Taking the Fear Out Of Low Light Photography

Lesson 19 of 31

Car Garage Shoot: Detail Shots

 

Taking the Fear Out Of Low Light Photography

Lesson 19 of 31

Car Garage Shoot: Detail Shots

 

Lesson Info

Car Garage Shoot: Detail Shots

So we finished that other segment I told jason that it's ok to not be in this shot we've done a couple of shots with jason, which turned out really well from underneath the card on top of that, he wasn't actually on top of the car, he was sort of inside the car with a wrench e mc wrencher something on a light so that worked out well and now there's, you can't forget about the detail shots we have this beautiful hetzel sitting right here in turquoise do they call this turquoise or sea turtle? Sea turtle green it's turquoise so this is a turquoise car there's a lot of interesting details. I hear that this pickle thing is very important. There's one on the front of the car there's a gun site that was an option in nineteen fifty nine, nineteen, fifty nine, right? I got it right nineteen fifty nine so this is a huge car. What could we do to shoot this car in this garage without really moving too much? And what is there to focus on other than we've got all the details I want to do a wide sho...

t, I still have the fish eye on from the last time we shot we're going to use the fish, I we're going to use the fourteen to twenty four I wish I had my macro wins but I don't so I'm going to use the seventy two, two hundred to shoot the gun sight it's really awesome to see the inside of that it's the detail stuff inside the car and they get in with the fish eye to see joe what driving miss daisy looks like so let's let's just do it except driving miss daisy was a packard packards were cool I heard that they made cars that were too good that that's why they went out of business something like that all right, so that's good it's much brighter we just came from a situation where we were in the dark so I was at sixty four hundred. I might drop it to twenty, five hundred still a three to let's go to fiftieth of a second on breaking all the rules. I talked about earlier about making multiple changes, but I'm an expert. So boom let's see how that looks it's a little too bright not too far off so we know because it's a little bright I could in this case we're shooting with the fish I we don't have to worry about the depth of field too much I'm in three two why don't I go to f it's a four five and see how that looks and that looks much better that looks pretty cool really nice detail? Well, not much detail excuse me, it's. A full shot, but what I like about the full shot is we have on the right hand side. We've got a craftsman case for wrenches and stuff. I don't own any wrenches at all. Uh, we have we have the license plates up top. So this is getting a nice, detailed shot and I am no expert. Hold on, hold on. Let me let me let me just talk to you about this real quick. I am not an expert on shooting cars. I'm not an automotive photographer. We're just getting shots that can be used in certain situations, so just don't be too harsh. If you're an expert in car shooting, this is just finding the details that we need to find and moving on from there. So thank you for that service announcement. Ok, up top. I like the down low shot I like this is like a boat. How close can we get and still have the entire boat in it? I'm going to try to get rid of that white car to the left just by moving to the left a little bit. What I love about this or the two lights up there are totally just they're they're they're even there that wow, the car looks much smaller when you do that now, let's see okay, I like that. So we got that? I want to throw the fourteen to twenty four on there just to get another option because it's all about options lens cap lens cap lens cap, I need this swan right here because I always want to put that on the fish because that's not one you want to mess up cameras off second nature to do that do that, lock it in, turn it back on setting should be about the same, but you saw what the fish I did now this is a rectal linear lens. I love the way that this works itself because this keeps it straight and that should look good and it does look good. I like it a lot changing my angle, changing my level, get a little bit more of the car and there make sure my reflection isn't there now I want to go and get some of the details. Switch to this. All right? We have the pickle, but I don't want to just shoot the pickle and just have the pickle. I wantto see what we can do with the pickle because you have all of this detail. This is chrome this's chrome correct its stainless steel it's, not chrome. All right, let's see what we've got. The lighting settings should be about the same I just want to find the right angle that should be good and again I know there were questions about throwing it off into the side the rule of thirds that's exactly what I did I throw it I didn't want it right in the center I'm trying to get that point right in there and I would like to have the ah the edsel pickle off to the side I got oh my god there's a lot of stainless in this making sure everything straight my lines or level and that should be a nice detailed shot I think that looks pretty good it does you have details you have the car locks the edsal let's shoot right here the gun sight not the little darker over here but I think it should still work wow that's cool totally got were even at four five or snow blowing the background out I'm gonna get a little closer with this land and I can't get fully close because it's not a macro see this is a little too close stabilize I have the v r on boom jason does that work for you beautiful say see what's going on there and it just isolates the gun the sites itself stephen it just isolates it so that's a piece of detail we have the shoes I almost called them shoes I mean their shoes their tires I'm going to get in the car but this is where a fourteen millimeter I mean a macro would be good inside the car for the detail, but I'm going to use I don't want to use that fish eye anymore, but I probably will because being inside a big car, the fish I can tell that story so let's do the fish eye I'm going to bring when I put my fourteen it's right here yeah, we got that. I'll probably put it on the seat inside. Wow, there's a nice girth to this great girth this would match my new glasses to this car can go one hundred twenty miles per hour that sounded beautiful. We could do things like this. Oh, I should probably change my settings because look, if I don't change my settings it's going to be like this, which is probably too dark because it's exposing for out there. So now that we're exposing for in here, I can slow the shutter speed down. I can also open up the aperture so let's start with slowing the shutter speed down let's do one sixteenth of a second, try to get the focus the lock boom now these aren't the greatest shots in the world. I'm just showing you exposure, but you see how we went from that darkness to this, just changing the shutter speed to begin with that's what we worked with, so that was pretty cool what other details do we have in here? Oh see my feet I can't do the splits if I could do the splits I would end up I'm going to do this I'm not going to put any feed on your seats all right no feed on your seats ah when you shoot with a fish eye everything is so wide that should be really cool just a little bit of my feet in there so I got it they're they're they're up in the air they're actually not touching your suits it's like a human being in here it's pretty cool so ah I should uh I would get in the back seat but I'm not gonna do it there's so much detail in here switching lenses now I'm going to the fourteen to twenty four let's see what we have we've got the dialogue I wonder if they get some like all rockers from frank sinatra or something my throw and gopro is showing up in the image because there's so much chrome that's not a good thing so I'm going to back it up a little bit and I'm tilting up because here look I'll shoot this so you can see the gopro blinken you can see that the goat floro was blinking and this is just what we're dealing with but if I move my head up a little bit my hair fills in the chrome with darkness thus allowing you not to see me in it because the hair fills up the entire thing, so that is pretty cool. Wow, all right, and I want to shoot one more through here at the dash, but I still have my face in it that's pretty cool as well. Just make sure that I'm not totally and and I think that works that works out pretty good. So I wish I had a little bit more time here to spend with the car, but we don't because we're limited. We went through a little bit of everything we started. We started on top of the car with no lights on in here, just a cfl light, just one light hanging inside the car and you saw what we did with that with the nikon d six ten. Then we moved on toe underneath the car. We shot the details we shot with the the kit lands on a d thirty three hundred shown you that you could do it with that you can do it with everything that's what it's all about and finally switching to the deforest because I wanted to shoot with that and get some other details but things to keep in mind when you're doing something like this. Environmental portrait. You have your subject, do the photos of them, shoot them wide, shoot them medium, shoot them tight, focused in on details, shots, even if the client didn't ask for it, they may want to use those details shots as filler. That is good stuff. We did details here, we did. Underneath the car, we came up with an awesome story. I think we would get some really nice portrait for a story, and everything else would go very well. So, again, low light situations, just because they are low, light doesn't mean I have to be totally pitch black. But inside a garage like this was on ly cfl's on up there. Well, that's, pretty low light to me, and I think that's it. I'm readyto turn on this, sets a wand and make like a tree and get out of here.

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 FroKnowsPhoto.com, 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.

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