Lesson Info
13. 11 Wrap-Up
Lessons
11 Pre-Show
08:23 2Intro: Ways of Shooting Part 1
26:26 3Intro: Ways of Shooting Part 2
36:36 4Gear: Tools to Experiment & Play With
30:27 5Gear Q and A
22:58 6Exposures and Cheating
34:28 7Contrast & In Field Examples Part 1
29:14 8Contrast & In Field Examples Part 2
43:41Lesson Info
11 Wrap-Up
great day, Jack. Thank you so much. Really appreciate. Like, wish you were done. We're starting. We're not done with. Just start. Yeah, we're really We're really just getting going. I mean, like we talked about all day. It was the backbone, folks, if you miss it, miss it. This morning, Jack took some time to really go over each individual of the 10 10 days. He talked about what he's going to be covering on dso just in a few minutes when we wrap up here, we're going to be doing a re watch like we always do everyday a creative life. So if you miss that, early segments take a look because he really goes thoroughly into what he's going to be covering. So, Jack, speaking of that, our next workshop in this series, which will be here tomorrow, is infrared. So let's talk a little bit about what we're gonna be, what we're gonna be learning. Infrared, as you've seen today with a numerous amount of samples is a fantastic way of shaping a story with your camera. It is a unique way in the sense tha...
t it's unique technology by having a converted camera, but it does allow for a huge number of variables in terms of storytelling. It's typically known for like what we're seeing here, the snow white foliage and the dark skies. But it also has a number of other benefits to it. It actually has a greater dynamic range than the visible spectrum. So in one exposure you can actually get a greater range from lights to darks than you can in color. So in one shot, even things like architecture bright as I mentioned before, one of the things I love about infrared is that even in the middle of the day, where you would normally never pull out a camera you're traveling on the streets of Venice. You out in the desert, your you know, wherever you're always gonna be able to find some element that can take advantage of this wonderful contrast built into the, um, the aspects of infrared but also a greater dynamic range. So when you do have this huge disparity of pure white and pure black, you'll notice even in this, this is not a HDR shot. The amount of detail that it's maintaining in Snow White's and Jet blacks is just amazing. So I love it for the dynamic range, the subtleties of color. We're gonna be going into how you can customize that color through the use of white balancing your camera in camera white balance as well as one of the challenges and infrared is what you can push. The white balance in your camera isn't the same as what you can push in light room in adobe camera raw. The numeric values here in things like camera raw adobe Never thought that person would be doing infrared conversion so these numeric values in temperature don't go far enough, but we want them to. So how can you and I'll give you some ways on how you can push it even farther. Um, obviously, a lot of this is gonna be doing with both landscape as well as portraiture. Each one of those is gonna have different ways of tweaking. So in the morning, when we're talking about what you can do with infrared, we're gonna be talking about how you can shoot with infrared and different things related to infield techniques for helping shooting your infrared. And then again in the afternoon, we'll do our post processing, so we'll be talking about tweaking that including, like, if you're shooting a portrait, how you don't get the John Dis yellow skin tone, how you can swap colors of your sky. And also we're gonna do some hand tinting because it's such a beautiful black and white manipulation of a file. There's no reason why not to do some beautiful hand tinting of the fine. We'll also go. We didn't touch on today. But if you go into black and white conversion, which we will go into this ability to drop out skies like I'm doing right here or lighten up skies are take any color in your scene and change it independently of every other color in the file through that HS L. Magic also works inside of infrared images because of this subtle distinction in color. So we'll talk about that will also probably talk about traditional black and white, because if you don't have a converted camera, you still want to take advantage of things like black and white conversion techniques, hand tinting how to optimize the black and white. So tomorrow I'm planning on doing not Onley infrared photography. But if you don't have access to an infrared camera, How can you get that same dramatic, beautiful, mouthwatering black and white images if you don't have that camera at least not converted yet because you eventually will. So it'll be a combination of infrared, black and white hand tinting special effects that will also include CP Atoning Scion, a typing because the split tone slider. Very few people understand this, and this will also allow us to get into some cross processing effects. And if you're real good, that also could lead us into Seoul arising. Because if you're familiar like with Man Ray and how to use the curves, Palito really get drug induced. That's also a great way of working in black and white. So this idea of the entire way of working with monochromatic imagery inside of photo shop and inside of your cameras, what we're gonna be doing perfect
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