted to show you, of course, with these olo clip lenses where we were able to get, like, a super macro look going to go again with that top lens on there when a pulling some of this fruit here. Okay, there we are. So we're in this super duper macro. Look, really a really abstract, abstract looking photo of the blackberries and the raspberries. You can get all the way down to those little hairs on the raspberries. This is something I played with with ah, 100 milk with 100 millimeter lenses. Quite often, you have a couple of photos like this that I've showed in my book. Uh, and it's really fun. T get this close to stuff and really kind of do these interesting compositions on macro photography, particularly with fruit. And then you have does little beads of light that are playing off some of these things. And we could do this again with these cupcakes. We have these really interesting sort of cupcakes, and we can get super close to some of that icing and get the sort of abstract food images with these lenses, which is a lot of fun. We have some real detail here that we can get in close on. I think that's really a lot of fun. Now, if I come back to the normal again, even here, I can kind of bring it in and really have flexibility and play around with some of these, which gives me a lot of a lot of things that I could play with within this. Here we go. That's really cool. So way have some really nice options here again. I want to just talk about real quick that I work with either across or back lighting pretty often. And one of the things I want to mention is that some of the things that we can do wrong here is the lights at my back. And if you notice you shoot, I'm gonna do this with the oranges because the oranges are gonna give me a really good sense off the difference between shooting and the light that I prefer and shooting without. So let's show the before first, right? I have this nice backlit look, I'm a little blown out in the back. I'm gonna I'm gonna zoom in Phila frame with my and I'm gonna bring that exposure down just a little bit to get a little mood, Maybe even bring in my card to add a little more drama. And here I have that shot right there. Now, if I swing back around to this side, this is that No, No thing I'm talking about. You see how flat everything is it? The lighting is flat. It seems like there's no dimension to the photo. That is one of the reasons why we do not shoot in the same direction as our lighting. That's a big That's a big mistake. And that sort of one of those things that, um, shooting with a flash gives you the same sort of directionality of light plus shooting angle. So when you're shooting with the light like flash on camera, everything flattens out. So again you got, like, a cross lit look, which is like that you have some depth of field, and then the backward look, which is probably the most depth of field. You know, with a Sfar is how you use lighting to achieved up the field and then again, that flatter look when you're with the light. So just keeping in mind that you want to be aware of where your light is coming from, aware of how it's playing on your subjects and how you're going to angle your body and your camera to make the best shot you can. Ah, one of the last things I won't talk about when it comes to demo ing. These these tools is the availability of shooting and really, really low lighting. So we're gonna show you in just a moment how we're gonna achieve Ah, really nice exposure in a really dark environment. So I am here in the dark, Uh, but not for long. So I brought my little road a light with me, and I want you to see that I'm gonna start hearing it about 25% and my light temp eyes about 48 50 which is not color temperature that I'd like to be at in my studio. Ah, have it on the stand for a moment. But I'm also going to show you that I like to use a hand help. So I have it here at about 25%. It feels a little It feels a little bright for me. So I'm gonna put it back down to about 20%. And you could see that as I move it around, you could see that the shadows kind of go with me and depending on what the angle is, the higher I go. The short of the shadow is the lower you go, the longer the shadow is. So I'm gonna kind of go get the phone ready, and I'm gonna kind of go with a little bit of a medium shadow. And just by pulling it in and out, you could see that the intensity of the light changes and I'm gonna move over a little bit. I'm gonna move everything over just a bit because I don't want to pick up the edge of the table with my shot. I got this nice knife and there we go. And you got a nice drama. That's some nice drama going on and make a shot like that. And then, of course, if I want the freedom of being able to do it with both hands. I can set up the light to stand on its own and get in there with one hand on the nice, as if I would be cutting or just putting that down. I want my hand in the shot, something to that effect. So I do have a lot of flexibility in how I want to do this. I can drop down. You have a little bit more of a different angle. Go right over the top, get a little closer with that knife back down. Turn that late down just a bit. And there it is, making food photography in the dark.