Okay, so real basic kit we have a nikon d six hundred this is one of my favorite go to cameras for both still in motion and I put my fifty millimeter one four lens on the camera the reason I'm on the one four lens is it's going to be very low light shooting situations it's getting dark seven ish pm in the pacific northwest have overcast skies so it's pretty dark I'm going to actually started a hundred eso and I'm going to open up to f two so again that's wider aperture than if we're shooting on a two point eight lens actually I always just liked to shoot test frames look through that camera to a frame it's looking pretty dark you can see the back of the camera this is kind of the two thousand thirteen light meter you just look at the back of your camera you figure out are you dark so the way I'm going to actually adjust that is I'm gonna bump up my risotto for hundred eso drop my shutter speed sixty eighth of a second I quickly look at dane they're all right now we're in business now w...
e're kind of we're getting into that zone where the light is correct again this isn't about composition it's just I'm trying to figure out my exposure now what's unique about this scene aside from the fact that my six week old baby is sitting in addie's arms here matty thought she was just coming to learn it creative life but look at her she's taking care of our baby while marinas across the way playing the guitar hotel california she's a professional singer songwriter she actually wrote that song so what I'm going to do let's actually move this chair out of the way but what I'm going to do is actually try to use the fire is the foreground and I kind of like this this edge of the fire so we have fire in the foreground marinas strumming the guitar danes drinking a beer thinking aboutthe shots that were going to do with jim tomorrow on the dock and then sean is actually thinking about the gimbal on how he's going to work on that all night tonight so I'm going to focus on dane and I'm gonna do a test frame and that's looking pretty good were actually exposed you're wise we are looking pretty good in terms of skin tones but I'd like to actually get a little more of that fire in the foreground why given your pyrotechnics background could you actually stoke the fire? Okay so the reason we're going to stoke the fire is too twofold one we want more light coming off the fire that beautiful warm light and two I want more foreground element coming up higher so that you see more fire in front of dane shawn and marina and the sparks are actually really great just those flickering sparks so okay here we go shawn is actually a this is a very advanced technique for fire stoking this is turns out if you're gonna fly rc helicopters or run handheld gimbel's also in the skill set tends to be stoking fires so that's looking much better guys that's looking good okay here we go all right so I'm going to actually find a dry patch brock sit down so I'm a little bit lower and okay guys here we go I think nice good and now notice some shooting a lot of friends who have not being conservative that I'm just going to keep on shooting day and you having a good time because you smiling yeah you're telling stories good, good good you can really hear that shutter going so now I actually look at this photograph and I can see him getting some really nice moments I met sixtieth of the second so this kind of moments where you see them smiling having a good time but I would say that I'm a little over exposed to I'm going to crank my let's bring the show down we're going to go down to three twenty and here we go guys let's try that again everyone's having a good time yes smile and you're living the dream yeah beaver lake good at yup get get get get great so exposure wise that's looking a little better to me we're creating this night can't nice camp scene you can really when we zoom in you can see that we're getting that beautiful orange light on their faces and the background is starting to drop off and so now really it becomes a waiting game we have the exposure nailed now I just want the ambient light in the background to get darker and there's going to be that sweet spot at last about five minutes where the firelight is perfect and the background turns even bluer and that's kind of that moment where you make the best photographs around the fire but because this is about education let's actually switch I'm goingto live you mode and let's see if we can roll a little video clip at the same time so first of all I'm going to check exposure looks good you know in live view you can see it really time so I'm gonna push in just to check focus let's make marina are focused therein my life marina she is ok I'm gonna push out of that digital focus now you see how I'm using this next draft actually I'm tensioning the next draft against my neck so I have a fairly stable holding position and I'm to start recording and now I can actually do a little um panning at the same time that I'm shooting him to try to lock it off if I stop talking, okay, marina gun strum that guitar, dana but you're looking at the fire. You're just living the dream you can really see, like just locking it off. When I stop talking, we get a fairly stable shot because I'm really bracing my elbows against my legs and the next drop against my neck. So that's a really quick solution. I just made a couple of nice still photographs. I also shot a little clip of video and the way we did that was by leveraging the camera using an f one point four lens. I shot it f too sixtieth of the second when we're shooting the still in the no anyone into video mode, I went to a fiftieth of the second twenty four frames per second and stabilized the camera using the next trap. The other technique is you take your beer bottle and you leverage it right in front of you. Balanced the camera in your beer bottle when you're not drinking. But we did the next draft technique tonight, but there you have it in less than four minutes. How you shoot it a campfire six and a half minutes is what I'm six and a half minutes that's, how you shoot it a campfire.
Corey Rich has built a life and career around his passions for travel, adventure, and telling stories with his camera. With a background in rock climbing and photojournalism, Corey’s work spans a range of genres, from iconic still imagery for leading editorial publications, to television spots and films, to directing high-production-value commercial projects for Fortune 100 companies.
You should know that this class is from 2013. This isn't made evident anywhere I can see in the description. The content is good, but dated in regard to much of the tech. Corey Rich and his crew are very clearly trying hard to wring as much goodness as possible out of their time to provide value. I'm not so happy that I paid $34 for the course last week, discovered it was over 7 years old, and now it's only $12. For $12 it is an excellent investment. I'd purchase again for $34, but I'd hold CL in higher esteem if they'd been honest about the creation date, and didn't drop the price by so much right after I paid for it.
a Creativelive Student
This is awesome, I love his way of teaching. All the information from planning and creating the shots and videos, the commercial part of dealing with your clients small and big, how to be creative thinking of your "feets". He is funny and very very informative. Well done.
a Creativelive Student
What a great class it is such a great opportunity to what some real pros at work. This class will inspire you to do what it takes to get the image. You will see that even the pros struggle sometimes.