Car Garage Shoot: Critique and Q&A


Taking the Fear Out Of Low Light Photography


Lesson Info

Car Garage Shoot: Critique and Q&A

There you have it. I didn't throw back to myself this time, but that was an interesting shoe. Talk about challenging to get in there and find well, no lights and just build our own system out. Even with the eighteen to fifty five and the b thirty three hundred. Pretty cool stuff. What questions do we have jumping in before we critique what we did take a look at that and, uh yeah, let's start start with or four. And who says do you ever use any light modifiers on situation like this? Or do you always use just what's available is like on some of them, I thinks. Ah, reflector would be nice on one side. No, absolutely. It depends on the people you have around a lot of the times with the candidate that I'm doing, whether it's backstage with the band or out on location and something like this, I may not have somebody assisting me, but yeah, a modifier. Any kind of go bo or anything you can bounce light off of, we may have been able to find it in their bounce light off of a car, you know, han...

g some stuff up where we needed it. There's there's a lot of things that you can do there's nothing wrong with taking modifiers on bringing light and where you needed you know, I carry around a five and one reflect or a lot of times that's good for defusing light it's, good for bouncing lighter into a subject that you need to so there's totally a bunch of different options that you could use for modifying light. I'm not opposed to that whatsoever. One from a drummer, ben oh, for what are the things that you're looking for in the background that are distracting? Can you talk about cleaning up distracting backgrounds? Yeah, anything that shows up in the background that I that catches my eye, if I see something that doesn't belong there. When we were we were doing that shoot and the tripod was sitting there, I've made this mistake before, where I put my bag down somewhere, and then I've gone and take the taking the shot and gotten home later and realize that my bag was in the shot. There's there's a wedding photo that I did a long time ago when I was shooting weddings, and I like a look at the bottom corner and out of focus or the my bag and the guy who was shooting it with me, a blue bag in a gray bag, out of focus in the bottom corner, it's one of the best shots of the day, we didn't get rid of it because of that, but it's just like you need toe watch things around the frame and the way that I do that is I checked my edges I checked the frame everything I'm looking at it's not just the subject it's is there anything distracting sticking out of their enea? Any bogies in the background is people like to say that that shouldn't be there so anything that could be distracting and try to remove it and sometimes I just miss it and it is what it is and then you learn and you do better next time you hope to until you forget to do it the next time and then you hope to do it the next time well, that's why I like your approach with your cropping is like, well, I didn't get the shot I didn't get the shot, so I need to do better next time and get it next time yeah, I like it, william oh, how does your like it you're making me away? How does jared think differently about composition with an environment so cluttered with subjects like the cars versus one where there's plenty of space between the subject and everything else? Yeah, there's some photos in here somewhere which I don't there were the shots with let me see if I can pull that up real quick see if I was with the something like this what I was looking for was, I don't think these cars air distracting on the side, I think everything in here except for my water bottle and bag in the left corner see what I was just talking about about bags, yeah, I didn't see that this was the d thirty three hundred, so why? I didn't see that was because I don't have one hundred percent viewfinder coverage in there, so those were probably sticking in on the side and I didn't see it, but how do I how do I deal with it being so cluttered? I just try to make it try to make the symmetry work. Here is where the symmetry works if there's a bunch of things floating around if it's not distracting that I'm not going to get rid of it, so I pretty much stick with it. Great tonto questions here in the room from folks um, when you're shooting wide ing wide angle shots, um, what is the best aperture to get sharp sharp images? Or how important is the aperture when you try and get sharp biting? Well, you should be able to get sharp images with whatever if you're at one four or one eight, one two, depending on the lenses that you have, that becomes way more difficult to get tax sharp focus, but when you say wide angle in this case with this eighteen millimeter more things they're going to be in focus at eighteen millimeters then they're going to be if you're shooting at, say one hundred twenty millimeters one hundred twenty five millimeters because the way that wide angle works there is no saying that there's no one way to say that the best aperture is x the best aperture is why it's whatever your situation calls for but know that shooting at two point eight or three point five wide open isn't going to give you a lot of a difference too much difference in depth of field especially when we're shooting wide angle like this but if we were to get closer to the subject and you wanted to blow the background out like we did with the foot shot earlier during the during the workout shoot that is when you get closer you have a better chance of blowing out the background so for me I don't usually go over a four for most things when I'm shooting and day what when I'm shooting these type of situations but anywhere between two eight, three, five four you're fine it really doesn't matter what you should know even if you are an faa if you had enough light to make it happen you're gonna have an easier time of getting tax sharp images that eight than you are but two point you should still be able to get tax sharps things let me say let's see here we have kind of one more before we jump into the editing fenton dude will you be addressing the skewed color balance in post special I think when you were working on the red card the red hood makes for interesting accents in the chrome tools but makes the model look orange huh you want to look at that let's take a look at what we'll take a look at that because I made those go boom double s you if that was the sneeze yeah I mean I made the tools it was more it was more so this one than anything you know the hand it's very dark it's pretty greasy I don't think you know I don't mind the orange up here on his arm because that's cool that's pretty natural and sure this doesn't look is natural but I think the fact that it's dirty and more like has grease on it doesn't really distract me too much but that is definitely something to keep an eye out on thank you for pointing that out because if you over saturate certain things then you have the trouble of making the hands and the body especially people's faces not look realistic and really just be pretty distracting but this was one of my favorite shots I didn't even realize when I was shooting that the that it said use a on the wrench uh that is a wrench, right? Just just making sure because I don't know much about tools. I'm pretty surprised this is awesomely sharp. It's seventy two, two hundred. Were there any particular images that popped out to you guys that we that you wanted me to talk about steering wheel on the steering wheel? That was out of fourteen or a fish eye that I had on a fish eye? Really? I was with the d for us on that one forgetting let's. Just look at these real fast. We'll start with the d four as stuff cause I love breaking this out. We'll talk about the steering wheel while we're at it. What? What do you like about it? It's? Interesting. The chrome gives it pop. The color is vibrant. Um, it has an old time. You feel to it because of the the age of the car, right? Yeah. Yeah. I like the color. I like keeping that turquoise. They match. My new glass is the only thing that I look at here. That could be a little distracting. Is what's outside of the car, but I think that the focus does go right into the dash. You got that? That this thing goes one hundred twenty miles an hour. I love the dash and seeing all these buttons and knobs, I don't know what the heck most of them do, especially with the edsel on one of the harder things that I had to work with inside this car, and I didn't notice until I edited one that that my throat was reflecting pretty heavily in the chrome on and then the gopro that I was using also reflected pretty heavily in the chrome, and I could see the dot now that's obviously not going to happen on most photo shoots one about doing a job, but it something that I noticed here, but this is definitely one of those photos that I liked a lot, so let's go backwards through it, knowing that this e this gun sight see, when you talk to your subject, jason was a great subject, and he had a lot of knowledge about the car when he collects these things. When you talk to people and you know I'm not familiar with cars, I don't collect cars. I don't really care about what I drive it's not a major life decision for me, but when you get an education about what you're shooting like, this gun sight on the side here was an added bit and add on that you had to pay more for when you picked up this car. So there's not a lot of them out there right now so that is something that that I heard him say that is part of the photo story that's going to mean something to him and help tell the story that if I was going out on a on an assignment from a magazine and the like, go shoot this guy jason with his with his et soul unless see what you get so we've got the portrait we've got details shots and you have something like this I would love to have the macro lens but honestly this this did very well what was the shooting at four five c there I was four five this is tax sharp it for five because the background we still blew that out either way, if I had say a one four there was shooting with a five one four something we're focused on the e and of course the background would boca out a little more but it's I still like this this pickle off to the side what I was looking for was the chrome or the aluminum or whatever it was and just trying to find interesting angles I mean, this car speaks for itself. It has a lot of interesting things going on with it throw this off to the right hand side a little bit, eh? So there's not directly right in the middle not the cool I mean it's cool it tells the story I don't know what else you're supposed to do with it but this we took the fourteen millimeter to see the difference between a fourteen millimeter in a fish I this this is the difference right? Here's your fish eye and I don't like the way that the car looks like this I don't does anybody like this you could say you like it even though I said I don't like it now what don't you like about it? It is bubbly and I know and I think maybe it works for one picture and if jason was in there going like a you know in creating dimension in it that that stuff works but for the car itself I don't think it does justice to it this does more justice to it because it's a boat and it really shows well when you show the whole thing so so I like that I like the reflections that air going in on this I like that we have the license plates and everything up there and then going back here underneath the car see again with the fish eye the fish is fine but it calls it brings up too much in the background that has nothing to do with this and obviously getting under the car was much more difficult and with the fisher I couldn't really get down on a level toe look and see it? Well, it would be cool for, you know, the live view screen could rotate and that would be an opportunity to use live you because you could put it down there or you could use some of the d thirty three hundred two d thirty two hundred two d six. Ten the cannon six d they all have that wifi capability if well, with the night can't you have to put an adapter on it? But with those you can use your phone to see what's going on, touch the focus and see where it's going. So with the technology that we have today, you can put your camera in places you couldn't before and still get really cool shots, because this was very difficult to get but looking from the back of the car when I saw this and I saw that all he was lighting himself up with was the was just his iphone, I thought that that was tremendous. Why was I using seventy, two hundred back here? Any comments on this stuff? That's the best picture I've got a bunch this one or or something like this? I'll tell you why I don't like the other one so much, I think it's the white car on the left side, as actually that's the edsel and I think that becomes distracting and is taking my eye away from it. And what I was going for when underneath the car and I think I don't know if I said this on the camera, but I wanted to get the front right the back, right tire tio frame us into the front left tire, and then that draws us into jail laying there, and I wanted him to have the light in such a way that it didn't seem like, hey, I told you to have the light shining on you, I want you to actually be looking at something, so I think we did that very well and this is sixty four hundred eyes, so with the seventeen to two hundred, a lot of people have it, we're only we're at three point two one sixteenth of a second. I'm breaking the not breaking the rule here because I'm only shooting at seventy millimeters, but I like that actually I like this shot better see the difference. We see the edsel right here distracting us in the background that's the frame and composition I'm looking for once we get rid of it now, just having that tire there that's not as distracting as saying this white interfere with the image so that's my reasoning for liking this more plus I like his position aa lot better it's just the car that's drawing us into him does that make more sense now that we analyze the crap out of that one on then that was the first one. I like this as well because we were telling the story. We can see that he's under a car because we have the wheels. We have the jack we have him here. We have that whatever this plank thing is so that that's pretty cool let's get into the shoot the d six. Ten in there. I don't remember if I did do the d six ten in there. I don't think I did did I know? I think I just broke out the d thirty three hundred. Oh, no, of course it did use the d six ten we have all these, uh, let's see that's, right? It was the first camera we started with this was just one line, right? One light to rule them all and this this works. I like the rembrandt lighting it's a little triangle that's on the side of his face on the on his cheek right here on his left cheek. The instructions I gave him were toe work on the car and you mean that need to be actually working on something inside the car, but I thought that this was cool. I like that we have a little bit of the drop light right here because we're seeing where the light source is coming from I don't mind this light back here because that's what we were dealing with were not going to block that off I think that works out well then I wanted to show more of the scene, so see how I'm giving you the verticals giving you some horizontal cols I'm going in tighter, I'm going and wider, so I don't have to worry about cropping here because I have more time to get those wide shots to get those tight shots to get those details shots so I'm not trying to say one photo and then going in and trying to crop in twelve different ways I'm giving myself the best quality file as possible I like this just screams something's out if you don't like something, I don't like this one why? Why wouldn't I like this one? As much as I like this one? I can think right it's more distracting plus he's more in the middle it doesn't work, but this I blocked everything else off in the background and then you move to here it's like he's in the middle we've got this distracting thing back here, it doesn't really work so much it's a solid edit it's a solid file but if the composition is off, see, the thing that everybody has to remember is that, you know once we get our settings right, you're able to focus on shooting more once we got the settings here then you could focus on just shooting and that's where you get the composition right and that's where the things come the life and obviously in post production it comes to life too, especially when we start with let's see where did we start with this? We started with that right that's where it started and then able to make it go boom power pop just like that in one fell swoop of a button you know, not just one fell so there's no pre set that you could do that? Yes, russ question from alex m nic k alexander austin at what point do you say this is too much contrast when making images go boom eyes there ever a point? Do I wish I could go to one hundred eleven? Could I turn it to that? There are times seriously it's there's no there's, no set salute it's hard to say, but I like going contrast he as you can tell and I don't think that this is over the top if that's what they were getting at but sometimes you just have to pull back and a lot of it depends on the situation that you're in if you're photographing a woman, you know, tight shots or somebody and there's imperfections that come out when you pump the contrast, you may not want to do that. So it's just feeling it out for the moment in the scene. Hopefully that answers that question pretty well. Yeah, love it now I'm doing it on purpose. All right, another angle. Hey, jason, don't look at me this time. Look off to the side. You're thinking of something. You're looking at something over there. Can you believe that this one light right here is just filling everything in and reflects? This is like a reflector it's like a modifier, except we're using the other side of the hood to bounce the light off. So it's not direct it's kind of defusing and spreading out off the inside of the hood to get this shot. I mean, that's pretty cool. Are there things in this that we don't like? Maybe a little bit? Maybe a little bit, no that's right at his back distracting? Sure. And we couldn't. We couldn't pick it more. Yeah, you know, we could those air all they're all valid points the way that I could have gotten rid of that as I could have moved to the right a little more. I didn't see those in the background. Part of it is it's dark in there and you're looking through the viewfinder and the cameras picking up some things that I may not have picked up. I still think this is a cool shot. I love the angle. I like that he's where he's at I love the fact that the light is bouncing off. This could be a viagra commercial. Are you fifty and working on cars and may need some help. Well, we could help you. So I mean it's that's just what I got out of this. Yeah, looking at me. What am I had? Seventy two hundred? This is all right. Not bad. Not the worst, not the best, but then I see the difference that's that's the horizontal and then doing the same thing. But just a little vertical gets rid of the background. We got rid of the distraction things in the background and that's just by going vertical. So it's giving yourself the options when you're on these shoots to be successful after because a lot of the stuff happens after the fact. This is what the light looks like when we started that's straight out of the camera, being able to take that and going on and bring the image toe life is I think what I'm doing here bring in tow life this is all right I thought the one in a couple frames is even better my goal here was to get the wrench in focus and have him out of focus I don't know that I succeeded in that aspect and getting the settings right to do that, but in this case I think that the down light is really distracting I think it's distracting in this one I didn't have enough room to do what I wanted to do because if I went wider I would have gotten more of this light in there so I the idea was sound but I don't know that the execution really happened here it's close but it's not the best of the best do you guys agree with that? And this is this is just me being harsh on my own stuff this is the stuff I go through with my own work this is what you have to do, you have to critique your own stuff and be harsh with it and be ok with with realizing that you you messed up I mean I don't even think these air messes up there just misses I think most of the stuff I think coming out of the chute there are more salt there there has to be fifteen fifteen to twenty solid images between the three cameras from this shoot that would make anybody happy to see any of those twenty keepers andi I'm just being really nit picking on my own stuff here to show you that I did pick the crap out of my own stuff during her critique because that's that's the way that we get better I could pull back like the guy asked I loved the saturation of the reds in this we could pull back on the contrast a little bit and get rid of it we could also come down here and get rid of a little bit of the vibrance it's not as bhumi when you do that I liked a little bit of the boom he said this doesn't distract me do you guys agree with what the gentleman said on the internet about the do the hands looked too fake right now a quick clarification actually I got a clarification from fenton dude who said to clarify and images involving the tools the red works well but in other images where it's just jason by himself a hero it's orange oh absolutely that's part of the reason why I you know because I messed up so bad I had to go black and white but that's just this isn't a mess up I just yet he's really he's really orange here what we would need to do to if we wanted to leave this in color we want city hey why'd you go back to black and white I'm just gonna reset it I'm going to reset it and let's just do it in color I mean, we're removing the yellow all right and there's also some green and here I'm saying so I'm going moved to the magenta side slightly there plus one I mean, this is the reason I went black and white because it doesn't look really, really that I'm not feeling out too much let's see if we goto twenty six twenty five on that at a little bit more there it warmed up just a little bit just that little bit did something but he's anybody's right? If you if you uh if you do this type of thing that's not going to work a lot of people do that a lot of people do start playing with that saturation and vibrant and that doesn't really translate well in in most situations with people so thank you for clarifying that out there but look, this could work in color I just felt that it worked better in black and white I just I just liked it. How about you guys? I like it. I think I like it better and like what? Sure so there's that let's keep moving forward that was the rent shot these shots I think I think these were the best of the best shots of the whole group I had no idea that the color would be so vintage e looking here in just processing there's no presets this is just me sitting down tweaking the file let's just show you where it started first that's where it started that's over exposed that's not good I'm off I didn't need to be a two point eight I could have been it three five or four and gotten the exposure right and I still went down on the exposure I went down on the exposure very good one right there uh why is that happening because this is not my light room so that's where it started and I had to save it I had to come back take the file and take it back and that's what we did that's where it started that's where we went teo I like this better than the black and white the next one I left black and white let me click on that how's it look up here it looks pretty good up there too by the way it's more booming on my screen then it is over here but what do you think color black and white color on this one so I had these three images in a pretty similar what I love is the drop of the light in the background behind him that's causing that nice little son burst the sunburst cookies air flavorful so we put that back there another thing to keep in mind is that I didn't cut off the car on either side I'm looking in the frame making sure because he's right in the middle I don't want to have the car cut off on either side. I don't know if I met. Let me let me go back to the non keepers and see actually, I don't even have any non keepers. Those were the four. I think I made it there. I did this on purpose to show you this was one that look that's bad, that's bad. But this was the one right here. This was my favorite because I liked the heads away. His head is here. I like the cord running off the side of the car. The orange cord that adds a leading lines. It's like, oh that's. Pretty cool there's. A lot of detail and information going on in this frame. We have those license plates up above. I like where his head's at. In contrast to where the hood is open, the car looks fantastic. The ground look at the way that his feet are set, the dirty knees from being on the ground there and going under the car. That stuff works. But I like that look better, there's, just something about the way his head is positioned here this is ok, this is straighter up, and this is a little slouchy, but I just I don't know there's something about this it just grabbed me. That one I thought was much better. Let's, go for you. We got a couple more here and then I'm sure we'll be hit some questions up that's pretty good. I think I have the d thirty three hundred stuff to talk about its well, real quick. I love this. I love the look on his face. I just like the little smirk in the little smile. He hasn't both of these one thing that technically maybe could be distracting would be this sticker. But the reason I don't think it is distracting is because that is part of the car. If it was something like, uh, take the trash out. Well, maybe even that could be interesting because these underneath the car all the time and the wife saying take your trash out. But but that I like, I like these shots. And then I finished with the vertical c I gave myself both options. We have the vertical, which is good too. I love the contrast of that. I love the framing and composition of this one. So these air winners this shoot I didn't know what to expect in the dark situation like this just using one drop like but that's showing you with the low light photography with one stinkin light that you can get shots like this it's understanding the fundamentals off your exposures and what you need to do to make those things happen let me switch to the d thirty three hundred stuff real quick and take a look here underneath the car double click he's actually weren't that bad with the eight and this is with the kit lens this is pretty good as pretty acceptable with that one sixteenth of a second three five I so sixty four hundred eighteen millimeters the reason this was actually better than the one with the fish eye on the d for is that you get the feeling I'm under the car because I was under the car so that works and that's that's pretty cool you guys agree with that so moving forward we have a little bit more of the same how did what did I do here? What did I change eighteen million years three five we went to three five I think I just changed my angle just trying for why there's more light on this one then there's more light on this one? I don't know I couldn't tell you but for some reason it's less distracting now that that's not lit up in the background and then I went wider you might as well go wider I liked at the tire is here on the left hand side I love that we can see he's using the iphone to look up and you could see that he's looking we have the other cars in the background and this time I don't find that to be too distracting in the background because it's all part of it, I feel that this that makes the scene even stronger and call me out if you if you think otherwise that's totally fine this is all about discussions while we're at it I went from tight underneath the car, I'm going to move out and I'm going to go a little wider I'm going to make sure I get his foot and this is the one with the tripod in the background I noticed it, but that's why I took the picture remove the tripod and we have we have a I like this frame I also I don't mind this frame either and this is this is a cool shot and that's a really cool story telling shot even lower angle because yesterday we talked about point of view that was a great question that came up yesterday and here we go I went from a little higher up to a little lower, but it looks like he's blinking in this one or he's sleeping under the car so that's probably not a keeper but in terms of the angle I like the shot with the carpet was I laying on carpet? I think that was carpet must have been then why not come to the front? I think these thes they're better than some of the other shots with the other cameras I do it doesn't matter what it takes that's the cool thing about photography is it doesn't matter what quality images taken with nobody is going to sit here and say what was this taken with? I mean I will when I'm asking about critiques but if I saw this hanging on a wall and be like sweet and start talking with the thirty three hundred cool whatever it doesn't matter it's the image let the image speak for itself and that's why and that's what we have here I like the shot I do I do I like that one oh, I like that one even more except for my water bottle in the side corner but you could fudge that a little bit. We talked about that one a little earlier I saw this you know he's lying under the car I might as well stand up and take the shot and the lines in this or the contrast in this is pretty awesome this is where it started it was flat I just went boom with it and that's what we came up with. So that's why? I love you like this one same thing just playing off the same thing I'm like. Ok, his legs were sticking out. Why don't we focus in on that play with that a few times the eyeball through the car? This was this just happened. I was standing up talking and I was like, oh, snap, I see his eyeball. Is this good? Do we know that this is a car though? But do we know that it's a car based off of the seven other pictures that we've seen in a photo story? It works now. It was also my goal to try to light up the inside of the car, right? What do you think happened when I tried to do that? I missed focus. This is the eighteen the fifty five zoomed out to fifty five holding with one hand, the light, the other hand I was trying to focus. I thought I had the focus right on his eye and it missed it just missed that's not in focus. This is not a keeper. Shot it's, it's, it's a failed opportunity, but for whatever reason, it wasn't in focus and I couldn't use it. I tried but it didn't work, but I still think that we could use this as part of the photo story you put up you put it before one of these after one of these in between it's going to work that just helps tell that story on then the last couple shots I did from behind the car before I switched to the deforest and we have those shots, even with the d thirty three hundred, similar to what I had before, this is with the kit land, and it still works it really does still work on that, and that takes us through those three I mean, it doesn't matter what you're shooting with a good image is a good image, which is a good image let's see what the bobblehead has to say hey, like the horizontal better was actually worked really well doesn't always at that time nice that you know what he's going to say next loved it. Add that one informing. All right, uh, great user name here her put dirt uh says what color combinations are you looking for in order to make a color image into black and white? Does the color of the original image really influence the lack of my conversion for you? Well, for example in the this shoot itself, seeing how are in g mick orange in seuin jason's face was with the reflection off the underside of that red car when I see something so saturated and so over the top like that that's just screaming at me to convert because if I pulled the color out, you know how we did that and you said you like the black and white better on that other image? It was for the same reason we pulled out the yellow, but then it just didn't have that pop, so when it comes to certain colors, I don't know that there's any particular it's just whether something is oversaturated, for instance, when you're shooting at a concert and it's a red wash it's a blue wash, those are things that if it's a straight, even color across the board it's just screaming to go black and white because it's going to pop a little more carpenter carpenter pin the question from stephen miller, jared e o stephen miller there's probably a history there of some kind. Yes, we've done that before he's going to go ahead and take the money and run sounds good to make some people call him a space cowboy, too. Some people do jared is there difference in sharpening for color versus sharpening for black and white? Do you go from or grainy for black and white for a film look or is there no difference to you there's some people that ad film grain to things I mean, that blows my mind aa lot of people that ad noise to images, I think never shot film in the first place s toe to see that how amazing we have it today. What was the question again russian was, is there a difference in sharpening for color versus sharpening for black? As we've seen with my editing over today, there isn't much sharpening that I go ahead and do. I'm sure somebody that's very technical at the whole process would would have a better answer for it, but in my own personal way of editing, I don't really I just I look and a teach in look at each image and make that the way that I wanted, so I really don't have an answer. I plead the fifth one from alexander austin in those under the hood shots, and this is a subject we haven't really talked about much what size could you blow those up to without introducing tons of nice ing rain with these images that you're shooting with a different with the full frame with crops censor what sort of constraints you have? Yeah, that's a question I get all the time and I go back to two thousand four with my d two h, which is four megapixels and blowing that up, too. Thirty six thirty by forty eight thirty five forty five that's the that's the aspect ratio blowing blowing those up that big from a four megapixel camera you're working with so many megapixels today the d six ten the d thirty three hundred has more megapixels than my deforest but it doesn't matter if you take a photo with your iphone right now in bright daylight that looks awesome you're going to blow that thing up to any size that you want it really doesn't matter I don't put limitations on things especially this if the focus is right and the exposure is there and you're not cropping a ton out of it, the cropping is the more of the thing that I'm concerned with if you crop in image fifty percent and then try to blow it up more to a larger portion that's where you're going to see an issue I don't think there's any limitations to the size that you can print you can print the size of this wall and if you stand back you're not going to see that grain if it was exposed properly no matter what camera was taken with so honestly under the hood shots even taken with the d thirty three hundred, I would have no problem blowing those up to thirty by forty five or twenty four by thirty six or whatever his eyes that that's my answer and I'm standing by it cool, entitled is going to get what they feel entitled to buy my asking this question do you feel like adding so much contrast to black and white takes away the authenticity of the black and white photo? And so I would extend that. Do you want talk a little bit about your process as far as making images realistic versus artistic representation? Stuff like that? I think the way that I do is I try to keep it as realistic as possible, and to me, I don't think that that is a going over contrast you're making in my words say go boom is a bad thing, that's that's how I perceive the image in my mind that's what I am drawn to, I'm drawn to more contrast the images and for any of that anybody that's ever developed in a black and white dark room, they'll understand what I'm going to say here is that when I finally discovered in a dark room what a contrast filter was when a teacher finally let us use them and I broke out a three and a half to four that made my fought my image of negatives, not files, negatives really, really contrast the higher the contrast filter, the more the blacks were blacks and the whites were whites and they were less gray zero filter or no filter, it all was just flat and I was always drawn to the more punching images and I had teachers that would tell me that well, you've got this blown out area over here and like I don't care, I like the way the subject looks it's all subjective, I just think any time you go away to the extreme, it becomes too cartoony like a lot of the hdr stuff that is when you start to think about pulling back and then one friend that I have this guy's. If corrine who's, a war photographer in a photojournalist in israel he's, a big proponent of not going too far on the contrast, decide that's his personal preference and this is this is my preference here and everybody has their own style whether they like it, they don't like it, you know you're not going to make everybody happy, so make yourself happy first and foremost before you worry about what other people are going to think. Another one from steven miller great one on your process with low life photography do you ever back button focus using a fund screen to focus on first and unlocked focus in that way? I don't really use back button focus it would we could do the same thing with locking in on on the screen with the front button focus a lot of cannon shooters do steven that you use back but never right, and a few times, but for me, personally, I don't enjoy using it. Yeah, and I've never liked having to have two buttons. This is personal preference. Even when I shot with cannon, I don't like that. I'm focusing here, and I'm pressing here to shoot. I like that. I'm focusing here in pressing here to shoot. I don't know if there's some like, disconnect between my brain and my thumb and my finger, but now I don't the only back button focus I uses when, when I'm sitting there for video and trying to focus, but that's a different subject altogether.

Class Description

Lots of things worth shooting don’t happen under studio lights. You have to learn to use the light you have if you want to take fantastic photographs in low-light situations. Join photographer Jared Polin, the Fro from, for a review of what it takes to capture stunning images in low light.

In this course, you’ll learn how to read and work with the light in any situation and master the basics of low light photography. Jared will show you how to troubleshoot on the fly to get proper exposure and the perfect image, every time. You’ll develop the skills needed to walk into any lighting situation and know exactly what to do. Jared will take you out on location and show you just how far you can push your camera’s ISO and you’ll master techniques you can use to photograph moving bodies, tight spaces, dark halls, live concerts while managing noise and grain. You’ll also get insight on the post-production process that works best for low light photography.

This hands-on course is an essential experience for beginner photographers seeking to confidently approach any low-lighting situation. You’ll learn how to take awesome photos under low-light and in the real world.