Shoot: Stage Multiple Shooters


Taking the Fear Out Of Low Light Photography


Lesson Info

Shoot: Stage Multiple Shooters

I'm just going to do my thing go backto whatever I was shooting maybe switch back to this how do you guys feel up there that's a good thing to hear isn't it all right so why don't we everybody are they enjoying at home seeing the shooting happen I'm going to ask them to say so in the chat room my belief is yes ok because I want to give them as much as they need whatever they need me to answer we're going to answer so I broke out we broke out that dirty three hundred and the kit land so we made that happen I may grab it again and now it's just what I'm going to focus on shooting so I'm gonna block you guys out for the time being so I can focus your blood you're going in do we have you get some sound here there we go way we've got his microphone all right you know what? Everything going you don't wait wait the rest still much opportunities don't be scared to ask what you knew don't be ready to take son sailing for second best when leaders are much like your mom in you get my focus phone ...

show down because you are wait wait all right I had some issues what you're good bound to happen I think the tether is screwing me up but instead of trying to figure out what the heck was going on I got to keep shooting I had this thing ready that's not something that's normally going to happen in the pit you're not normally gonna have it trying to tether but there could be issues luckily knocking on wood I haven't had issues where I've had cameras go down in the pit I sometimes taken extra d six ten but generally speaking I don't go with the backup just for weight purposes but what was going on is I think I think it may be better now but that's that's just what you have to do I got yes, it worked now I was I was ready to go for something and then I got this blinking green light thing going on and instead of worrying about it I had a we had a role to punch because I only get three songs to do this switch to the d a thirty three hundred she did a jump, I was a little late I think I missed it. I was prepared at the end of the song just in case she did it again I was focusing with this camera I was focusing right here on the stomach because there's not as many focus points on the d thirty three hundred as on the other cameras, but I know that the plane from here to the eyes and at three five of eighteen with that kit lends that if she jumps my focus could be pretty good I don't know maybe it was but I was happy about it I was also having trouble there with the seventy two, two hundred when you shoot in these tight environments and the subject is bouncing around off the walls like she was doing I was thinking do I have a wrong setting on my camera in terms of the lens I turned the are off because sometimes the art takes too long to kick in and I also know is not going to help anything here so I turned it off to help me get that focus that I wanted to get s o so that's important we good you can hear me or we could just give me a yes no we're good we're good ok so so I thought I was doing something wrong I may have bumped up the camera the ice so slightly but I think I may have stayed around sixty four hundred cheetahs assistant give myself about five hundredth of a second and I finally got a nice tight shot nico, can we throw one up or no? Let me see if it's here well, it may not be the best but oh, there it is there it is its number seventy two engine seventy two three seven seven two so finally I got one that was sharp I mean, it works. I would love that if you were gonna analyze tomorrow, but I would love it. She was over here more when somebody's bouncing around that much you can't control that you try to get the composition that you want to get the best that you can that's, a composition that I'm happy with. This is a nice tighthead shot the hair is bouncing out the nice color, the separation. This is going to be a nice image. This could be a nice color image. It may also translate well the black and white, especially with the two tones of the hair. I was fun that's why you saw me over here go like yeah, finally, I don't know if my mike's on when when they're playing, they probably cut it for noise, but I was actually happy because if I solved the problem that I was having and that's just what you need to do when you're in the pit. What? I can't see that clock anymore to say what time we're at, we've got about fifteen minutes, fifteen left for a half an hour left. We don't know how, why don't we add two people in the pit to shoot with me? Raise your hand really quick who's coming in the pit, all right, you're got a camera, huh? Get in there. Just come on up. We're gonna let two more people are gonna get people in the kit. Whatever you do, don't trip over my stuff. It's getting tell everybody what's your name. We got trevor here. Trevor helped us out in some other aspects. Uh, yesterday, for some of the pre shoot that we did, I don't normally leave my lenses out of the bags here. That would be something not smart to do when people are running around the pit. But I'm going to do this. We're going to shoot. We're going to get another strong in there. We're gonna keep shooting, and, uh, you guys feel prepared? Yeah, all right, then. We're just gonna we're just to get just one thing. Just watch out for this cable. That's. All we ask, other than that the pit is yours. Don't get in my way and I won't punch you. And are you ready for us out there? All right, here we go. Wait, do you have? Ah, do we have a computer? Wait, was that everything and anything? Never yeah, you tell moment rilya now it's gone this time it's all the way. It's gotta get into twenty one show its way that it's always better to do it because that's, the motivation at this can make you all follow before your time giving russell why you had it bloody well, the yields us did you get brought? Shoot is off just way originally. Cut it here. So it was every day, everything e way e well, I'm still waiting for that jump. So waiting for, uh, anybody I'll just tell you, uh, yes, of course I'll just tell you because I get into mode again. Did anybody see what I was doing? And now that there were people in the pit, they only see where my head went a bunch of times I was glancing around for multiple reasons. I don't want to be in their way. I was looking, uh, trevor, right? And you are in louise louise I looked was over here, so I know that if I smooched smooched good word smooched over here that I wasn't going to blocking his view. I didn't even know where trevor was one of the times I was like, oh, there's trevor he's over here, so and also I saw that trevor switched when louise came to this side trevor went to that side that's how you work a pit and nobody got close to me because they were just afraid but still that that was that was challenging mike you're doing a fantastic job, by the way, this is a really shooting situation and that's and that's the challenge of it and that's did you enjoy it? We'll see your pictures tomorrow we'll see how that stuff turns out why don't we switch to more people out and then when we're very done done at the very end well that everybody shoot a couple more songs whoever wants to come in come on in uh I'm going to kill my gopro quick leslie if I I'm going to look for a jump at some point if you throw a couple in during a song, I'll try to feel it out and I know that in my head I still haven't gotten a great shot of the drummer I need to do that I need to do that and I think the twenty four to seventy is going to be the best for that cause the seventeen, two hundred was kind of trouble, so I'm going to try trouble trouble I'm going to try to get a bunch of the kids in there so that there's some ah I don't even know the word right now so that you can understand that she's a drummer because the kid is there, could you yeah beastie boy and coal manero both were asking can you make sure to get some of what you want? Apparently they want to know whether you can get shots of the drummer bassist and I guitars as well I didn't know perfected those earlier there's only one I haven't gotten in my head has been the drummer I did have one shot that may be used I did that I got my shot generally speaking, if you have a lead guitar player who's goes in and does major solos or who you're shooting a slash of the world or nick perry, my friend they go nuts on the stage and if you line up in front of them you're going get some massive amount of shots in this case they play, they play their music, the musicians they play, their instruments the way that they're doing it and it's great on I'm getting the shots of the larry is the white guy s so we got that and we're getting it so I made sure to get them. My focus here has been wider and then leslie as the lead singer, I try to focus their aa lot love it good you guys ready to shoot? You're your plugs in get those earplugs in uh oh no he didn't I guess mike's going to start playing games with us. But that's okay. All right, here we go. Wait. So they got a way to get you get your e e wait, teo. Teo, wait. Thank you. Okay. And here again, I've said it a lot, but seriously is great. So that was interesting again, I'm getting lockups probably from this tether thing, but just dealing with it as it's happening, I pulled the battery on one thing to something that just have to figure out on the move. What's happening s o I was able to get that back working. I was focusing in on larry. I'm sure people are wondering what I'm doing with my settings in the camera at this point. And when I moved to larry, I know I've been shooting a lot of four thousand s o I shot that if I could do the d thirty three hundred sixty four hundred there's no reason for this demonstration. I can't push the deforest to sixty, four hundred to do it. I had to shoot larry. I take a picture after I make my changes just to look at the back of the screen. I'm looking for brightness and darkness on lee and I overexposed on my under exposed what do I need to do next? And every thing going through my mind is the first thing I want to change after I get that first shot. So I need more shutter speed. Chinese less shutter speed. Do I need more? I so do I need less? I s o n last resort when I open up to two point eight or stay at the three point two or three point five. Where was that? When it came the larry I went to sixty four hundred s, so I was still a three, two or three five at about four hundred of a second. I went to two hundredth of a second. Still wasn't good enough because larry was still in the dark. I then left it sixty four hundred. I saw went down to his low, is one hundredth of a second one one twenty fifth and went to two point eight, which ended up giving me give me the shots that I need for larry's. The color may not be great, but I may be able to make that a black and white that looks perfect. Then, when I went over here to sydney when I went over to sydney she's bright she's brighter because she's brighter wait she's brighter, because she's brighter, that made no sense. There's more light on her so then I couldn't shoot with the same settings that I shot with larry. So the first thing I did instead of dropping the ice so I quickly moved my shutter speed up a couple of of clicks, there's no rhyme or reason. So how many clicks? I do it, but I know that three clicks on my camera is a full stop this one's a third of a stop, so no, you're stops in your camera. No, whether you click the button once or twice doesn't go to a full stop every time, or is it a half stop or a quarter stop or a third of a stop? Whichever way I just know that it's going to give me what I'm looking for, I was able to get that right, but then moving back to the center of the stage to shoot leslie here, I had to drop my eyes so back because it's much brighter on leslie here, and I was able to get those shots. She did throw a jump in there, I turned off motor driving on my camera, so it ended up being the the lower end of that, so I got two shots of her jumping that I think I'll be able to salvage, and I think they were usable on the drummer it was very hard to do, but I think I got stuff that was worthwhile, that even though she's, not in a lot of light, I can make it black and white. Aiken, bump the, uh, bumped my exposure up in in light room. When I go on edit the raw files, I think we'll be able to get some usable shots. I think we've run through everything that I've needed to run through. For the most part there, I'm happy. This was yes, more than four songs. Sorry, three songs, but sometimes with these acts, you can shoot multiple points of it.

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.