Why You Need to Learn to Get it Right In Camera
How's it going everybody good almost done who's not like it was um uh yesterday first day super super super good day for natural light stuff on it was more of a day for how to know just shooting natural light but howto make how to really get the greatest look off natural light. I also did first day how to do it without having much assistance or having much equipment. So I kind of focused on if you are in a position where you're shooting outdoor shooting, high school seniors or shooting fashion shoot actually got a fashion shoot, their shoddy natural light like that. What do you do to maximize it? There's different levels of photographers the way they see natural light you can see natural like the way a regular person does like look, there is the light there is the sun on a really well trained photographer can really study where is the light bouncing from? What is the rich surfaces that the light is bouncing from what is happening in the circumstances that's why I called the circumstant...
ial light how is the light behaving with the environment? And then where is like the ideal spot for me to stand as a photographer and for the model or the subject of stand that's a very different story then going to the park and taking pictures in front of the pretty fountain that's a very different story one took me years to learn the other one I knew it the first day I picked up a camera that's the big difference ah lot off times my you know, my wish for this class is that a lot of times for target first begin their careers with natural light because you can see it is predictable you see what you're going to get and you stick to it but then they kind of never really get out of it it's kind of like they stay there, they kind of go a little higher I don't think kind of maybe a little bit I mean they kind of stay in that range and then they they do ah ah lot off filters and photoshopped to make it look special and I want to really, really, really, really I can't say that I want to say something again I don't have no issues with photoshopping or light rooming faro I do it all the time I'm just saying if you're wishing to improve as an artist as a photographic artist, improve on the camera side on also, then you can apply your light room stuff on your photo shop on everything you do later but that's like a secondary thing a lot of times with we take our photos and they were like that and whatever and then we're going to capture one light room or photoshopped and we're like, oh, man, check this out. Totally made a little killer on dh that's not the best if you want to progress in your career actually pay your bills with this industry that's probably not going to be the best winning formula what's gonna happen is this and I truly believe this because it's happened to me and it's happened to a lot of people that I've taught around the world here's what's gonna happen if you do that if your photography is good or average and you are a new light room and you follow shop everything on your photography is just nice it's not expect spectacular its just nice. You have a lot of competition to deal with everyone in your neighborhood. Everyone in your town, everyone in your city I can't compete with you because everyone has access to those light room process. But nobody has access to your brain. Your brain is your intellectual property. Your brain is what separates you live on presents and photoshopped tricks are probably not going to separate you. You can learn those you can buy them. You can just apply them so recession or no recession, economic downfall or total economic boom who cares there's always gonna be people. Willing to pay for great photography because everybody wants great for salary for themselves. It's an emotional purchase you're taking photos of their children, you're taking photos of somebody's wedding you're thinking fortress for their for their corporate's uses on your shooting. For designers that spend ten years of their lives creating dresses and you're photographing them, you screw up, you don't make the dresses look good you're never going to get hired again I know would like to increase it will save you you see what I mean? You need to be a photographer first and that is kind of like the message that I have been trying to deliver throughout this like thiss picture perfect lighting class so the second day we went and we applied in a more technical way on a more artistic way we started with technical like here's what I like here's what a flash khun do! And this is what, how we applied it. I proved yesterday and on wednesday that flash a natural light play for the same team. They are not separate entities. If you are a natural life photographer, you should just call yourself ah flash photographer too because it's the same thing and if you're a flash photographer, you can pretty much call yourself a natural life photographer because it's the same thing, the reason why people say we're not sure life photographers is because a it looks beautiful, right? Nothing wrong with that b it's predictable you can see it and you can you know exactly what you're going to get the reason why people sometimes are scared of flash or strobes or any kind of artificial light it's because you don't see it into the exposure's made right so you take the picture and then you're like oh that's not what I wanted that's different than the natural light naturally you can see exactly what you want um so here's what I want to tell everybody listening and you guys on myself when you understand the flash and strokes and understand how light behaves artificial lighting becomes as predictable as natural light that's the message if you can truly study on practice your speed life and the strobes and your and your ice lights or whatever you choose to do if you understand how light behaves if you listen today one of this course and you really understand I'm sorry they which they were that we do yet they want day one of this course and you replay it and replay it and you study and you experiment it you will see that flashes and strokes and ellen crumb and pro photo on brown color and cannon and icons any all of that it's just it's predictable how do I know that? Because yesterday I totally did tiny little touches of light with very powerful strokes I made it look like when that guy was sitting in front of that, those four panels of windows at the end of section four, I added just a little kiss off light to his face just to keep him a little pop from the background we found that light, he would just be a silhouette and it would be just another shot like a silhouette on then you would do light room presets to make a little cool, and it just I don't want people to go down that road, you know, it's a difficult road to go down because the only competitive advantage you will have if you do that is cheapening your prices every single time you want to get a claims you're gonna be like, okay, um, I charge seven thousand for this no, now I charge for sure I'll give it to you for to forget it, I'll give it you for twenty, I'll pay you, I will pay you to hire me, and that will be your that will be your competitive advantage it's dropping your prices and then you go bankrupt or me or you get another job or you you don't make it in this industry, you know, I can assure you I don't care if you live in the smallest town with eighty, people. Or you live in the biggest part of new york city or ella. There will always be people that appreciate, and we are willing to pay for excellent photography. I am so like, fed up with excuses. Well, in my town, you know, it's, like doing your town. Who cares in your town? Just get better and people will find you.