Taking the Fear Out Of Low Light Photography

Lesson 11/31 - Concert: D 3300 Photo Critique and Edit


Taking the Fear Out Of Low Light Photography


Lesson Info

Concert: D 3300 Photo Critique and Edit

All right, so before we jump into the other shots, let me get over here and get into these. This is what the d thirty three hundred because we had that challenge. I don't remember who challenged me to do that yesterday, but sixty four hundred s, so one two hundredth of a second thirty five millimeter, one point eight at two point eight could be a little tighter, but it if it it needed to be a little, but again moving what we think of of this with a d thirty three hundred. No, ben is not bad again when you're using a fixed focal length lens like that fixed focal length for anybody out there at home doesn't realize is a lens. It does not zoom a fifty millimeter, one point four fifty millimeter, one point eight thirty five anything that doesn't zoom you're looking at a fixed focus focal length lens. Yeah, that wasn't easy. We know it wasn't easy using that camera cause a lot of it is the view finder is not that small anymore. It's actually pretty good to look through, but getting the focu...

s points where you need them they're pretty small there's not as many, but the results of sixty, four hundred I also are pretty good. Again it doesn't look terribly too bad noisy and great as you see all that yellow in the face from that light again, there wasn't a lot of this was extreme low light when we're trying to bring pick the best time to break out the d thirty three hundred by the way on the lowest light that we could deal with but this just proves that you can do it you can do it and get results even with somebody bouncing around as much as her same thing here this is this is a good this is with the kit lends now all right, I hate the kit lands but it worked it worked but one thing you'll start to notice is it's not extremely sharp the focus is pretty slow but it has the v r in there which I I don't know if it was on or off for this I don't recall because I don't know if I took the time from the time that stephen through the camera at me to the time that that song started ten seconds later too to see if it was on her off one twenty fifth of a second three five sixty four hundred s so when you're shooting at that and you know your subjects moving around a lot we know we have to wait for a more stable standstill shot to freeze her so what do you think d thirty three hundred oh, yeah, the shadow works well coming from back there too. And another thing that I'm looking at is a natural frame of the monitors, the monitors, speakers down here or for anybody at home, I have to use my mouse for that right to show them, uh, you have a monitor here in a monitor here, and I place myself right in between them because if the mommy my blocking your view with my hair, steven, you're all right, the monitors there, we couldn't do much with them. You can't move the monitors, and the monitors are there for the artist. The best thing you could do is try to work between them going over them. You need to be much taller, and you're not really going to get their feet if you go over. Because if there are only two feet from the monitor or a foot from it, you're not going to get I do high enough angle to get everything in there. So having them in the corners like that, it draws you into the images. It frames you. It frames the subject, creates a natural frame and we got lucky. Is that luck? Or is it just you just get the shot you were prepared? Or I was prepared even with this to get that I like the shadows in the in the highlights on this side of the face now that she turned it creates some cool dimension and this is a winning shot because the mikes in the air it seems like I'm winning not me but she she's winning and I'm glad she picked the time to do that and again I stated eighteen for these because of the three five new going any further than that we kind of be in trouble I like how the light changed here but again most of the lights off we don't have a lot of front light on here sixty four hundred eyes so this still works any thoughts on this? Yeah, it definitely is way better black and white I mean I'll say like if I didn't know that one was shot with one camera and one was shot with the other I could not tell the difference doesn't piss you off. Not really I'm not saying that if you spend six thousand dollars no but it's not even that it's just the situation no, you're absolutely right. It just proves to you that in any low light situation you khun knowing your settings first and foremost it doesn't matter what camera you're using if you had the wrong settings with any camera, you would have totally the shot wouldn't have worked but even with the basic of basic cameras and said, this is the most basic setup, most people probably have better cameras quote unquote than this with better pieces of glass, but to be able to get out there and do it just proves the fact that understand the fundamentals and the basics are going to set you a far apart from anybody else, just setting the basic camerota auto. How many people started out in auto and my all right sitting over here is this good? This this works? How many people started out in auto? I mean, I started out in auto, I had a cannon, he also on film camera, back when I started with the first camera, I was sold, I didn't buy it, I was sold it you know what that is when they when you go there and they tell you what you're buying because you don't know any different, well, that's what I was I was sold that cannon camera with a a one hundred to three hundred five six three five the five six I had no idea what that meant. I also knew that it meant I got terrible images but didn't know why where was I going with this? Oh, auto, so we all started an auto and did how many people thought that their camera was terrible because that you weren't getting good shots, right? But it's not the cameras fault ninety nine times out of one hundred it it's human error its users error the camera knows what it's doing you just need to you need to wrangle the camera and make it do what you needed to do you need to use it to its best best of its ability so it's all it's all fundamentals and settings cool russian good out there I'm good I can ask you a few questions if you want yeah go ahead let's let's hear triple dog photography and a couple others do you use any presets or actions anything like that or do you just approach each one individually? No presets I'm not a preset fan because every image is going to be different in a situation like this if you have shots and secession that are pretty similar I will edit one of them and then I will I will sink the next few after it but then I'll still go in and tweak a few of those. I do have some sharpening presets which I didn't even use here because this isn't my light room set up and I didn't put my presets back in but I don't go too heavy handed on it but that's a good question actually perfect segway because people have been asking about sharpening as well and do you do any uh you doing is happening on not rid not really not seriously, not really I don't go in there and worry about a lot of that stuff too much because again, if you over I use my clarity a little bit. I do have a general setting where it's maybe up for called forty on my computer because I've just said it there I honestly don't spend too much time worrying about that stuff and I've printed stuff forty by sixty I have forty by sixty prince shot at eight thousand s o with the d three s the one shot of modest modest yahoo that you guys remember that the light coming from behind his head I don't I don't worry about the show that the setting sorry, the sharpening way too much stephen, how much sharpening do you add? Uh my settings to be exactly in the sharpening module real quick and I'll show you what I do or I'll just tell you I usually do fifty around that around there depending on if it's a portrait or general shot in jet but I do fifty and I do like point eight or one when the radius I do heavy masking usually around eighty eight to ninety or so because I want to just get those edges sharpen and that's really it sure again depending on what shot of it's a landscape shot I'm going toe not through is much masking, but what's the other there's, another slider to in that sharpening module. I just can't remember which one it is, but that's usually what I do about yeah, yeah, I mean it's it's again. We all use light room differently or whatever your editing, and we all use a little bit s o personal preference on stuff like that. Anything else on that keep going? We've got some questions I don't know if you want talk about him yet, because it's kind of about the end of the process, but as far as delivering images to people on dh talking a little bit about editing for prince versus for digital, do you do anything differently? And then how do you deliver images to your bands? So what the digitals if I'm delivering it digitally, I'll probably exported about two thousand on the longest edge if I want them to put him on line because most of time, two thousand pixels on the longest edge is going to be pretty fine, and I'll exported at the resident eighty go from down from one hundred and knock it down a little because it doesn't need to be the fullest false because they're not printing, but if it comes to me putting something huge, I will export it at the size. Dimensions I wanted to be if I wanted to be twenty four by thirty six, I'm exporting at that size. So then I uploaded to wherever I'm going to have it printed and have them printed. And honestly, I've gone back to my d d two h files, which are four mega byte files, and had those blown up to twenty four by thirty six, and those shots were in two thousand four and they still hold up extremely well because I get to reprocess them now and that's importance of having those we're all files was the second part. How do I deliver? What do I deliver so deliver bols for bands? It depends on what you agreed to with them if they're not paying you, which is most of the case. The watermark is an interesting is an interesting idea if they're not paying you and you want to put a watermark in the bottom corner if you are going to do the watermark it's a personal preference thing, make sure that it's not terribly too distracting. Put it somewhere and keep it consistent in one corner or the other. I usually do bottom right hand corner if I do them, which I rarely do that now. But make sure that a band is going to tag you in them. That's a big thing today if you're gonna go on to put him on facebook, which is a good thing for them to do, just having a photo by make sure they tagged your site or your links so that they can people confined you. That is a better thing to me than dirtying up an image with the watermark when it comes to delivering if it's a client that's getting the final, they're getting the full res images, I'll give him full rez exports, the highest raise j pegs aiken give them that are edited from the raw file, and then I'll also give them the lower red is ones to use online, so I give them whatever they need to be successful right off the bat, and I deliver him digitally. I'll upload them to a server I have ah, server. You can have what's what's, the what they called like box. And what was that? No, no drop ups? Yeah, you can upload into a drop box and then just send a link to people that's the best way to do it? You're not going to email these files because they're too big and it's going. That's what you would do maybe ten years ago on a well and then realize it bounced back and it didn't work so a lot of it is getting the files ready that you want to deliver zipping them isaac him up put him up on a server somewhere send somebody a length they can download them beautiful every questions in the room I haven't actually been asking you guess okay great. So mario from vancouver and a few other people would love to see step through another image okay let's step through it as an editing it yes, exactly. Ok let's just say that this one because we're on it don't let me do that let me take my snapshot so we can see where I was to begin with um I go to black and white I bumped my exposure a little bit we can see that the noise and the grain shows up in there but see, I like tightening it up. You see how that tightens up? I like that it does that. But I also go back down here to my tone curves area in my point curve and I said and I go boom and you see how that makes a big difference at least to me to me that's flat and also we're hiding some of that noise and grain that's if we went strong strong isn't even that bad it's not that bad either way, it's not that bad. Uh, let's. See? Tighten that up a little bit. We got rid of most of that noise that was in her shirt. Didn't way we still have this up here. Yes. That's a noise. You got to remember this is a twenty four megabit I think it's twenty four megapixels from a d thirty three hundred. So if you zoom in one the one look up here in this corner you see that little small box that's that's, that's really small box right in the grand scheme of things that's enough thing. So don't be discouraged if you see this when you zoom in and think you've got to get her sharper and get and get rid of the noise. Because it's a wide angle shot shot at eighteen millimeters don't pixel peeps so much and then you'll see you won't see so much noise. That's where the fear part comes in is that people are pixel peeping at at one the one that just doesn't work the problem coming back on my exposure a little bit. I know I'm heavy handed here. With contrast you got some of the shadows. But that that brings in this shirt a little bit that also brings back up those lights in the background you can play with the highlights I don't go too far with the highlights was look what happens to her face it looks like it's sunburn it doesn't look as bad on there as it does on the actual screen but that's pretty much what I do where do the snapshot go holy sh nike's batman I like that one better so I never know I don't know where I was going with that they're now I got it back too close to where I had it either way I don't know what the heck did I do to make it look good I guess you know what I did to make it look good yesterday I spent time on it I spent time on this is where I was I don't know whether you like something like this but you can see whatever you decide the process it with you can do a lot with it I like this one better due to that because I sat there with my headphones in and started editing yeah do you keep in mind while you're processing that and back in your mind that you kind of want to keep the same settings for each one because I have trouble when I'm processing and then one looks a little bit more lighter and brighter and I just kind of want it keep it in one pace. Do you keep that in mind when you think it's a good question I do, and especially when it comes to color and white balance in a show like this with the lights changing white bounce from one image to the next could be different, but if I'm keeping it in color and I have one image before one one, an image after it, I don't want one to be extremely yellow and the other one to be extremely blue. I want them to be pretty similar on with my style of editing. I like to keep the black and whites pretty boom ified on pretty consistent across the board. It just so happened that she dropped into this with what I had when I had that lens on, she just dropped into this, so I took a couple of shots. I mean, look these air, all winning shots, this one this one to this, and you could see that they're all consistently edited because they're pretty similar and all of these work that's why I kept each one of these all four of these each one's a little different, but they all work and that's why I was happy with it, especially with that camera, yeah, history ram in the corner no, no what I wanted to feel, what would it tell you? It's a good question, it's just it's just telling me that the scenes awfully dark, right? Yeah. That's what it tells because theoretically, when they look at the history and they want to tell you that oh, I want to see the nice spike right in this area it's not gonna happen in a shot like this, right? I personally don't look at it does more action and this works this works from the side if I was right in the middle in front of her that she'd be eating the microphone. But here she's got the tambourine. We talked about that motion in the hands, remember, we're at one one twenty fifth of a second of three, five, sixteen, four hundred s o this camera would go to twelve thousand eight hundred, but I don't want to push it that far. I just think that's too far to go and there would be a lot more noise and you're gonna lose a lot that that I didn't want to lose, but being that she's more still up at the microphone, I'm ok with the hand motion here because you get that she's playing the tampering right that's what she's doing but she's singing at the same time and I think that that work, stephen, do you agree with that? Definitely so, in that case, it work if she was out of focus, if her face was moving, if her face was moving. But the tambourine was sharp. I don't think it's a strong of an image.

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.