Concert: Critique and Edit


Taking the Fear Out Of Low Light Photography


Lesson Info

Concert: Critique and Edit

What I want to do right now is I want to go through my keepers from yesterday we'll do that first but I will show you the images that weren't keepers we're going to analyze them we're going to edit some of these shots to see how I got to where I got to andi and that's that really but this is going to be great questions at home just bring him in we're going we're going to get to it can we throw to my screen it's already up there you could see that the settings air there on the screen we've got one four hundredth of a second it had two point eight s o four hundred and you know it's always funny that I digress before I even start critiquing anything but this is just thoughts in my mind when you're in the heat of the moment shooting you sometimes forget to change certain things on a money thing I forgot to change anything yesterday I think that shooting wide open a two point eight for somebody that's moving like this may not have been the best idea in retrospect because she's moving so muc...

h and in that case three five may have been a better way for me to go and I'm just this is just what's coming off my head right now because that's what I'm thinking about I was able to do this with two eight but what I could have done being that it was a d for s I could have bumped that to ten thousand s o s a f four and still gotten four hundredth of a second, but obviously wanted to keep it into a realistic zone, even though ten thousand pretty realistic. So you guys just want me to skip through some of these. So we have something like this, and we and we talked about that being well, it works. It works because, look, we got nice lighting. The guy did a great job with lights we got on, we should have frozen her let's, zoom in and see what we got. Yeah, not bad at all, and you see the noise, you see the green. But again, you have to remember that resumed in one to one. If we're going to see something like this, we would be printing it twenty four by thirty six. All right? So there's, nothing wrong with having a little bit of noise and grain. I love it. I don't mind it at all. One of not that I love it, but it doesn't bother me so much moving through. We're getting some of that action we're using the twenty four to seventy 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, 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.