Photo & Video > Fundamentals > Photography 101 > How To Capture Candid Moments

How to Capture Candid Moments


Photography 101


Lesson Info

How to Capture Candid Moments

In this video, I want to talk about capturing the moment when we're talking about is capturing these finite moments that maybe only last one or two seconds or even less in time, for example, at a wedding. This could be that first kiss that last for a second. Well, maybe more, depending on your couple, of course, sometimes they just give a little peck it could be that sporting event where someone catches the game winning touchdown. It could be, well, a simple laugh that we're about to try and capture on our couple's expressions wanted that beautiful, candid moment. It could be really any one of these things, and for all of these types of situations, we use the simple plan acronym. And what plan stands for is to prepare, lock in, anticipate and then tow. Wait for that now moment so let's talk about each component of this plan acronym it starting with the top, we have prepare and prepare. All that means is basically bringing the right gear with you having the right tools for the job. So f...

rom your camera to your lenses to lighting here whatever you need to get the job done now I know this is something that happens all the time my friends will go out no by this hand. Amazing expensive five thousand dollars dslr kit with their lenses and guess what? They leave it at home where they don't take it on their trip because it's not convenient so always have the kind of camera that fitz for whatever your use is, if you like portability, get a small point shoot camera or in advanced point you they could take along with you a camel you have with you is always going to be that much better than the camera that you don't okay, so that's preparing have the right gear having everything you need to do the job next we're going to talk about locking in your settings. What we want to do is dial in the settings to get our right exposure before the action starts happening, and in general, you know, to be honest ninety nine percent of the time we can do this even when we're shooting in pure photo journalistic environments, there are those occasional times were basically we're shooting in, say, shade at one woman and we're going outdoors into a bright moment the next and you need to use a an assisted mode just because you can't dolly explosion from those time's basically moving from those different scenes and that does happen ifyou're in these types of scenes where there's literally no time to change settings, then yes and assisted mode can really help you out but in general, again, ninety nine percent of time we could be dialing in manually and just planning ahead, basically getting all these shots, getting our settings locked in beforehand, doing so, make sure that you have the right exposure, make sure that you don't have to lower the shutter speed and so forth, you have everything set up for the right overall shot that you want to go for next, we have anticipate now, anticipate means be in the right area and have the right composition. We want to anticipate the actions. So at a wedding, the action's going to occur well, basically right down the middle aisle where they going to do their first kiss? Right now, we're going to set the action to occur, basically where they're going to walk along this path at a sporting event, you'd basically follow the ball movement to anticipate the action. This is what anticipate means have the area and the composition set up, so when that now moment occurs, you're ready to go and then basically, well, that's the last component we're waiting for that now moment to fire our shot. So let's use this technique we're gonna go ahead and we're gonna start from the top we have all the gear with us well I'm shooting this on a fifty millimeter one point four actually let's go around the window for is a little bit nicer in terms of just overall focusing than the one point eight although aesthetically at f two there really very very similar now we're also on our rebel what I'm gonna do is go ahead and down the right exposure on spot meter right now so I'm just gonna walk in and I'm going to meet her for her skin so I'm gonna walk in bring that meter right over her skin and I wanted after f too because well that's going to be the look or the aesthetic that I want to have the background I really want them to pop off the background have a beautiful blur and boca look in the background okay so we're gonna go toe to and that's perfect and then what we're gonna do is I'm just going to dial in the right shutter speed now the my shutter speed that I want is around one five hundred of a second and this is because when they have that candid reaction that moment I really want to freeze the action okay so I have um a one five hundred a second and then what I need to do though is bring my shutters or my aperture I'm sorry, my eyes so up a little bit, because right now, one, five hundred and at one hundred s o on about a stop underexposed, I'm going to go up to two hundred and let's check it out, and this is great as they're walking out towards this area, it's going to get a little bit brighter, too. So I'm kind of taking that in the consideration as well. Where backlit in this scene, we have a beautiful look, their front lit with this outside light in the sky, so it has a great flat let look at very flattering. And now what we're going to do is pull keith out for just a second to give him a little bit of advice on being smooth and feeling a little more confident and little more natural in front of cameras. So let's, do that now, keith, come over here. I'm gonna give you some tips on basically acting a little bit more natural right in from the camera, cause she's doing awesome. You need some work, brother. Okay, so actually do this a lot. What I do is I pulled the guy aside and I basically tell him, ok, what I want to do is whisper something, and christine can't hear this right now. I want you to whisper something in your ear or do something that's going to get a rise out of her. It could be something like giving her a little pinch in there, but it could be whatever it is he's going to make her laugh. And then what we do is basically I say, remember, keep what we talked about and he goes, yes, and I said, okay, do it now we're basically preparing for that moment and so right when it happens, well, everything else in our plan equation falls in a place and that's our now moment when we capture our image is okay. So you got a new idea what you're gonna do, okay? So I'm going to send them back now, let's, go back. Okay, christine, we're going he's all set up, okay? And then when we are ready to cue it, we're going to cue it basically. Okay, remember, we have to have everything else dialed in at this point, otherwise we might not get the shot ok, I've got them framed, and what we're going to guys is, I want you guys to be walking and talking, we're going to go at, like, quarter speed walking, okay, so walk very, very slowly in step with each other, okay, and start walking now, and keith, and what I said do that now, perfect the's moments could really be anything it could be at a wedding, we can plan for that, too. We can do everything the same way by basically preparing, locking in our settings, being the right area and anticipating that moment and waiting for the now moment, whatever it is, whenever you're shooting journalistically, so long as you keep these things in mind, and keep that plan acronym in mind, you're going always at least well, you're at least better your chances of nailing the shot that you want, especially when you're shooting in purely photo journalistic moments when we're shooting in purely photorealistic moments, you may not have well, all the time in the world to do these things, but if you can get in the right area, if you can anticipate where the action's going to be happy, if you can wait for that now moment, have all the setting down and locked in well, it greatly increases your chance of nailing that shot. Part of it does come with a little bit of luck, especially when you're shooting in well, pure photojournalist type environments as well. Hope it helps a guy's out what I want you guys to use. Use the plan acronym. Go out, shoot something journalistically, and basically prepare lock in your settings. Anticipate where the area and your composition, what everything needs to be for the moment, and then wait for that now moment and capture the shot. Once you've done that, posted, test our lounge and tell everybody about it. That's it for this video has head on to the next one now.

Class Description

Learn how to create, edit, and share stunning digital images.

To a photography beginner, the gleaming complexity of a new camera seems to demand an arsenal of expensive equipment and a long legacy of training. This is a common misconception – beautiful, professional-grade shots are within reach to any with a mastery of the basic mechanics of photography.

Join Pye Jirsa of SLR Lounge for a thorough, practical exploration of the fundamentals. Photography 101 teaches you how to use standard, inexpensive equipment to:

  • Explore the inner mechanical workings of your camera
  • Learn how to recognize good light and modify it to your needs
  • Make the elements of manual mode - aperture, shutter speed and ISO - work for you
Take advantage of the flexibility and control offered by your camera’s manual mode by shadowing Pye on 5 days of shooting at 8 different locations. You’ll learn how to capture both crisp action shots of moving subjects and classic portraiture with posed models. You’ll also gain a sense of what makes a great photograph, and how to mix professional staging with candid, humanizing moments.

You will walk away from Photography 101 with SLR Lounge's Pye Jirsa as a better photographer, and you’ll have the creative and practical skills to create, edit, and share stunning digital images; all with no more gear than you started with. 


2The Camera is Simply a Tool
3How Does a Camera Work?
4How to Adjust Shutter Speed, Aperture, ISO
5Exposure Triangle
6What is a Stop of Light
7Reading Exposure Via the Histogram
8Blown Highlights or Clipped Details
9White Balance & Color Temperature
10No Such Thing as the Correct Exposure
11How To Measure or Meter Light
128 Key Points to Understanding ISO and Image Quality
13Understanding the 3 Primary Metering Methods
14How to Get Perfect Exposures in One Shot
15Equivalent Exposure but Different Images
16Compensating for Light and Dark Scenes
17Starting with Automated Modes
18Auto Mode and Flash-Off Mode
19Portrait Mode on a Fashion Shoot
20Landscape Mode on the Beach
21Sports or Action Mode
22Macro Mode with Food Photography
23Creative Effects Mode - Floral Photography
24In-Camera Processing
25A Glimpse into RAW Processing
2615 Tips When You’re Having Trouble Focusing
273 Primary Types of Autofocus
28Single Shot with Portrait Session
29Single Shot with Action Shots
30AI Servo with Action Shots
31Focus Recomposing vs. AF Point Selection
32Shutter Speed and the Reciprocal Rule
33How to Hold a Camera and Panning Tutorial
34What Makes a Great Photograph?
35How to Capture Candid Moments
36How to Find the Right Light Direction
375 Basic Compositional Theories
38The Power of Cropping
39Color Schemes
40Diving into the Narrative
41If It’s Not Working With, It’s Probably Working Against
42More About Your Camera and Lenses
43Understanding Megapixels
44Crop vs. Full Frame Cameras
45Crop vs. Full Frame Cameras Demonstration
46Prime vs. Zoom Lens
47How the Lens Affects Composition
48Dynamic Range and RAW vs. JPEG
495 Tips on Memory Cards
5010 Tips on Buying Gear
52The Good Karma Jar
53Posing and Action Shots with Female Model
54Posing and Lighting with Female Model
55Posing and Lighting Couples Portraits