Twenty four to seventy at seventy I don't really need an eighty five one four here and why if you look I'm it f to eight dad is very in focus mama's is mostly in focus the stories about dad over here if I shot this with the eighty five one for at one four and put my focal point on dad's face mom is going to be completely out of focus because I'm at one four at two eight you also can bring in mom a little bit too and we still have the nice soft blurring of the background could I have stepped back a little bit and shot this with my eighty five at two eight sure why not but I'm standing right there the scene is evolving I had a second to pull a camera in my face and I pulled up the twenty four to seventy at seventy s o eight thousand aperture priority exposure compensation plus three they've moved a little into the room it was a little dark on dad's face so I put a little pop of exposure compensation just point three of a stop just to brighten him up just a little bit what you're seeing h...
ere yes these air processed images but when I did process them there is no additional exposure raising or lowering I picked these because I did nail the exposure I mean yeah I had to come in and clean up a little color balance and and so on and so forth. But none of what you're seeing here is achieved via post production. So and same thing I'm still using that light. This is the curtain, you see kind of the gold ish color in the background, it's the curtain of the window that we've been looking at for the past four slides eighty five millimeters one hundred sixteenth of a second one eight because I wanted a little bit if I'd gone one for this would have been great, this would have been a little bit more lost. I went upto one eight to let you have a little bit of that comeback in the background. So you see it's adjusting itself throughout this scenario because I'm not paying attention to it because auto eso is just doing it for me. Aperture priority exposure, compensation minus one bright white glove, dark, dark shadows camera goes omg I don't know what to dio tries to equalize everything and I'm going to show you in a little bit if you trusted your camera, what would happen in certain scenarios? I had to be smart enough to know to either be on manual and I'il inappropriately or to take my exposure compensation and just go click, click click until it's down to stop.
Wedding photographers can’t wait for perfect conditions before they work – when the clock is ticking and people are waiting you have to shoot, even in less-than-ideal locations.
In Strategies for Shooting in Difficult Situations, Susan Stripling will show you how to troubleshoot common calamities like; a wedding party getting ready in a room with no light or family portraits slated to be shot in a terrible location. You’ll see how Susan has handled difficult shoots and crazy lighting challenges and get insights and inspiration for overcoming your own difficult situations.
Susan Stripling never knew that she'd end up a wedding photographer. Though she purchased her first camera in high school she went to college to study theatre and dance, obtaining a BFA in 2001. Shortly upon her move to New
Wow! Fabulous course! Ditto with the above reviews! Thank you, Susan, for giving us such helpful information for shooting weddings in such challenging situations. You have such a brilliant and quick mind for making the magic happen! The camera settings by each photograph was so very helpful. Since I didn't write anything down I shall be in search of your books.
Susan's class is a must for anyone considering a career in Wedding Photography. Thank you Suan and Creative Live!
As the description says: MAKE SOMETHING OUT OF NOTHING! Spot on! Thank you Susan for sharing what you know and helping me become a more creative photographer despite less-than-perfect scenarios. As photographers, oftentimes, we find ourselves placed in a position where we are expected to create beautiful photos in the midst of difficult situations like low light scenes or crappy background. Her explanations are very clear and she definitely knows her craft. She cares about her clients and she's determined to give them great pictures despite what's thrown at her.
If you are a strobist or use flash in most of your work, this course is not for you. But if you a natural light photographer and sometimes struggles to take photos indoor where light source is very challenging, take this course! You won't regret it!
Susan is amazing. This class is a pile of case studies, with behind the scenes and camera settings, to help you find the light. There are parts that can be repetitive, but that is because Susan is passionate about helping photographers memorize this message and put it into practice. A worthwhile watch!